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fd_dialogue

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[Upbeat music plays] Dad: [yawns] [Sniffs] [Screaming] [Grunting] Hyah! [Grunting] Hyah! [Grunting] Ooh. [Grunting] Ooh. Rowr! Ooh. Rowr! You still got it. Hey, kids. Do I look old to you? Gumball: uhit's hard to say. Gumball: uhit's hard to say. I guess that's the good thing say. I guess that's the good thing about being fat -- it fills out I guess that's the good thing about being fat -- it fills out all the wrinkles. About being fat -- it fills out all the wrinkles. Dad: aah! Well, guess my age. All the wrinkles. Dad: aah! Well, guess my age. Both: um dad: aah! Well, guess my age. Both: um darwin: ooh! Ice age. Both: um darwin: ooh! Ice age. Dad: what? ! Darwin: ooh! Ice age. Dad: what? ! Are you kidding me? Dad: what? ! Are you kidding me? When do you think I was born? Are you kidding me? When do you think I was born? Gumball: I don't know. 1592? When do you think I was born? Gumball: I don't know. 1592? Dad: what? ! Gumball: I don't know. 1592? Dad: what? ! Gumball: minus 100! Dad: what? ! Gumball: minus 100! Dad: 1492! Gumball: minus 100! Dad: 1492! That's when america was dad: 1492! That's when america was discovered! That's when america was discovered! Gumball: aw, come on. Discovered! Gumball: aw, come on. Help us out here. Gumball: aw, come on. Help us out here. Was it b. C. Or a. D. ? Help us out here. Was it b. C. Or a. D. ? Dad: hmm! Was it b. C. Or a. D. ? Dad: hmm! [Grunts] Dad: hmm! [Grunts] Mom: what did you say to your [grunts] Mom: what did you say to your father? Mom: what did you say to your father? Gumball: it's not our fault. Father? Gumball: it's not our fault. It was a trap. Gumball: it's not our fault. It was a trap. Mom: ohh, was he fishing for it was a trap. Mom: ohh, was he fishing for compliments again? Mom: ohh, was he fishing for compliments again? Gumball: yeah [chuckles] Some compliments again? Gumball: yeah [chuckles] Some reality got caught in the net. Gumball: yeah [chuckles] Some reality got caught in the net. Darwin: but you know what reality got caught in the net. Darwin: but you know what it's like, mrs. Mom. Darwin: but you know what it's like, mrs. Mom. You're pretty old, too. It's like, mrs. Mom. You're pretty old, too. Mom: [giggles] I'm old? You're pretty old, too. Mom: [giggles] I'm old? Gumball: yeah, I mean, you're mom: [giggles] I'm old? Gumball: yeah, I mean, you're so old that you learned to drive gumball: yeah, I mean, you're so old that you learned to drive on a horse. So old that you learned to drive on a horse. [Laughter] On a horse. [Laughter] Darwin: you're so old that [laughter] Darwin: you're so old that you ate dodoes your first darwin: you're so old that you ate dodoes your first thanksgiving. You ate dodoes your first thanksgiving. [Laughter] Thanksgiving. [Laughter] Gumball: you're so old that [laughter] Gumball: you're so old that if you had kids now, they'd be gumball: you're so old that if you had kids now, they'd be born middle-aged. If you had kids now, they'd be born middle-aged. [Laughter] Born middle-aged. [Laughter] Darwin: yeah, I mean, you're [laughter] Darwin: yeah, I mean, you're so old that -- darwin: yeah, I mean, you're so old that -- mom: all right! So old that -- mom: all right! No one stays young forever, you mom: all right! No one stays young forever, you know. No one stays young forever, you know. You'll see how it feels when it know. You'll see how it feels when it happens to you. You'll see how it feels when it happens to you. [Both snicker] Happens to you. [Both snicker] Darwin: aw, I think we'll be [both snicker] Darwin: aw, I think we'll be fine. Darwin: aw, I think we'll be fine. Gumball: yeah, dude. Fine. Gumball: yeah, dude. I've been 12 for like gumball: yeah, dude. I've been 12 for like forever now. I've been 12 for like forever now. Darwin: I think we can safely forever now. Darwin: I think we can safely say that we'll be young forever darwin: I think we can safely say that we'll be young forever and never [distorted] Say that we'll be young forever and never [distorted] Cha-a-a-a-a-a-nge. And never [distorted] Cha-a-a-a-a-a-nge. Gumball: [gasps] Dude! Cha-a-a-a-a-a-nge. Gumball: [gasps] Dude! Are you [deep voice] All right? Gumball: [gasps] Dude! Are you [deep voice] All right? Darwin: what's happening? Are you [deep voice] All right? Darwin: what's happening? Gumball: I think our voices darwin: what's happening? Gumball: I think our voices are broke. Gumball: I think our voices are broke. Darwin: dude, that was so low are broke. Darwin: dude, that was so low you made some of my organs move darwin: dude, that was so low you made some of my organs move inside. Gumball: okay, that was weird, but I'm not gonna let it ruin our day. Weird, but I'm not gonna let it ruin our day. I'll call penny and see if she ruin our day. I'll call penny and see if she wants to go to the mall. I'll call penny and see if she wants to go to the mall. [Dialing] Wants to go to the mall. [Dialing] [Ringing] [Dialing] [Ringing] Fitzgerald residence. [Ringing] Fitzgerald residence. Gumball: [squeaky] Hey, can fitzgerald residence. Gumball: [squeaky] Hey, can I speak to penny [gruffly] Gumball: [squeaky] Hey, can I speak to penny [gruffly] Please? I speak to penny [gruffly] Please? Is this a joke? Please? Is this a joke? Gumball: uh, no. Is this a joke? Gumball: uh, no. This better be a joke. Gumball: uh, no. This better be a joke. Gumball: no, wait, I don't this better be a joke. Gumball: no, wait, I don't think you understand. Gumball: no, wait, I don't think you understand. I don't think you understand. Think you understand. I don't think you understand. You think you can call my house I don't think you understand. You think you can call my house and freak us out? You think you can call my house and freak us out? You think you've got a scary and freak us out? You think you've got a scary voice? You think you've got a scary voice? [Deep, raspy voice] This is a voice? [Deep, raspy voice] This is a scary voice. [Deep, raspy voice] This is a scary voice. Now, listen to me. Scary voice. Now, listen to me. I have a very specific set of now, listen to me. I have a very specific set of skills -- skills I've acquired I have a very specific set of skills -- skills I've acquired over a very long careerin skills -- skills I've acquired over a very long careerin real estate. Over a very long careerin real estate. If you never call my daughter real estate. If you never call my daughter again, that will be the end of if you never call my daughter again, that will be the end of it, but if you do, I will look again, that will be the end of it, but if you do, I will look for you, I will find you, and I it, but if you do, I will look for you, I will find you, and I will build a house around you for you, I will find you, and I will build a house around you with no doors. Will build a house around you with no doors. Gumball: [squeaky] Okay, with no doors. Gumball: [squeaky] Okay, bye. Gumball: [squeaky] Okay, bye. [Normal voice] What are you bye. [Normal voice] What are you looking at? [Normal voice] What are you looking at? Darwin: I don't know. Looking at? Darwin: I don't know. What are you pointing at? Darwin: I don't know. What are you pointing at? Gumball: [sighs] Come on. What are you pointing at? Gumball: [sighs] Come on. Let's just go together. Darwin: hello, two kids-price [deep voice] Tickets, please. You disgust me! [Deep voice] Tickets, please. You disgust me! Gumball: wait. What? You disgust me! Gumball: wait. What? [Deep voice] Why? Gumball: wait. What? [Deep voice] Why? Where is your pride? [Deep voice] Why? Where is your pride? Where is your beard? Where is your pride? Where is your beard? Where is your axe? ! Where is your beard? Where is your axe? ! Gumball: wait. Where is your axe? ! Gumball: wait. Why are you driving with an axe? Gumball: wait. Why are you driving with an axe? Oh, I use it to push the why are you driving with an axe? Oh, I use it to push the pedals. Oh, I use it to push the pedals. Darwin: sir, I think you're pedals. Darwin: sir, I think you're confused. Darwin: sir, I think you're confused. We're not what you -- confused. We're not what you -- your manly warrior voices we're not what you -- your manly warrior voices gave you away! Your manly warrior voices gave you away! Our people built wonders in the gave you away! Our people built wonders in the mines of ezrendel, and here you our people built wonders in the mines of ezrendel, and here you are pretending to be children to mines of ezrendel, and here you are pretending to be children to scrounge a bus fare! Are pretending to be children to scrounge a bus fare! Shame on you! Scrounge a bus fare! Shame on you! Gumball: dude, we're not shame on you! Gumball: dude, we're not cheating anyone. Gumball: dude, we're not cheating anyone. We're kids. Cheating anyone. We're kids. I should report you to the we're kids. I should report you to the council of elders! I should report you to the council of elders! [High-pitched] You don't council of elders! [High-pitched] You don't need a discount! [High-pitched] You don't need a discount! Your mountains are full of gold need a discount! Your mountains are full of gold and mithril. Your mountains are full of gold and mithril. How can someone be so little and mithril. How can someone be so little and yet so evil? How can someone be so little and yet so evil? [All shouting] [Whoosh! Clang! ] Gumball: do you feel like walking? Gumball: do you feel like walking? I feel like walking. See? It wasn't that far. [Sizzle! ] Darwin: [gasps] Look. [Sizzle! ] Darwin: [gasps] Look. Gumball: oh, wow, buy one, darwin: [gasps] Look. Gumball: oh, wow, buy one, get one free on two-sided tape. Gumball: oh, wow, buy one, get one free on two-sided tape. That's like four-sided tape. Get one free on two-sided tape. That's like four-sided tape. Darwin: no, look! That's like four-sided tape. Darwin: no, look! Half price on double-chip darwin: no, look! Half price on double-chip cookies. Half price on double-chip cookies. That's like quadruple chocolate. Cookies. That's like quadruple chocolate. [Giggles] That's like quadruple chocolate. [Giggles] Gumball: hey, wait. [Giggles] Gumball: hey, wait. Darwin: hmm, where are the gumball: hey, wait. Darwin: hmm, where are the cookies? Darwin: hmm, where are the cookies? Hey! Cookies? Hey! Ohh! Hey! Ohh! Hey, yourself, young man. Ohh! Hey, yourself, young man. I know I'm just a clerk here, hey, yourself, young man. I know I'm just a clerk here, but that is not a way to speak I know I'm just a clerk here, but that is not a way to speak to people. But that is not a way to speak to people. Darwin: oh! Sorry! To people. Darwin: oh! Sorry! Oh, I see. Darwin: oh! Sorry! Oh, I see. Now I'm getting attitude. Oh, I see. Now I'm getting attitude. You know there's a policy here now I'm getting attitude. You know there's a policy here for disrespectful customers. You know there's a policy here for disrespectful customers. Darwin: it's not my fault! For disrespectful customers. Darwin: it's not my fault! [Laughs] Darwin: it's not my fault! [Laughs] So now it's my fault? [Laughs] So now it's my fault? Darwin: dude, chill out! So now it's my fault? Darwin: dude, chill out! You refrigerate yourself, darwin: dude, chill out! You refrigerate yourself, mister. You refrigerate yourself, mister. All right, that's it. Mister. All right, that's it. Security, we've got a code all right, that's it. Security, we've got a code orange in aisle 13. Security, we've got a code orange in aisle 13. Darwin: no, please, it's not orange in aisle 13. Darwin: no, please, it's not my fault. Darwin: no, please, it's not my fault. Gumball: dude, what's going my fault. Gumball: dude, what's going on? Gumball: dude, what's going on? Darwin: I can't control the on? Darwin: I can't control the volume of my voice! Darwin: I can't control the volume of my voice! And now larry's angry at me. Volume of my voice! And now larry's angry at me. Gumball: aw, don't worry. And now larry's angry at me. Gumball: aw, don't worry. I'll take care of this. Gumball: aw, don't worry. I'll take care of this. Sir, I'm gonna need you to I'll take care of this. Sir, I'm gonna need you to calm down. Sir, I'm gonna need you to calm down. Gumball: we are calm! Calm down. Gumball: we are calm! Don't force me to use force! Gumball: we are calm! Don't force me to use force! You need to take it down a don't force me to use force! You need to take it down a notch! You need to take it down a notch! Gumball: I can't! Notch! Gumball: I can't! Fine! Gumball: I can't! Fine! Then you asked for this! Fine! Then you asked for this! Actually, I'm not allowed to do then you asked for this! Actually, I'm not allowed to do anything but ask you to leave actually, I'm not allowed to do anything but ask you to leave the premises peacefully. Anything but ask you to leave the premises peacefully. [Clatter] The premises peacefully. [Clatter] [Both gasp] [Clatter] [Both gasp] Darwin: [crying] [Both gasp] Darwin: [crying] Gumball: maybe I'll just call darwin: [crying] Gumball: maybe I'll just call dad for a ride home. Gumball: maybe I'll just call dad for a ride home. Darwin: so? Dad for a ride home. Darwin: so? Gumball: he didn't understand darwin: so? Gumball: he didn't understand a word I said and told me he gumball: he didn't understand a word I said and told me he doesn't speak fax machine. A word I said and told me he doesn't speak fax machine. Aw! Stupid voice! Doesn't speak fax machine. Aw! Stupid voice! [Distorted] What is wrong with aw! Stupid voice! [Distorted] What is wrong with [wheezy] You? Gumball, where have you been? Why didn't you call me? Gumball: [wheezing] Why didn't you call me? Gumball: [wheezing] Watterson, are you giving my gumball: [wheezing] Watterson, are you giving my daughter some kind of weird watterson, are you giving my daughter some kind of weird silent treatment? Daughter some kind of weird silent treatment? [Deep, raspy voice] Because if silent treatment? [Deep, raspy voice] Because if you are, I have a very specific [deep, raspy voice] Because if you are, I have a very specific set of skills -- skills I -- darwin: what? Oh. Hold up. Gumball: and sometimes it's perfectly fine. But the next thing you know, perfectly fine. But the next thing you know, [squeaky] It's all over the but the next thing you know, [squeaky] It's all over the place. [Squeaky] It's all over the place. [Laughs] Place. [Laughs] Darwin: [distorted] Are you [laughs] Darwin: [distorted] Are you making fun of us because our darwin: [distorted] Are you making fun of us because our voices are broke? Making fun of us because our voices are broke? [Continues laughing] Your voices are not broken -- they're breaking. It means you're growing up. They're breaking. It means you're growing up. Darwin: aw. It means you're growing up. Darwin: aw. Did you really think you darwin: aw. Did you really think you would stay kids forever? Did you really think you would stay kids forever? Darwin: yeah. Kind of. Would stay kids forever? Darwin: yeah. Kind of. [Laughs] Darwin: yeah. Kind of. [Laughs] Gumball: isn't there [laughs] Gumball: isn't there something you can do? Gumball: isn't there something you can do? Mmno. Something you can do? Mmno. Only a small percentage of the mmno. Only a small percentage of the world doesn't age -- mostly only a small percentage of the world doesn't age -- mostly people on tv. World doesn't age -- mostly people on tv. [Both sigh] People on tv. [Both sigh] Oh, come on. [Both sigh] Oh, come on. Growing up isn't that bad. Oh, come on. Growing up isn't that bad. Soon you'll be strong and growing up isn't that bad. Soon you'll be strong and handsome like your dad. Soon you'll be strong and handsome like your dad. Darwin: [gasps] Handsome like your dad. Darwin: [gasps] Gumball: aah! Darwin: [gasps] Gumball: aah! [Clatter] Gumball: aah! [Clatter] [Ding! ] [Clatter] [Ding! ] [Squeak! ] [Ding! ] [Squeak! ] Darwin: come on. [Squeak! ] Darwin: come on. What's the best to do when you darwin: come on. What's the best to do when you know your childhood days are what's the best to do when you know your childhood days are numbered? Know your childhood days are numbered? Gumball: lie down on the numbered? Gumball: lie down on the ground and go like this -- gumball: lie down on the ground and go like this -- [sobbing] Ground and go like this -- [sobbing] Darwin: no, dude. [Sobbing] Darwin: no, dude. You make the most of it. Darwin: no, dude. You make the most of it. [Beatboxing] You make the most of it. [Beatboxing] Both: [rapping] We enjoy [beatboxing] Both: [rapping] We enjoy it while we can both: [rapping] We enjoy it while we can we enjoy it while we're kids it while we can we enjoy it while we're kids we enjoy it while there's we enjoy it while we're kids we enjoy it while there's still time to make the most of we enjoy it while there's still time to make the most of it still time to make the most of it gumball: we go around the it gumball: we go around the block, and we loiter by the gumball: we go around the block, and we loiter by the mall block, and we loiter by the mall the people think we're thugs, mall the people think we're thugs, so they give the cops a call the people think we're thugs, so they give the cops a call police. So they give the cops a call police. Gumball: we can get away police. Gumball: we can get away with it 'cause it's a public gumball: we can get away with it 'cause it's a public space with it 'cause it's a public space turns out we weren't' space turns out we weren't' loitering, just standing in one turns out we weren't' loitering, just standing in one place loitering, just standing in one place [babbles] Place [babbles] I don't wear a suit [babbles] I don't wear a suit or a stupid tie I don't wear a suit or a stupid tie I judge with my eyes closed, or a stupid tie I judge with my eyes closed, and I still look fly I judge with my eyes closed, and I still look fly it looks like you got a and I still look fly it looks like you got a from a wiener dog. It looks like you got a from a wiener dog. Gumball: oh, yeah, well, from a wiener dog. Gumball: oh, yeah, well, you gumball: oh, yeah, well, you and when I don't have a you and when I don't have a comeback, I can always cry and when I don't have a comeback, I can always cry both: we enjoy it while we comeback, I can always cry both: we enjoy it while we can both: we enjoy it while we can we enjoy it while we're kids can we enjoy it while we're kids we enjoy it while there's we enjoy it while we're kids we enjoy it while there's still time to make the most of we enjoy it while there's still time to make the most of it still time to make the most of it gumball: I'm allowed to eat it gumball: I'm allowed to eat candy gumball: I'm allowed to eat candy it's okay to be chubby candy it's okay to be chubby it's called baby fat it's okay to be chubby it's called baby fat that's how my mama likes me it's called baby fat that's how my mama likes me and I don't need to worry that's how my mama likes me and I don't need to worry about the calories I ate and I don't need to worry about the calories I ate 'cause I'm just a kid about the calories I ate 'cause I'm just a kid with a crazy metabolic rate 'cause I'm just a kid with a crazy metabolic rate too far. With a crazy metabolic rate too far. Darwin: don't you ever too far. Darwin: don't you ever worry about the cavities in your darwin: don't you ever worry about the cavities in your teeth? Worry about the cavities in your teeth? Gumball: who cares if they teeth? Gumball: who cares if they fall out? Gumball: who cares if they fall out? I got new ones underneath fall out? I got new ones underneath darwin: I'm gettin' tons of I got new ones underneath darwin: I'm gettin' tons of loot 'cause I look so cute darwin: I'm gettin' tons of loot 'cause I look so cute where are these presents loot 'cause I look so cute where are these presents from? Where are these presents from? It just doesn't compute from? It just doesn't compute gumball: we don't have to it just doesn't compute gumball: we don't have to worry about makin' ends meet gumball: we don't have to worry about makin' ends meet we just throw things in the worry about makin' ends meet we just throw things in the buggy that we like to eat we just throw things in the buggy that we like to eat 'cause when you're still a buggy that we like to eat 'cause when you're still a kid, everything is magic 'cause when you're still a kid, everything is magic you don't know it yet kid, everything is magic you don't know it yet both: life can get pretty you don't know it yet both: life can get pretty tragic both: life can get pretty tragic we enjoy it while we can tragic we enjoy it while we can we enjoy it while we're kids we enjoy it while we can we enjoy it while we're kids we enjoy it while there's we enjoy it while we're kids we enjoy it while there's still time to make the most of we enjoy it while there's still time to make the most of it still time to make the most of it gumball: we don't have to it gumball: we don't have to worry, 'cause we don't have gumball: we don't have to worry, 'cause we don't have jobs worry, 'cause we don't have jobs we can sit around all day and jobs we can sit around all day and hang out just like slobs we can sit around all day and hang out just like slobs both: we don't freak out hang out just like slobs both: we don't freak out about rã©sumã©s and skills both: we don't freak out about rã©sumã©s and skills 'cause we don't have either about rã©sumã©s and skills 'cause we don't have either we got no bills 'cause we don't have either we got no bills we got all the time we got no bills we got all the time that we want to k*ll we got all the time that we want to k*ll what time is it? That we want to k*ll what time is it? Both: it's time to chill what time is it? Both: it's time to chill what do you think you're both: it's time to chill what do you think you're doing? What do you think you're doing? Gumball: just enjoying not doing? Gumball: just enjoying not having a job. Gumball: just enjoying not having a job. Well, you can't stay here! Having a job. Well, you can't stay here! Gumball: why? Well, you can't stay here! Gumball: why? Because the sight of our freedom gumball: why? Because the sight of our freedom hurts your adult feelings? Because the sight of our freedom hurts your adult feelings? No, kid, you're gonna have to hurts your adult feelings? No, kid, you're gonna have to move because -- no, kid, you're gonna have to move because -- [horn blares] Move because -- [horn blares] Gumball: when you're still [horn blares] Gumball: when you're still a kid, being sick is cool gumball: when you're still a kid, being sick is cool mom gives you hugs, and you a kid, being sick is cool mom gives you hugs, and you don't have to go to school mom gives you hugs, and you don't have to go to school stay at home, watch tv, don't have to go to school stay at home, watch tv, all day slackin' off stay at home, watch tv, all day slackin' off if someone checks on you, all day slackin' off if someone checks on you, just give 'em a little cough if someone checks on you, just give 'em a little cough dad: are you all right? Just give 'em a little cough dad: are you all right? Gumball: [coughs] Dad: are you all right? Gumball: [coughs] Dad: aww! Gumball: [coughs] Dad: aww! Gumball: [growls] Dad: aww! Gumball: [growls] It's not my fault if I behave gumball: [growls] It's not my fault if I behave like a dummy it's not my fault if I behave like a dummy I do a lot of stupid things like a dummy I do a lot of stupid things 'cause I find it funny I do a lot of stupid things 'cause I find it funny both: we don't need an 'cause I find it funny both: we don't need an excuse 'cause we got both: we don't need an excuse 'cause we got imagination excuse 'cause we got imagination we're using it right now imagination we're using it right now to escape the situation we're using it right now to escape the situation because when you're a kid, to escape the situation because when you're a kid, you dream of many things because when you're a kid, you dream of many things like being a ninja dentist you dream of many things like being a ninja dentist or a wizard cop with wings like being a ninja dentist or a wizard cop with wings we can fight a shark-bear- or a wizard cop with wings we can fight a shark-bear- gator with a sword made of we can fight a shark-bear- gator with a sword made of swords gator with a sword made of swords be the best at everything and swords be the best at everything and win awesomeness awards be the best at everything and win awesomeness awards see an underwater castle and win awesomeness awards see an underwater castle and a seahorse made of crystal see an underwater castle and a seahorse made of crystal saving mermaids from a seahorse made of crystal saving mermaids from sharkpeople using golden laser saving mermaids from sharkpeople using golden laser p*stol sharkpeople using golden laser p*stol plunder the universe in our p*stol plunder the universe in our pirate spaceship plunder the universe in our pirate spaceship go back in time to teach pirate spaceship go back in time to teach cavemen how to kickflip go back in time to teach cavemen how to kickflip don't need to worry about our cavemen how to kickflip don't need to worry about our future plans at college don't need to worry about our future plans at college superpowers, robot arms, future plans at college superpowers, robot arms, that's a substitute for superpowers, robot arms, that's a substitute for knowledge that's a substitute for knowledge gumball: it's okay for me knowledge gumball: it's okay for me to dream that I'm a cowboy from gumball: it's okay for me to dream that I'm a cowboy from the west to dream that I'm a cowboy from the west darwin: and for me to keep the west darwin: and for me to keep hopin' that there's still a darwin: and for me to keep hopin' that there's still a chance to grow a chest hopin' that there's still a chance to grow a chest [both inhale deeply] Chance to grow a chest [both inhale deeply] Both: we enjoy it while we [both inhale deeply] Both: we enjoy it while we can both: we enjoy it while we can we enjoy it while we're kids can we enjoy it while we're kids we enjoy it while there's we enjoy it while we're kids we enjoy it while there's still time to make the most of we enjoy it while there's still time to make the most of it still time to make the most of it gumball: [clears throat] It gumball: [clears throat] Come on. Let's try it again. Gumball: [clears throat] Come on. Let's try it again. [Inhales deeply] Come on. Let's try it again. [Inhales deeply] Both: we enjoy it while we [inhales deeply] Both: we enjoy it while we can both: we enjoy it while we can we enjoy it while we're kids can we enjoy it while we're kids we enjoy it while there's we enjoy it while we're kids we enjoy it while there's still time to make the most of we enjoy it while there's still time to make the most of it still time to make the most of it [british accent] Mother, it [british accent] Mother, what are those two short men [british accent] Mother, what are those two short men doing? What are those two short men doing? I believe they're pretending doing? I believe they're pretending to still be young and cool, I believe they're pretending to still be young and cool, dear. To still be young and cool, dear. Both: aw. Dear. Both: aw. [Clatter] Both: aw. [Clatter] [Clatter] [Clatter] [Clatter] [Whap! ] [Clatter] [Whap! ] Gumball: [sobbing] [Whap! ] Gumball: [sobbing] Darwin: [deep voice] It's gumball: [sobbing] Darwin: [deep voice] It's over, dude. Darwin: [deep voice] It's over, dude. If my voice went any lower, it over, dude. If my voice went any lower, it would be on the ground. If my voice went any lower, it would be on the ground. We're not kids anymore. Would be on the ground. We're not kids anymore. Gumball: maybe it's for the we're not kids anymore. Gumball: maybe it's for the better gumball: maybe it's for the better no one wants to stay a child better no one wants to stay a child forever no one wants to stay a child forever darwin: remember the forever darwin: remember the wonderful times we've had darwin: remember the wonderful times we've had those happy thoughts wonderful times we've had those happy thoughts now make me sad those happy thoughts now make me sad both: they say it's not now make me sad both: they say it's not bad, it's just a new start both: they say it's not bad, it's just a new start so why do I have this pain bad, it's just a new start so why do I have this pain in my heart? So why do I have this pain in my heart? Our childhood memories in my heart? Our childhood memories are getting hazy our childhood memories are getting hazy but soon we can drive, go to are getting hazy but soon we can drive, go to college, and we both go but soon we can drive, go to college, and we both go crazy-y-y-y-y-y-y-y-y-y college, and we both go crazy-y-y-y-y-y-y-y-y-y gumball: [high-pitched] Crazy-y-y-y-y-y-y-y-y-y gumball: [high-pitched] What was that? Gumball: [high-pitched] What was that? [Gasps] What was that? [Gasps] Dude, what's going on? [Gasps] Dude, what's going on? I sound even younger than dude, what's going on? I sound even younger than before. I sound even younger than before. Darwin: [high-pitched] Before. Darwin: [high-pitched] That's it! Darwin: [high-pitched] That's it! That means we're in the 1% of that's it! That means we're in the 1% of people who never grow old. That means we're in the 1% of people who never grow old. Both: yay! People who never grow old. Both: yay! Gumball: we'll be kids both: yay! Gumball: we'll be kids forever! Gumball: we'll be kids forever! Darwin: we got what we forever! Darwin: we got what we wanted! Darwin: we got what we wanted! Gumball: we're stuck in these wanted! Gumball: we're stuck in these bodies for the rest of our gumball: we're stuck in these bodies for the rest of our lives! Bodies for the rest of our lives! [Both laugh] Both: [weakly] Yay. Gumball: hurry up! We're running out of time! Darwin: that gate was we're running out of time! Darwin: that gate was unlocked. Darwin: that gate was unlocked. Gumball: I don't care! Unlocked. Gumball: I don't care! We only have two minutes to get gumball: I don't care! We only have two minutes to get there! We only have two minutes to get there! Darwin: you do know there's a there! Darwin: you do know there's a sidewalk, right? Darwin: you do know there's a sidewalk, right? Gumball: no time to explain! Sidewalk, right? Gumball: no time to explain! We have to keep moving! Gumball: no time to explain! We have to keep moving! [Alarm blares] Darwin: was that really necessary? Gumball: no time to worry necessary? Gumball: no time to worry about collateral damage! Gumball: no time to worry about collateral damage! Darwin: I'm pretty sure that about collateral damage! Darwin: I'm pretty sure that was just damage damage. Darwin: I'm pretty sure that was just damage damage. Hey, guys. I just wanted -- was just damage damage. Hey, guys. I just wanted -- darwin: sorry, we don't have hey, guys. I just wanted -- darwin: sorry, we don't have time right now. Darwin: sorry, we don't have time right now. Hi, guys. Time right now. Hi, guys. Darwin: sorry, no time. Hi, guys. Darwin: sorry, no time. Hey, guys. Darwin: sorry, no time. Hey, guys. Hi, guys. Hi, guys. Hey, guys. Hi, guys. Hi, guys. Darwin: all right, go for it. Hi, guys. Hi, guys. Darwin: all right, go for it. Oh, hi, guys. Darwin: all right, go for it. Oh, hi, guys. [Boing! ] Oh, hi, guys. [Boing! ] Aah! [Boing! ] Aah! Darwin: sorry. Aah! Darwin: sorry. [Dog growling, barking] Darwin: sorry. [Dog growling, barking] Hi, guys. [Dog growling, barking] Hi, guys. Darwin: just go home, okay? Hi, guys. Darwin: just go home, okay? I just wanted -- darwin: just go home, okay? I just wanted -- oh, hi, guys. I just wanted -- oh, hi, guys. Hey, guys. Oh, hi, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hi, guys, I just wanted to hey, guys. Hi, guys, I just wanted to gumball: we don't have the hi, guys, I just wanted to gumball: we don't have the time! Gumball: we don't have the time! Hey, guys. Time! Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. Hey, guys. [Screech! ] Hey, guys. [Screech! ] Oh, hey, guys. [Screech! ] Oh, hey, guys. Both: ugh! What? ! Oh, hey, guys. Both: ugh! What? ! [Inhales deeply] Both: ugh! What? ! [Inhales deeply] I just wanted to say it's "ice" [inhales deeply] I just wanted to say it's "ice" to see you! I just wanted to say it's "ice" to see you! [Laughter] To see you! [Laughter] Darwin: look, sarah, we don't [laughter] Darwin: look, sarah, we don't have time for this. Darwin: look, sarah, we don't have time for this. Gumball: yeah, we have to have time for this. Gumball: yeah, we have to why are we running again? Gumball: yeah, we have to why are we running again? [expl*si*n] Why are we running again? [expl*si*n] [School bell rings] [expl*si*n] [School bell rings] The whole rainbow factory [school bell rings] The whole rainbow factory destroyed! The whole rainbow factory destroyed! And we could've saved it! Destroyed! And we could've saved it! Darwin: yeah, but we could've and we could've saved it! Darwin: yeah, but we could've not caused it, too. Darwin: yeah, but we could've not caused it, too. Gumball: the water supply not caused it, too. Gumball: the water supply contaminated for centuries! Gumball: the water supply contaminated for centuries! They say our kids will look even contaminated for centuries! They say our kids will look even weirder than we do. They say our kids will look even weirder than we do. Hey, guys. Weirder than we do. Hey, guys. Both: ugh. Hey, guys. Both: ugh. Well, I guess the moral of both: ugh. Well, I guess the moral of this story is, all's well that well, I guess the moral of this story is, all's well that end's well. This story is, all's well that end's well. [Laughs] End's well. [Laughs] [Jingle plays] [Laughs] [Jingle plays] Gumball: sarah! [Jingle plays] Gumball: sarah! This did not end well for gumball: sarah! This did not end well for anyone! This did not end well for anyone! It'll take like three weeks to anyone! It'll take like three weeks to rebuild it! It'll take like three weeks to rebuild it! Yeah. Rebuild it! Yeah. Well, then I guess you could yeah. Well, then I guess you could say, "the grass is always well, then I guess you could say, "the grass is always greener on the other side of the say, "the grass is always greener on the other side of the fence. " Greener on the other side of the fence. " [Laughs] [Jingle plays] Gumball: sarah! Gumball: sarah! All the grass is on f*re, and so is the gosh-darn fence! All the grass is on f*re, and so is the gosh-darn fence! [Laughter] Is the gosh-darn fence! [Laughter] Okay, what is that? [Laughter] Okay, what is that? Who's laughing? Okay, what is that? Who's laughing? [Button clicks] Who's laughing? [Button clicks] [Whoosh! ] [Button clicks] [Whoosh! ] [Cartoon music plays] Mmm. [Slurps] [Pop! ] [Slurps] [Pop! ] Ahh! [Pop! ] Ahh! Don't you hate it when people ahh! Don't you hate it when people eat noisily? Don't you hate it when people eat noisily? 'Cause I do. Eat noisily? 'Cause I do. I'm so like you in that way. 'Cause I do. I'm so like you in that way. Hey, we should totally go on an I'm so like you in that way. Hey, we should totally go on an adventure where we like tell hey, we should totally go on an adventure where we like tell people off for their bad habits, adventure where we like tell people off for their bad habits, but learn that everyone should people off for their bad habits, but learn that everyone should be themselves, and then we hug. But learn that everyone should be themselves, and then we hug. Hey, me and my bffs gumball and be themselves, and then we hug. Hey, me and my bffs gumball and darwin think that maybe you hey, me and my bffs gumball and darwin think that maybe you should stop mouth-breathing. Darwin think that maybe you should stop mouth-breathing. It's not very dignified, and should stop mouth-breathing. It's not very dignified, and it's making the cafeteria moist, it's not very dignified, and it's making the cafeteria moist, but we forgive you, because it's it's making the cafeteria moist, but we forgive you, because it's important for you to be you. But we forgive you, because it's important for you to be you. [Roars] Important for you to be you. [Roars] Darwin: how about we just [roars] Darwin: how about we just have lunch? Darwin: how about we just have lunch? [Creak! ] Have lunch? [Creak! ] Yeah, sure. No problem. [Creak! ] Yeah, sure. No problem. Can I sit here yeah, sure. No problem. Can I sit here at your table? Can I sit here at your table? Gumball: yeah, whatever. At your table? Gumball: yeah, whatever. [Sighs deeply] So, now that we sit together at lunch, I guess we need to work out our dynamic. Lunch, I guess we need to work out our dynamic. Darwin: wha out our dynamic. Darwin: wha yeah, since I'm in school to darwin: wha yeah, since I'm in school to be near you guys, I haven't yeah, since I'm in school to be near you guys, I haven't figured out where I fit in here. Be near you guys, I haven't figured out where I fit in here. 'Cause am I like the kooky one? Figured out where I fit in here. 'Cause am I like the kooky one? Gumball: pbht! 'Cause am I like the kooky one? Gumball: pbht! Kooky, kooky, kooky, kooky, gumball: pbht! Kooky, kooky, kooky, kooky, kooky, kooky, kooky, koo kooky, kooky, kooky, kooky, kooky, kooky, kooky, koo no? Kooky, kooky, kooky, koo no? Okay, so, maybe I'm like the no? Okay, so, maybe I'm like the nerdy, insecure one, but then I okay, so, maybe I'm like the nerdy, insecure one, but then I take my glasses off, and I'm nerdy, insecure one, but then I take my glasses off, and I'm like super-cute. Take my glasses off, and I'm like super-cute. [Splosh! ] Like super-cute. [Splosh! ] [Muffled] No? [Splosh! ] [Muffled] No? Or maybe I'm just the girl next [muffled] No? Or maybe I'm just the girl next door who's always been there for or maybe I'm just the girl next door who's always been there for you, but you're too foolish to door who's always been there for you, but you're too foolish to realize is perfect for you. You, but you're too foolish to realize is perfect for you. Darwin: but you don't live realize is perfect for you. Darwin: but you don't live next door. Darwin: but you don't live next door. I can move. Next door. I can move. But of course I couldn't do that I can move. But of course I couldn't do that because then you'd both have to but of course I couldn't do that because then you'd both have to fight over me. Because then you'd both have to fight over me. [Creak! ] Fight over me. [Creak! ] Gumball: well, at the moment, [creak! ] Gumball: well, at the moment, you're more like the insanely gumball: well, at the moment, you're more like the insanely obsessive one. You're more like the insanely obsessive one. The insanely obsessive one! Obsessive one. The insanely obsessive one! I can totally do that! The insanely obsessive one! I can totally do that! Gumball: no, no, no, I didn't I can totally do that! Gumball: no, no, no, I didn't mean I wanted you to! Gumball: no, no, no, I didn't mean I wanted you to! And I'll be really creepy, mean I wanted you to! And I'll be really creepy, and you'll be really scared, but and I'll be really creepy, and you'll be really scared, but in your final moments, you'll and you'll be really scared, but in your final moments, you'll realize that we're meant to be. In your final moments, you'll realize that we're meant to be. Gumball: my final moments? Realize that we're meant to be. Gumball: my final moments? What does that mean? Gumball: my final moments? What does that mean? I'm not sure I'm comfortable what does that mean? I'm not sure I'm comfortable with you following us. I'm not sure I'm comfortable with you following us. Don't worry. With you following us. Don't worry. You'll never see me. Don't worry. You'll never see me. Best friends, best friends. You'll never see me. Best friends, best friends. [Tape whirs, button clicks] Best friends, best friends, best friends, best friends, best best friends, best friends, best [upbeat music plays] Best [upbeat music plays] For a very long time, [upbeat music plays] For a very long time, I've watched you from afar for a very long time, I've watched you from afar hunched in your closet I've watched you from afar hunched in your closet or strapped beneath your car hunched in your closet or strapped beneath your car I treasured all the stories or strapped beneath your car I treasured all the stories the three of us share I treasured all the stories the three of us share wherever you are, the three of us share wherever you are, I'll always be there wherever you are, I'll always be there when you were alone, I'll always be there when you were alone, I was there, too when you were alone, I was there, too behind the shower curtain, I was there, too behind the shower curtain, and you never knew behind the shower curtain, and you never knew I dressed in your clothes and you never knew I dressed in your clothes and breathed in your air I dressed in your clothes and breathed in your air I watched you both sleep and breathed in your air I watched you both sleep and nuzzled your hair I watched you both sleep and nuzzled your hair it helps that your bedroom has and nuzzled your hair it helps that your bedroom has places to hide it helps that your bedroom has places to hide and the windows don't lock, places to hide and the windows don't lock, so I can get inside and the windows don't lock, so I can get inside I've waited so long so I can get inside I've waited so long to be a part of your life I've waited so long to be a part of your life and one day, one of you to be a part of your life and one day, one of you will call me his wife and one day, one of you will call me his wife [breathing deeply] [Button clicks] [Both shouting indistinctly] Gumball: I think we need to have a reasonable conversation with this young lady. Have a reasonable conversation with this young lady. Darwin: where is she? With this young lady. Darwin: where is she? We've been looking for two hours darwin: where is she? We've been looking for two hours now. We've been looking for two hours now. Ohhhhhh. Oh, man. Not good. Now. Ohhhhhh. Oh, man. Not good. Gumball: you okay, mr. Small? Ohhhhhh. Oh, man. Not good. Gumball: you okay, mr. Small? Why are you looking at that gumball: you okay, mr. Small? Why are you looking at that painting like that? Why are you looking at that painting like that? Ah! Thank mother earth. Painting like that? Ah! Thank mother earth. You can see it, too. [Ominous music plays] Aah! Did you see that? Darwin: see what? Aah! Did you see that? Darwin: see what? [Ominous music plays] Darwin: see what? [Ominous music plays] Aah! [Ominous music plays] Aah! Aah! Aah! Aah! Both: aah! Aah! Both: aah! [Laughs wheezily] Both: aah! [Laughs wheezily] Gumball: sarah! Wait! [Laughs wheezily] Gumball: sarah! Wait! [Breathing deeply] Gumball: sarah! Wait! [Breathing deeply] [Screech! ] [Breathing deeply] [Screech! ] Oh. [Gasps] [Screech! ] Oh. [Gasps] [Squeals] Oh. [Gasps] [Squeals] [Both breathing heavily] [Squeals] [Both breathing heavily] [Gasps] [Both breathing heavily] [Gasps] Gumball: sarah, listen. [Gasps] Gumball: sarah, listen. I know what you're gonna say. Gumball: sarah, listen. I know what you're gonna say. I'm sorry about the hair. I know what you're gonna say. I'm sorry about the hair. Gumball: wha-- what? I'm sorry about the hair. Gumball: wha-- what? What hair? Gumball: wha-- what? What hair? Is there something wrong with my what hair? Is there something wrong with my hair? Is there something wrong with my hair? No. Hair? No. Gumball: sarah, this whole no. Gumball: sarah, this whole thing isn't really working out. Gumball: sarah, this whole thing isn't really working out. Darwin: yeah, it's not you. Thing isn't really working out. Darwin: yeah, it's not you. It's us. Darwin: yeah, it's not you. It's us. Gumball: by which we mean it's us. Gumball: by which we mean it's you. Gumball: by which we mean it's you. Wait. It's you. Wait. Don't you want to see what's wait. Don't you want to see what's inside my locker? Don't you want to see what's inside my locker? Gumball: is this another one inside my locker? Gumball: is this another one of your tricks? Gumball: is this another one of your tricks? Why would we want to see inside of your tricks? Why would we want to see inside your locker? Why would we want to see inside your locker? Because this is the part of your locker? Because this is the part of the story where you realize because this is the part of the story where you realize maybe I do all this the story where you realize maybe I do all this b-because I'm lonely. Maybe I do all this b-because I'm lonely. Gumball: no, sarah, this is b-because I'm lonely. Gumball: no, sarah, this is the part of the story where you gumball: no, sarah, this is the part of the story where you realize there is no story and the part of the story where you realize there is no story and you leave us alone. Realize there is no story and you leave us alone. Oh. You leave us alone. Oh. [Chuckling] Yeah, sure. Darwin: dude, look at this. "The first people who spoke to me at elmore junior high. " "The first people who spoke to me at elmore junior high. " And this -- "the coolest kids in me at elmore junior high. " And this -- "the coolest kids in school, gumball and darwin, the and this -- "the coolest kids in school, gumball and darwin, the only people who really know me. " School, gumball and darwin, the only people who really know me. " Are you thinking what I'm only people who really know me. " Are you thinking what I'm thinking? Are you thinking what I'm thinking? Gumball: I know. Right. Thinking? Gumball: I know. Right. I'm definitely taller than you! Gumball: I know. Right. I'm definitely taller than you! And if my eyes were that close I'm definitely taller than you! And if my eyes were that close together, I'd be a cyclops! And if my eyes were that close together, I'd be a cyclops! Darwin: no! Together, I'd be a cyclops! Darwin: no! She really cares about us, and darwin: no! She really cares about us, and we just pushed her away. She really cares about us, and we just pushed her away. Look at this. We just pushed her away. Look at this. Gumball: "the amazing look at this. Gumball: "the amazing adventures of gumball, darwin, gumball: "the amazing adventures of gumball, darwin, and sarah. " Adventures of gumball, darwin, and sarah. " Aw, man. And sarah. " Aw, man. All she ever wanted was to be aw, man. All she ever wanted was to be included. All she ever wanted was to be included. Darwin: this -- this is included. Darwin: this -- this is today. Darwin: this -- this is today. This is at lunchtime. Today. This is at lunchtime. Gumball: oh, yeah. This is at lunchtime. Gumball: oh, yeah. [Scoffs] Look at that hand. Gumball: oh, yeah. [Scoffs] Look at that hand. It's like a big thumb. [Scoffs] Look at that hand. It's like a big thumb. Darwin: well, hands are it's like a big thumb. Darwin: well, hands are difficult to draw. Darwin: well, hands are difficult to draw. Here's us watching the video, difficult to draw. Here's us watching the video, and here's sarah walking off here's us watching the video, and here's sarah walking off just a second ago. And here's sarah walking off just a second ago. I wonder what happens next. Just a second ago. I wonder what happens next. Gumball: hmm, well, whatever I wonder what happens next. Gumball: hmm, well, whatever it is, hope she goes to art gumball: hmm, well, whatever it is, hope she goes to art school. It is, hope she goes to art school. Darwin: no, you say, "we're school. Darwin: no, you say, "we're her only friends. Darwin: no, you say, "we're her only friends. We have to do whatever it takes her only friends. We have to do whatever it takes to make her happy. " We have to do whatever it takes to make her happy. " Gumball: we're her only to make her happy. " Gumball: we're her only friends! Gumball: we're her only friends! We have to do whatever it takes friends! We have to do whatever it takes to make her happy! We have to do whatever it takes to make her happy! [Both gasp] To make her happy! [Both gasp] Right. How do we do it? [Both gasp] Right. How do we do it? Darwin: it's all right here. Right. How do we do it? Darwin: it's all right here. [Dramatic music plays] Darwin: it's all right here. [Dramatic music plays] Gumball: sarah! [Dramatic music plays] Gumball: sarah! You shall not be alone! Gumball: sarah! You shall not be alone! It's all right, guys. You shall not be alone! It's all right, guys. You don't have to do this. It's all right, guys. You don't have to do this. Gumball: yes, I do, sarah! You don't have to do this. Gumball: yes, I do, sarah! I have been touched by the gumball: yes, I do, sarah! I have been touched by the beauty of your art, and now I have been touched by the beauty of your art, and now I think I love you. Beauty of your art, and now I think I love you. Darwin: no, you cannot love I think I love you. Darwin: no, you cannot love her, for I love her more! Darwin: no, you cannot love her, for I love her more! She's beautiful and yellow and her, for I love her more! She's beautiful and yellow and runny! She's beautiful and yellow and runny! [Paper rustles] Runny! [Paper rustles] And funny! [Paper rustles] And funny! [Sighs] Forget it, guys. And funny! [Sighs] Forget it, guys. Gumball: aw, come on. [Sighs] Forget it, guys. Gumball: aw, come on. Darwin: come on. Gumball: aw, come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Gumball: come on. Darwin: come on. Both: come on. Come on. Darwin: come on. Both: come on. Come on. Come on, come on, come on, come both: come on. Come on. Come on, come on, come on, come on, come on, come on, come on. Come on, come on, come on, come on, come on, come on, come on. No! On, come on, come on, come on. No! Please don't fight over me! No! Please don't fight over me! Gumball: there's no other please don't fight over me! Gumball: there's no other way! Gumball: there's no other way! You are too beautiful to be way! You are too beautiful to be shared! You are too beautiful to be shared! Oh, hey. Shared! Oh, hey. [Battle music plays] Oh, hey. [Battle music plays] [Both sigh] [Battle music plays] [Both sigh] [Both sigh] [Both sigh] [Both sigh] Uh, guys, what are you doing? [Both sigh] Uh, guys, what are you doing? Gumball: I don't know. Uh, guys, what are you doing? Gumball: I don't know. It's the dance thing you drew. Gumball: I don't know. It's the dance thing you drew. That's fighting. It's the dance thing you drew. That's fighting. Both: ohhhh. That's fighting. Both: ohhhh. [Both shouting] Both: ohhhh. [Both shouting] Darwin: you only love her [both shouting] Darwin: you only love her because she's beautiful! Darwin: you only love her because she's beautiful! I love her because her because she's beautiful! I love her because her shines like diamonds! I love her because her shines like diamonds! Hyah! Shines like diamonds! Hyah! Gumball: [babbles] Hyah! Gumball: [babbles] Hyah! Gumball: [babbles] Hyah! Darwin: aah! Hyah! Darwin: aah! What are you doing? Darwin: aah! What are you doing? Gumball: oh, what now? What are you doing? Gumball: oh, what now? It says, "they snuggle for gumball: oh, what now? It says, "they snuggle for awhile. " It says, "they snuggle for awhile. " No, it says, "they struggle awhile. " No, it says, "they struggle for awhile. " No, it says, "they struggle for awhile. " Gumball: well, it's not my for awhile. " Gumball: well, it's not my fault that your girly writing's gumball: well, it's not my fault that your girly writing's so curly. Fault that your girly writing's so curly. Darwin: dude, this is the so curly. Darwin: dude, this is the part where you rip your shirt. Darwin: dude, this is the part where you rip your shirt. Gumball: what? Part where you rip your shirt. Gumball: what? Darwin: it's right here. Gumball: what? Darwin: it's right here. Gumball: [sighs] Really? Darwin: it's right here. Gumball: [sighs] Really? Oh, yeah. It's right there. Gumball: [sighs] Really? Oh, yeah. It's right there. Darwin: let her go, or prove oh, yeah. It's right there. Darwin: let her go, or prove that you understand true love! Darwin: let her go, or prove that you understand true love! Gumball: my beating heart is that you understand true love! Gumball: my beating heart is the only proof I need! Gumball: my beating heart is the only proof I need! [Grunts] [Sighs] [Grunts] [Roars] [Grunts] [Roars] Darwin: eh, it'll have to do. [Roars] Darwin: eh, it'll have to do. Now do your line. Darwin: eh, it'll have to do. Now do your line. Gumball: you don't know how now do your line. Gumball: you don't know how long I've waited for you! Gumball: you don't know how long I've waited for you! I don't know which path to long I've waited for you! I don't know which path to choose! I don't know which path to choose! Gumball: it's so real. Choose! Gumball: it's so real. I can feel it. Gumball: it's so real. I can feel it. Darwin: what. Oh. I can feel it. Darwin: what. Oh. No! ! Darwin: what. Oh. No! ! Gumball: what happens next? No! ! Gumball: what happens next? We have to jump? Gumball: what happens next? We have to jump? Darwin: yeah, we're doing we have to jump? Darwin: yeah, we're doing this for sarah in the name of darwin: yeah, we're doing this for sarah in the name of friendship. This for sarah in the name of friendship. Gumball: and pity. Friendship. Gumball: and pity. Darwin: yeah, that too. Gumball: and pity. Darwin: yeah, that too. [Both shouting] Darwin: yeah, that too. [Both shouting] Both: I don't think so. [Both shouting] Both: I don't think so. [Both shouting] Darwin: this is much safer. [Both shouting] Stop! [Both shouting] Stop! Don't hurt yourselves for me! Stop! Don't hurt yourselves for me! Gumball: [sighs] You okay? Don't hurt yourselves for me! Gumball: [sighs] You okay? Darwin: yeah, I scratched my gumball: [sighs] You okay? Darwin: yeah, I scratched my knee, but I'm okay. Darwin: yeah, I scratched my knee, but I'm okay. Gumball: good. Knee, but I'm okay. Gumball: good. You have to choose between us! Gumball: good. You have to choose between us! I can't! I love you both! You have to choose between us! I can't! I love you both! Gumball: then one of us must I can't! I love you both! Gumball: then one of us must go! Gumball: then one of us must go! Hold on. Go! Hold on. I got a track for this. Hold on. I got a track for this. Gumball: goodbye, my brother. I got a track for this. Gumball: goodbye, my brother. I'm sorry it had to end this gumball: goodbye, my brother. I'm sorry it had to end this way. I'm sorry it had to end this way. Darwin: it's not the end, way. Darwin: it's not the end, because my love will live on darwin: it's not the end, because my love will live on forever! Because my love will live on forever! Gumball: goodbye! Forever! Gumball: goodbye! Okay, you're supposed to gumball: goodbye! Okay, you're supposed to intervene here. Okay, you're supposed to intervene here. I can't! The tape is stuck! Intervene here. I can't! The tape is stuck! The music won't stop! I can't! The tape is stuck! The music won't stop! Darwin: what? ! The music won't stop! Darwin: what? ! What do we do then? ! Darwin: what? ! What do we do then? ! Just keep going. What do we do then? ! Just keep going. I'll be a sec. Just keep going. I'll be a sec. Gumball: are you kidding me? ! I'll be a sec. Gumball: are you kidding me? ! Do something! Gumball: are you kidding me? ! Do something! Just do something! Just almost got it. Just almost got it. Darwin: [grunting] Almost got it. Darwin: [grunting] [Whoosh! Whoosh! ] Darwin: [grunting] [Whoosh! Whoosh! ] [Clatters] [Whoosh! Whoosh! ] [Clatters] Stop! [Clatters] Stop! I can't bear to see you destroy stop! I can't bear to see you destroy each other! I can't bear to see you destroy each other! Gumball: [muffled] Okay, so each other! Gumball: [muffled] Okay, so what happens next? Gumball: [muffled] Okay, so what happens next? Darwin: eh, we agree that you what happens next? Darwin: eh, we agree that you get her monday through thursday darwin: eh, we agree that you get her monday through thursday and I get her friday and the get her monday through thursday and I get her friday and the weekends and we live happily and I get her friday and the weekends and we live happily ever after. Weekends and we live happily ever after. Gumball: I think I have a ever after. Gumball: I think I have a better idea. Gumball: I think I have a better idea. [Whir! ] Better idea. [Whir! ] [Breathes deeply] [Whir!] [Breathes deeply] [Humming theme song] [Breathes deeply] [Humming theme song] Darwin: what? [Humming theme song] Darwin: what? Gumball: what is that? Darwin: what? Gumball: what is that? What are you doing?

{"type": "series", "show": "The Amazing World of Gumball", "episode": "03x01 & 03x02 - The Kids; The Fan"}

foreverdreaming

[Upbeat music plays] [Alarm beeps, upbeat music plays] Gumball: ughhhhhhh. Upbeat music plays] Gumball: ughhhhhhh. Darwin: problem, buddy? Gumball: ughhhhhhh. Darwin: problem, buddy? Gumball: I really like this darwin: problem, buddy? Gumball: I really like this song, but I want to sleep some gumball: I really like this song, but I want to sleep some more. Song, but I want to sleep some more. Darwin: [giggles] More. Darwin: [giggles] Okay. I'll turn it off, then. Darwin: [giggles] Okay. I'll turn it off, then. [Music stops] Okay. I'll turn it off, then. [Music stops] Gumball: ugh! [Music stops] Gumball: ugh! But I really like that song. Gumball: ugh! But I really like that song. Darwin: ha! Oh, no problem. But I really like that song. Darwin: ha! Oh, no problem. [Music resumes] Darwin: ha! Oh, no problem. [Music resumes] Gumball: ughhhhhhh! [Music resumes] Gumball: ughhhhhhh! But I want to sleep some more. Gumball: ughhhhhhh! But I want to sleep some more. Darwin: [laughs] But I want to sleep some more. Darwin: [laughs] Let's just have breakfast. Darwin: [laughs] Let's just have breakfast. Gumball: ugh! Ugh! Ugh! Let's just have breakfast. Gumball: ugh! Ugh! Ugh! Ughhhhh! Gumball: ugh! Ugh! Ugh! Ughhhhh! There's too much food in the ughhhhh! There's too much food in the fridge, and the milk is at the there's too much food in the fridge, and the milk is at the back! Fridge, and the milk is at the back! But the back is cold. Back! But the back is cold. [Suspenseful music plays] But the back is cold. [Suspenseful music plays] Dad: breakfast! [Suspenseful music plays] Dad: breakfast! Darwin: [laughs] It's okay. Dad: breakfast! Darwin: [laughs] It's okay. Dad made us breakfast! Darwin: [laughs] It's okay. Dad made us breakfast! Gumball: ugh! Dad made us breakfast! Gumball: ugh! He uses sausage for the eyebrows gumball: ugh! He uses sausage for the eyebrows instead of the mouth, so my he uses sausage for the eyebrows instead of the mouth, so my breakfast face looks mildly instead of the mouth, so my breakfast face looks mildly alarmed instead of smiling. Breakfast face looks mildly alarmed instead of smiling. Anais: okay. Alarmed instead of smiling. Anais: okay. Can we stop with the bad vibes, anais: okay. Can we stop with the bad vibes, please? Can we stop with the bad vibes, please? You're turning my milk sour. Please? You're turning my milk sour. Gumball: ugh! You don't you're turning my milk sour. Gumball: ugh! You don't understand my pain, so don't gumball: ugh! You don't understand my pain, so don't judge my life, okay? Understand my pain, so don't judge my life, okay? Darwin: [laughs] Judge my life, okay? Darwin: [laughs] Let's just watch some tv. Darwin: [laughs] Let's just watch some tv. Gumball: ughhhh! Let's just watch some tv. Gumball: ughhhh! The remote is too far from the gumball: ughhhh! The remote is too far from the couch! The remote is too far from the couch! Darwin: no problem! Couch! Darwin: no problem! I'll get it! Darwin: no problem! I'll get it! Dad: gumball looks sad today. I'll get it! Dad: gumball looks sad today. What should we do? Dad: gumball looks sad today. What should we do? Anais: I know! What should we do? Anais: I know! We should go and buy this poor, anais: I know! We should go and buy this poor, privileged kid an incredible we should go and buy this poor, privileged kid an incredible surprise present so he can have privileged kid an incredible surprise present so he can have something new to gripe about. Surprise present so he can have something new to gripe about. Dad: okay! Something new to gripe about. Dad: okay! Anais: really? Dad: okay! Anais: really? Is everyone in this family anais: really? Is everyone in this family immune to sarcasm? Is everyone in this family immune to sarcasm? Gumball: ughhhh! Immune to sarcasm? Gumball: ughhhh! I love this game, but I don't gumball: ughhhh! I love this game, but I don't have the patience to get into I love this game, but I don't have the patience to get into the story. Have the patience to get into the story. [Beeping] The story. [Beeping] Ughhhh! [Beeping] Ughhhh! I pressed a time too many! Ughhhh! I pressed a time too many! Now we have to go through that I pressed a time too many! Now we have to go through that whole dialogue again. Now we have to go through that whole dialogue again. Darwin: ehhhhh whole dialogue again. Darwin: ehhhhh [roars] Darwin: ehhhhh [roars] [Demonic voice] You happy now? [Roars] [Demonic voice] You happy now? You put me in a bad mood, too! [Demonic voice] You happy now? You put me in a bad mood, too! Gumball: ughhh! You put me in a bad mood, too! Gumball: ughhh! You're setting the couch on gumball: ughhh! You're setting the couch on f*re! You're setting the couch on f*re! Darwin: [normal voice] Ugh! f*re! Darwin: [normal voice] Ugh! You're so annoying! Darwin: [normal voice] Ugh! You're so annoying! Gumball: ughh! You're so annoying! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Gumball: ughh! Darwin: ughh! Both: ughh! Darwin: ughh! Both: ughh! Gumball: come on. Both: ughh! Gumball: come on. Let's get out of here. Gumball: come on. Let's get out of here. I've run out of things to moan let's get out of here. I've run out of things to moan about. I've run out of things to moan about. Ughh! Dude, your new sneakers about. Ughh! Dude, your new sneakers are too bright. Ughh! Dude, your new sneakers are too bright. They're burning my retinas! Are too bright. They're burning my retinas! Darwin: dude, you're making they're burning my retinas! Darwin: dude, you're making me foot-conscious. Darwin: dude, you're making me foot-conscious. Come on. Help me dirty them up. Me foot-conscious. Come on. Help me dirty them up. Dirtier. Come on. Help me dirty them up. Dirtier. A little more. Dirtier. A little more. A little more. A little more. A little more. Ughhhh! Too dirty. A little more. Ughhhh! Too dirty. Ugh! Ugh! Ughhhh! Too dirty. Ugh! Ugh! Thanks a lot. Ugh! Ugh! Thanks a lot. Now I'm naked! Thanks a lot. Now I'm naked! Gumball: ohh! Now I'm naked! Gumball: ohh! You're so moany. Gumball: ohh! You're so moany. Just wear these. You're so moany. Just wear these. Darwin: aah-ohh! Just wear these. Darwin: aah-ohh! Now I look like I got my feet darwin: aah-ohh! Now I look like I got my feet from a grocery store. Now I look like I got my feet from a grocery store. Gumball: now I feel from a grocery store. Gumball: now I feel overdressed next to you. Gumball: now I feel overdressed next to you. That was my favorite sweater. Overdressed next to you. That was my favorite sweater. Both: ughhhh! That was my favorite sweater. Both: ughhhh! Guys, are you okay? Both: ughhhh! Guys, are you okay? You look really, uh, waterproof. Guys, are you okay? You look really, uh, waterproof. Gumball: ughh! You look really, uh, waterproof. Gumball: ughh! Life is horrible, man. Gumball: ughh! Life is horrible, man. What's wrong? Life is horrible, man. What's wrong? Gumball: what is not wrong? ! What's wrong? Gumball: what is not wrong? ! I'm starving. I'm wearing rags. Gumball: what is not wrong? ! I'm starving. I'm wearing rags. I'm -- I'm starving. I'm wearing rags. I'm -- shh! Shh! I'm -- shh! Shh! Say no more. Shh! Shh! Say no more. I can see the pain in your eyes. Say no more. I can see the pain in your eyes. These children need he-e-e-e-lp! I can see the pain in your eyes. These children need he-e-e-e-lp! Oh, my gosh! These children need he-e-e-e-lp! Oh, my gosh! Huh? Oh, my gosh! Huh? They might need this, huh? They might need this, as well. They might need this, as well. And this. As well. And this. Please take this. And this. Please take this. And these. Please take this. And these. And this. And these. And this. Oh! And this. Oh! And this. Oh! And this. Gumball: I'm pretty sure and this. Gumball: I'm pretty sure you're gonna need that kidney. Gumball: I'm pretty sure you're gonna need that kidney. Maybe. You're gonna need that kidney. Maybe. Aw, I always knew you guys maybe. Aw, I always knew you guys had problems, but I never aw, I always knew you guys had problems, but I never realized how bad it was. Had problems, but I never realized how bad it was. Gumball: [stomach growling] Realized how bad it was. Gumball: [stomach growling] Have you eaten today, son? Gumball: [stomach growling] Have you eaten today, son? Gumball: no, I haven't, but have you eaten today, son? Gumball: no, I haven't, but it's because -- gumball: no, I haven't, but it's because -- eat! It's because -- eat! Gumball: oh-ho-ho! Eat! Gumball: oh-ho-ho! [Flies buzzing] Gumball: oh-ho-ho! [Flies buzzing] [Laughs nervously] [Flies buzzing] [Laughs nervously] I think there's a [laughs nervously] I think there's a misunderstanding here. I think there's a misunderstanding here. Pride is important, but misunderstanding here. Pride is important, but sometimes you have to accept the pride is important, but sometimes you have to accept the help of others. Sometimes you have to accept the help of others. Gumball: heh. No, sir. Help of others. Gumball: heh. No, sir. You don't understand. Gumball: heh. No, sir. You don't understand. Swallow your pride and eat! You don't understand. Swallow your pride and eat! Gumball: aah! Okay. Okay. Swallow your pride and eat! Gumball: aah! Okay. Okay. [Buzzing continues] Gumball: aah! Okay. Okay. [Buzzing continues] [Crunch! Pop! ] [Buzzing continues] [Crunch! Pop! ] [Gulps] [Crunch! Pop! ] [Gulps] [Gagging] [Gulps] [Gagging] He's so grateful, he's got [gagging] He's so grateful, he's got tears in his eyes. He's so grateful, he's got tears in his eyes. Here you go, kid. Tears in his eyes. Here you go, kid. It's not much, but it'll here you go, kid. It's not much, but it'll help. It's not much, but it'll help. Gumball: people, please! Help. Gumball: people, please! Seriously, we're not poor! Gumball: people, please! Seriously, we're not poor! Of course you're not. Seriously, we're not poor! Of course you're not. You're richer than all of us in of course you're not. You're richer than all of us in here. You're richer than all of us in here. That's not your heart, is it? Here. That's not your heart, is it? Sorry. I'm a vegetable. That's not your heart, is it? Sorry. I'm a vegetable. I don't really know how you sorry. I'm a vegetable. I don't really know how you people work. I don't really know how you people work. Darwin: trust me, guys! People work. Darwin: trust me, guys! We're fine! Darwin: trust me, guys! We're fine! It's not like we're on the we're fine! It's not like we're on the streets or anything! It's not like we're on the streets or anything! Gumball: although, streets or anything! Gumball: although, technically, we kind of are, gumball: although, technically, we kind of are, since dad took the car and left. Technically, we kind of are, since dad took the car and left. [All gasp] Since dad took the car and left. [All gasp] I always knew he was a bad [all gasp] I always knew he was a bad parent. I always knew he was a bad parent. His big, happy, fat, evil face, parent. His big, happy, fat, evil face, his sinister dimples, and those his big, happy, fat, evil face, his sinister dimples, and those beady doe eyes. His sinister dimples, and those beady doe eyes. Dad: so, what do you think beady doe eyes. Dad: so, what do you think will make him happiest -- a dad: so, what do you think will make him happiest -- a go-kart or a real pony? Will make him happiest -- a go-kart or a real pony? Anais: why not buy the whole go-kart or a real pony? Anais: why not buy the whole store? Anais: why not buy the whole store? It only comes to a billion store? It only comes to a billion dollars. It only comes to a billion dollars. Dad: oh. Okay! Dollars. Dad: oh. Okay! [Whip! Whip! Whip! Whip! ] Dad: oh. Okay! [Whip! Whip! Whip! Whip! ] [Whack! ] [Whip! Whip! Whip! Whip! ] [Whack! ] High five! [Whack! ] High five! Dad: was that sarcasm again? High five! Dad: was that sarcasm again? Anais: yes! Dad: was that sarcasm again? Anais: yes! So, do you get it now? Anais: yes! So, do you get it now? Dad: yeah! So, do you get it now? Dad: yeah! Anais: are you lying? Dad: yeah! Anais: are you lying? Dad: yeah. Anais: are you lying? Dad: yeah. Anais: would you like me to dad: yeah. Anais: would you like me to explain again? Anais: would you like me to explain again? Dad: yeah. Explain again? Dad: yeah. So, how are we gonna raise dad: yeah. So, how are we gonna raise money for these poor, broken so, how are we gonna raise money for these poor, broken little children? Money for these poor, broken little children? Let's do a charity calendar! Little children? Let's do a charity calendar! Can we make it a naked let's do a charity calendar! Can we make it a naked calendar? Can we make it a naked calendar? Let's put on a music calendar? Let's put on a music festival! Let's put on a music festival! Can we make it a naked music festival! Can we make it a naked music festival? Can we make it a naked music festival? Let's do a charity bake! Festival? Let's do a charity bake! Can we do it naked? Let's do a charity bake! Can we do it naked? All right. Can we do it naked? All right. Who keeps saying that? All right. Who keeps saying that? What? Who keeps saying that? What? All I have is a mustache, and I what? All I have is a mustache, and I really want to be involved. All I have is a mustache, and I really want to be involved. You guys have to tell me if I really want to be involved. You guys have to tell me if I need to buy a hat or something. You guys have to tell me if I need to buy a hat or something. Gumball: okay. Need to buy a hat or something. Gumball: okay. I'm going to say this now in a gumball: okay. I'm going to say this now in a way that is impossible for you I'm going to say this now in a way that is impossible for you to misunderstand. Way that is impossible for you to misunderstand. I mean only the words I am to misunderstand. I mean only the words I am saying right now. I mean only the words I am saying right now. There are no hidden meanings or saying right now. There are no hidden meanings or subtexts. There are no hidden meanings or subtexts. We do notneedyour charity! Subtexts. We do notneedyour charity! [Sniffles] We do notneedyour charity! [Sniffles] [Honk! ] [Sniffles] [Honk! ] You're such a brave soul. [Honk! ] You're such a brave soul. Mm! Mm! Ohh. You're such a brave soul. Mm! Mm! Ohh. All: awww! Mm! Mm! Ohh. All: awww! Dad: okay. All: awww! Dad: okay. So, sarcasm is when you say dad: okay. So, sarcasm is when you say something you don't mean but so, sarcasm is when you say something you don't mean but with an eyebrow raised. Something you don't mean but with an eyebrow raised. [Whack! ] With an eyebrow raised. [Whack!] High five! [Whack!] High five! Anais: close enough. High five! Anais: close enough. Look, why not try it on this anais: close enough. Look, why not try it on this lady here? Look, why not try it on this lady here? Dad: my dimples are purple! Lady here? Dad: my dimples are purple! [Snickers] Dad: my dimples are purple! [Snickers] Not really. That was sarcasm. [Snickers] Not really. That was sarcasm. [Whack! ] Not really. That was sarcasm. [Whack! ] High five! [Whack! ] High five! [All cheering] High five! [All cheering] [Slow acoustic-guitar music [all cheering] [Slow acoustic-guitar music playing] [Slow acoustic-guitar music playing] Love can set you free playing] Love can set you free because love has got the key love can set you free because love has got the key love can cross the sea because love has got the key love can cross the sea because love can water-ski love can cross the sea because love can water-ski love can make you live for because love can water-ski love can make you live for eternity love can make you live for eternity well, not literally eternity well, not literally [cheers and applause] Well, not literally [cheers and applause] Thank you! Thank you! [Cheers and applause] Thank you! Thank you! The response so far has been thank you! Thank you! The response so far has been amazing, but please continue the response so far has been amazing, but please continue giving so we can spark hope in amazing, but please continue giving so we can spark hope in these kids' hearts and let their giving so we can spark hope in these kids' hearts and let their spirits burn as bright as these these kids' hearts and let their spirits burn as bright as these symbolic candles. Spirits burn as bright as these symbolic candles. Gumball: okay, dude. Symbolic candles. Gumball: okay, dude. This has gone too far. Gumball: okay, dude. This has gone too far. Tell them the truth. This has gone too far. Tell them the truth. Darwin: why me? Tell them the truth. Darwin: why me? Gumball: because you have the darwin: why me? Gumball: because you have the megaphone. Gumball: because you have the megaphone. Our young friend darwin wants megaphone. Our young friend darwin wants to say something to you all. Our young friend darwin wants to say something to you all. [Cheers and applause] To say something to you all. [Cheers and applause] Darwin: we're not poor. [Cheers and applause] Darwin: we're not poor. [Cheers and applause stop] Darwin: we're not poor. [Cheers and applause stop] They lied to u-u-u-u-u-s! [Cheers and applause stop] They lied to u-u-u-u-u-s! [Shing! ] They lied to u-u-u-u-u-s! [Shing! ] [All shouting angrily] [Shing! ] [All shouting angrily] Gumball: ha ha ha ha ha ha ha [all shouting angrily] Gumball: ha ha ha ha ha ha ha ha ha ha ha! Gumball: ha ha ha ha ha ha ha ha ha ha ha! People, please! Ha ha ha ha! People, please! Put down these pitchforks people, please! Put down these pitchforks that you took to the mall for put down these pitchforks that you took to the mall for whatever reason. That you took to the mall for whatever reason. We didn't lie! Whatever reason. We didn't lie! We're megapoor, right, darwin? We didn't lie! We're megapoor, right, darwin? Prove it! We're megapoor, right, darwin? Prove it! Gumball: sure! Prove it! Gumball: sure! We're, um -- we're, like, so gumball: sure! We're, um -- we're, like, so poor that we can't afford free we're, um -- we're, like, so poor that we can't afford free stuff! Poor that we can't afford free stuff! We're so poor that we lick stuff! We're so poor that we lick stamps for breakfast! We're so poor that we lick stamps for breakfast! We're so poor that we opened an stamps for breakfast! We're so poor that we opened an e-mail account just to eat the we're so poor that we opened an e-mail account just to eat the spam! E-mail account just to eat the spam! That's not proof! Spam! That's not proof! That's just jokes stolen from that's not proof! That's just jokes stolen from the internet! That's just jokes stolen from the internet! These guys are fakes! The internet! These guys are fakes! [Shing! ] These guys are fakes! [Shing! ] Gumball: what do you want [shing! ] Gumball: what do you want from us? ! Gumball: what do you want from us? ! Do you really want to see us eat from us? ! Do you really want to see us eat dog food in our squalor dump of do you really want to see us eat dog food in our squalor dump of a house, wearing garbage bags? ! Dog food in our squalor dump of a house, wearing garbage bags? ! Is that it? ! A house, wearing garbage bags? ! Is that it? ! Would that make you happy? ! Is that it? ! Would that make you happy? ! No, no. Would that make you happy? ! No, no. I believe you. No, no. I believe you. I'm sorry we ever doubted you. I believe you. I'm sorry we ever doubted you. Darwin: come to our house! I'm sorry we ever doubted you. Darwin: come to our house! Come on! Darwin: come to our house! Come on! Our house not good enough for come on! Our house not good enough for you? ! Our house not good enough for you? ! Oh, no, no, no. You? ! Oh, no, no, no. I'm -- I'm sorry. Oh, no, no, no. I'm -- I'm sorry. I didn't mean to insult your I'm -- I'm sorry. I didn't mean to insult your hospitality. I didn't mean to insult your hospitality. S-sure. We'll come. Hospitality. S-sure. We'll come. Gumball: ha ha ha ha ha ha! S-sure. We'll come. Gumball: ha ha ha ha ha ha! Ha ha ha! Okay! Okay. Gumball: ha ha ha ha ha ha! Ha ha ha! Okay! Okay. Uh, just give us five minutes to ha ha ha! Okay! Okay. Uh, just give us five minutes to tidy up. [Breathing heavily] Darwin: so, what's the plan? Gumball: we got to show them darwin: so, what's the plan? Gumball: we got to show them what they expect to see. Gumball: we got to show them what they expect to see. Let's trash everything, fix it what they expect to see. Let's trash everything, fix it all with their big check, and go let's trash everything, fix it all with their big check, and go back to our lives. All with their big check, and go back to our lives. Darwin: I -- back to our lives. Darwin: I -- gumball: zip! Darwin: I -- gumball: zip! Before you say anything, do you gumball: zip! Before you say anything, do you have a better plan? Before you say anything, do you have a better plan? Then you have two seconds to have a better plan? Then you have two seconds to look as disapproving as you can. Then you have two seconds to look as disapproving as you can. Good! Now let's get on with it! Look as disapproving as you can. Good! Now let's get on with it! Darwin: I don't feel good! Now let's get on with it! Darwin: I don't feel comfortable doing this. Darwin: I don't feel comfortable doing this. Gumball: just remember comfortable doing this. Gumball: just remember it's all for charity. [Ting! ] Dude, we're on the clock here! Smash faster! Dude, we're on the clock here! Smash faster! Darwin: I'm doing it as fast smash faster! Darwin: I'm doing it as fast as I can! Darwin: I'm doing it as fast as I can! Gumball: then smash smarter! Aah! [Coughing] Uhyeah. More like that. [Coughing] Uhyeah. More like that. [Thud! Thud! Splurt! ] Uhyeah. More like that. [Thud! Thud! Splurt! ] [Squish! Squish! Squish! ] [Thud! Thud! Splurt! ] [Squish! Squish! Squish! ] Darwin: hmm. [Squish! Squish! Squish! ] Darwin: hmm. We're gonna need help. Darwin: hmm. We're gonna need help. [Whip! ] We're gonna need help. [Whip! ] [Warbling] [Whip! ] [Warbling] Come and help, my little [warbling] Come and help, my little friends! Come and help, my little friends! [Birds squawking] Friends! [Birds squawking] Ha ha ha! [Birds squawking] Ha ha ha! Very good! Very good! Ha ha ha! Very good! Very good! [Warbling] Very good! Very good! [Warbling] Come out and spread your [warbling] Come out and spread your disease! Come out and spread your disease! [Rats snarling] Disease! [Rats snarling] Ha ha! Very good! [Rats snarling] Ha ha! Very good! [Chomp! Pop! Pop! ] Ha ha! Very good! [Chomp! Pop! Pop! ] [Warbling] [Chomp! Pop! Pop! ] [Warbling] Really good work, everyone! [Warbling] Really good work, everyone! [Chattering] Really good work, everyone! [Chattering] Darwin: what's that, my [chattering] Darwin: what's that, my little friend? Darwin: what's that, my little friend? [Gasps] You're right. Little friend? [Gasps] You're right. We need a final touch. [Gasps] You're right. We need a final touch. [Skunk snarls] We need a final touch. [Skunk snarls] Ha ha ha ha! [Skunk snarls] Ha ha ha ha! Good job! Good job! Ha ha ha ha! Good job! Good job! [Warbling] Good job! Good job! [Warbling] Blech! [Warbling] Blech! [Dog barking] Blech! [Dog barking] Gumball: so, ready yet? ! [Dog barking] Gumball: so, ready yet? ! Darwin: almost! Gumball: so, ready yet? ! Darwin: almost! [Barking continues] Darwin: almost! [Barking continues] Oh, a disreputable dog breed. [Barking continues] Oh, a disreputable dog breed. Nice touch. Oh, a disreputable dog breed. Nice touch. [Barking continues] Nice touch. [Barking continues] Gumball: "friendship, [barking continues] Gumball: "friendship, understanding, acceptance"? Gumball: "friendship, understanding, acceptance"? Darwin: well, if we have to understanding, acceptance"? Darwin: well, if we have to be vandals, we should at least darwin: well, if we have to be vandals, we should at least carry a positive message. Be vandals, we should at least carry a positive message. [Indistinct singing in carry a positive message. [Indistinct singing in distance] [Indistinct singing in distance] Gumball: uhh! Distance] Gumball: uhh! Get in the house! Gumball: uhh! Get in the house! Get in the house! Get in the house! Get in the house! [Singing continues] Get in the house! [Singing continues] Love can cross the sea [singing continues] Love can cross the sea gumball: 'k. Here it goes. Love can cross the sea gumball: 'k. Here it goes. [Inhales sharply] Gumball: 'k. Here it goes. [Inhales sharply] [Rat hisses, squeaks] [Inhales sharply] [Rat hisses, squeaks] How do I look? [Rat hisses, squeaks] How do I look? Darwin: contagious. How do I look? Darwin: contagious. Gumball: good. Darwin: contagious. Gumball: good. [Knock on door] Gumball: good. [Knock on door] [Blam! ] [Knock on door] [Blam! ] [All gasp] [Blam! ] [All gasp] Even in my worst nightmares, [all gasp] Even in my worst nightmares, I wouldn't have imagined it even in my worst nightmares, I wouldn't have imagined it would be this bad. I wouldn't have imagined it would be this bad. Is that what people call a would be this bad. Is that what people call a rat king? Is that what people call a rat king? [Rats snarling] Rat king? [Rats snarling] Gumball: no, mr. Small. [Rats snarling] Gumball: no, mr. Small. It's what we call "terror. " Gumball: no, mr. Small. It's what we call "terror. " Bring forth the check! It's what we call "terror. " Bring forth the check! [Imitating fanfare playing] Bring forth the check! [Imitating fanfare playing] Sorry. I just thought it would [imitating fanfare playing] Sorry. I just thought it would sound more impressive with some sorry. I just thought it would sound more impressive with some music. Sound more impressive with some music. N-n-never mind. Music. N-n-never mind. Mom: what is going on here? ! N-n-never mind. Mom: what is going on here? ! Who trashed the house? ! Mom: what is going on here? ! Who trashed the house? ! They trashed the house on who trashed the house? ! They trashed the house on purpose! They trashed the house on purpose! They lie-e-e-e-d! Purpose! They lie-e-e-e-d! [Shing! ] They lie-e-e-e-d! [Shing! ] Well, you won't be needing [shing! ] Well, you won't be needing this! Well, you won't be needing this! [Grunts] This! [Grunts] Well, you get the idea. [Grunts] Well, you get the idea. Gumball: no, wait! Well, you get the idea. Gumball: no, wait! Now the house is actually gumball: no, wait! Now the house is actually trashed, we really do need your now the house is actually trashed, we really do need your help! Trashed, we really do need your help! All: ahhhh. Help! All: ahhhh. [Horn honks, tires screech] All: ahhhh. [Horn honks, tires screech] Dad: hey, kids, I got you [horn honks, tires screech] Dad: hey, kids, I got you jet skis! Dad: hey, kids, I got you jet skis! Your dad is not a monster! Jet skis! Your dad is not a monster! [Shing! ] Your dad is not a monster! [Shing! ] Anais: no! Wait! [Shing! ] Anais: no! Wait! You should see how much dad anais: no! Wait! You should see how much dad spent on these! You should see how much dad spent on these! We arbroke now! Spent on these! We arbroke now! [All gasp] We arbroke now! [All gasp] So, are you poor or not? [All gasp] So, are you poor or not? Dad: yeah, sure. So, are you poor or not? Dad: yeah, sure. I'm an unemployed man with three dad: yeah, sure. I'm an unemployed man with three children. I'm an unemployed man with three children. I'm obviously a millionaire. Children. I'm obviously a millionaire. [Shing! ] I'm obviously a millionaire. [Shing! ] Anais: eh, bad timing but [shing! ] Anais: eh, bad timing but good sarcasm. Anais: eh, bad timing but good sarcasm. Both: aaaaaaaaaaaaaah! Good sarcasm. Both: aaaaaaaaaaaaaah! [All shouting angrily] Both: aaaaaaaaaaaaaah! [All shouting angrily] Darwin: please stop! [All shouting angrily] Darwin: please stop! You guys are insane! Darwin: please stop! You guys are insane! You change your mind for yes you guys are insane! You change your mind for yes all: ahhh. You change your mind for yes all: ahhh. Darwin: or no all: ahhh. Darwin: or no [shing! ] Darwin: or no [shing! ] Helloor goodbye [shing! ] Helloor goodbye [shing! ] Helloor goodbye [shing! ] An apple [shing! ] An apple all: ahhh. An apple all: ahhh. Darwin: or an orange all: ahhh. Darwin: or an orange [shing! ] Darwin: or an orange [shing! ] A durp [shing! ] A durp all: ahhh. A durp all: ahhh. Darwin: or a blurp. All: ahhh. Darwin: or a blurp. [Shing! ] Darwin: or a blurp. [Shing! ] All: ahhh. [Shing! ] All: ahhh. [Shing! ] All: ahhh. [Shing! ] Ahhh. [Shing! ] Ahhh. [Shing! ] Ahhh. [Shing! ] Gumball: everybody, listen! [Shing! ] Gumball: everybody, listen! All: ahhh. Gumball: everybody, listen! All: ahhh. Gumball: I think we all all: ahhh. Gumball: I think we all learned a very important lesson gumball: I think we all learned a very important lesson today, and this lesson is learned a very important lesson today, and this lesson is don't complain! Today, and this lesson is don't complain! Be happy with what you got. Don't complain! Be happy with what you got. No, that's not quite right. Be happy with what you got. No, that's not quite right. Uh, be careful of what you say! No, that's not quite right. Uh, be careful of what you say! Nah. No, that's not it, either. Uh, be careful of what you say! Nah. No, that's not it, either. Uhdon't jump to conclusions! Nah. No, that's not it, either. Uhdon't jump to conclusions! No, no. Uhdon't jump to conclusions! No, no. Don't try to be something you're no, no. Don't try to be something you're not, 'cause, uh don't try to be something you're not, 'cause, uh be yourself? Not, 'cause, uh be yourself? I don't know, man. Be yourself? I don't know, man. Maybe the lesson is sometimes I don't know, man. Maybe the lesson is sometimes when people do stuff, things maybe the lesson is sometimes when people do stuff, things happen and it kind of when people do stuff, things happen and it kind of goes nowhere. Happen and it kind of goes nowhere. Anyway, thanks for the check. Goes nowhere. Anyway, thanks for the check. Bye! [Boom! ] Gumball: some say it was a military experiment gone wrong. [Engine revs] Military experiment gone wrong. [Engine revs] They say he roams the desert, [engine revs] They say he roams the desert, feeding off lost strangers. They say he roams the desert, feeding off lost strangers. They say he has the body of a feeding off lost strangers. They say he has the body of a cougar they say he has the body of a cougar the wings of a bat cougar the wings of a bat and the head the wings of a bat and the head of a duck! And the head of a duck! All: aaaaaah! Of a duck! All: aaaaaah! Mom: guys, guys, guys! All: aaaaaah! Mom: guys, guys, guys! Please save the campfire stories mom: guys, guys, guys! Please save the campfire stories for the campfire. Please save the campfire stories for the campfire. You're going to give him for the campfire. You're going to give him nightmares. You're going to give him nightmares. [All laugh] Nightmares. [All laugh] Anais: okay, my turn! [All laugh] Anais: okay, my turn! There was once an old -- anais: okay, my turn! There was once an old -- dad, we've been over this. There was once an old -- dad, we've been over this. It's not a real f*re. Dad, we've been over this. It's not a real f*re. Dad: [mockingly] "Dad, it's not a real f*re. Dad: [mockingly] "Dad, we've been over this. " Dad: [mockingly] "Dad, we've been over this. " Neh, neh, neh. We've been over this. " Neh, neh, neh. Anais: there was once a neh, neh, neh. Anais: there was once a pickup truck following a man for anais: there was once a pickup truck following a man for hours and hours down an empty pickup truck following a man for hours and hours down an empty highway. Hours and hours down an empty highway. The man slowed down to let the highway. The man slowed down to let the truck overtake him. The man slowed down to let the truck overtake him. When the truck pulled level, the truck overtake him. When the truck pulled level, the window rolled down and the man when the truck pulled level, the window rolled down and the man realized the truck had no window rolled down and the man realized the truck had no driver! Realized the truck had no driver! All: aaaaaah! Driver! All: aaaaaah! [Laughter] All: aaaaaah! [Laughter] Dad: okay! I've got one! [Laughter] Dad: okay! I've got one! [Pop! ] Dad: okay! I've got one! [Pop! ] There was once a very hungry [pop! ] There was once a very hungry hitchhiker who was lost at there was once a very hungry hitchhiker who was lost at night. Hitchhiker who was lost at night. He saw some light coming in from night. He saw some light coming in from a house, so he walked in but he saw some light coming in from a house, so he walked in but found it deserted except for one a house, so he walked in but found it deserted except for one fridge. Found it deserted except for one fridge. He slowly opened the door and fridge. He slowly opened the door and realized the fridge was empty! He slowly opened the door and realized the fridge was empty! Aaaaaaaaaah! Realized the fridge was empty! Aaaaaaaaaah! Gumball: dad, that was about aaaaaaaaaah! Gumball: dad, that was about as scary as being chased by a gumball: dad, that was about as scary as being chased by a swarm of butterflies. As scary as being chased by a swarm of butterflies. Anais: yeah, or a street g*ng swarm of butterflies. Anais: yeah, or a street g*ng of kittens. Anais: yeah, or a street g*ng of kittens. Dad: hmph! Of kittens. Dad: hmph! [Pop! ] Dad: hmph! [Pop! ] Darwin: don't worry, mr. Dad. [Pop! ] Darwin: don't worry, mr. Dad. Grown-ups can't tell scary darwin: don't worry, mr. Dad. Grown-ups can't tell scary stories. Grown-ups can't tell scary stories. Mom: oh, really? Stories. Mom: oh, really? Then what about the tale of the mom: oh, really? Then what about the tale of the then what about the tale of the overtime? ! Overtime? ! Anais: mom, face it -- you overtime? ! Anais: mom, face it -- you can't tell horror stories. Anais: mom, face it -- you can't tell horror stories. Mom: yeah, well, maybe when can't tell horror stories. Mom: yeah, well, maybe when you kids grow up, you'll know mom: yeah, well, maybe when you kids grow up, you'll know how scary financial pressures you kids grow up, you'll know how scary financial pressures can be. How scary financial pressures can be. Darwin: don't worry, can be. Darwin: don't worry, mrs. Mom. Darwin: don't worry, mrs. Mom. It's not your fault you're mrs. Mom. It's not your fault you're boring. It's not your fault you're boring. It's because you're old. Boring. It's because you're old. Mom: richard, flashlight. It's because you're old. Mom: richard, flashlight. Higher. Mom: richard, flashlight. Higher. That's not a flattering angle. Higher. That's not a flattering angle. In a car driving through the that's not a flattering angle. In a car driving through the desert, just like this one, in a car driving through the desert, just like this one, there was a family just like desert, just like this one, there was a family just like ours. There was a family just like ours. Dad: aaaaaaah! Ours. Dad: aaaaaaah! Mom: richard, that's not the dad: aaaaaaah! Mom: richard, that's not the scary bit. Mom: richard, that's not the scary bit. They were heading on a camping scary bit. They were heading on a camping trip when they broke down in the they were heading on a camping trip when they broke down in the middle of nowhere. Trip when they broke down in the middle of nowhere. A strange old man living in a middle of nowhere. A strange old man living in a derelict gas station helped them a strange old man living in a derelict gas station helped them out and suggested they stay for derelict gas station helped them out and suggested they stay for dinner, and as he grinned at out and suggested they stay for dinner, and as he grinned at them with a toothless smile, dinner, and as he grinned at them with a toothless smile, they realized that the main them with a toothless smile, they realized that the main coursewas them! They realized that the main coursewas them! All: aaaah! Aaaah! Coursewas them! All: aaaah! Aaaah! Mom: now we'd better hope we all: aaaah! Aaaah! Mom: now we'd better hope we don't break down. Mom: now we'd better hope we don't break down. [Engine sputtering] Don't break down. [Engine sputtering] All: aaaaaah! [Engine sputtering] All: aaaaaah! Dad: aaaaaaah! All: aaaaaah! Dad: aaaaaaah! Mom: boo-yah! Dad: aaaaaaah! Mom: boo-yah! Who's boring now? Mom: boo-yah! Who's boring now? [Laughter] Who's boring now? [Laughter] Anais: you really nailed it [laughter] Anais: you really nailed it with the fake breakdown. Anais: you really nailed it with the fake breakdown. I wish I was still wearing with the fake breakdown. I wish I was still wearing diapers. I wish I was still wearing diapers. Mom: okay. Diapers. Mom: okay. Let's get back on the road. Mom: okay. Let's get back on the road. [Engine sputtering] Let's get back on the road. [Engine sputtering] [Chuckles nervously] [Engine sputtering] [Chuckles nervously] So, you're gonna laugh at this. [Chuckles nervously] So, you're gonna laugh at this. [All scream] So, you're gonna laugh at this. [All scream] Oh, calm down! [All scream] Oh, calm down! Darwin: but it's just like in oh, calm down! Darwin: but it's just like in the story! Darwin: but it's just like in the story! Gumball: some toothless old the story! Gumball: some toothless old guy's gonna eat my brain! Gumball: some toothless old guy's gonna eat my brain! Mom: gumball, guy's gonna eat my brain! Mom: gumball, please calm down. Mom: gumball, please calm down. I'm sure it's nothing. Please calm down. I'm sure it's nothing. [Squish! Hiss! ] I'm sure it's nothing. [Squish! Hiss! ] Richard, why is the engine [squish! Hiss! ] Richard, why is the engine compartment full of richard, why is the engine compartment full of marshmallows? Compartment full of marshmallows? Dad: [chuckles] Marshmallows? Dad: [chuckles] Nicole, I think you mean the dad: [chuckles] Nicole, I think you mean the front trunk. Nicole, I think you mean the front trunk. [Blam! Blam! Blam! Blam! Blam! Front trunk. [Blam! Blam! Blam! Blam! Blam! Hiss! ] [Blam! Blam! Blam! Blam! Blam! Hiss! ] Mom: okay. Hiss! ] Mom: okay. This is not going to ruin our mom: okay. This is not going to ruin our family outing. This is not going to ruin our family outing. Here. Family outing. Here. There's a garage a mile north. Here. There's a garage a mile north. Richard, go get help. There's a garage a mile north. Richard, go get help. Dad: okay. Richard, go get help. Dad: okay. I'll go when my marshmallow's dad: okay. I'll go when my marshmallow's done. I'll go when my marshmallow's done. [Zip! Floom! ] Done. [Zip! Floom! ] Aah! All right! [Zip! Floom! ] Aah! All right! Mom: thank you, honey. Aah! All right! Mom: thank you, honey. Dad: oh, I'm supposed to be mom: thank you, honey. Dad: oh, I'm supposed to be on vacation, you know. Dad: oh, I'm supposed to be on vacation, you know. Mom: richard, you don't have on vacation, you know. Mom: richard, you don't have a job. Mom: richard, you don't have a job. You're always on vacation. A job. You're always on vacation. Dad: ohh! You're always on vacation. Dad: ohh! [Gasping] Dad: ohh! [Gasping] Gumball: dad, did you find a [gasping] Gumball: dad, did you find a mechanic? Gumball: dad, did you find a mechanic? Dad: no. I think there's mechanic? Dad: no. I think there's something wrong with the dad: no. I think there's something wrong with the compass. Something wrong with the compass. Mom: richard, show me that. Compass. Mom: richard, show me that. It's a watch. Mom: richard, show me that. It's a watch. You've been following it in a it's a watch. You've been following it in a circle for 12 hours. You've been following it in a circle for 12 hours. Dad: [wheezing] Circle for 12 hours. Dad: [wheezing] I'm so dehydrated, I can't even dad: [wheezing] I'm so dehydrated, I can't even cry! I'm so dehydrated, I can't even cry! Darwin: it's okay. Cry! Darwin: it's okay. The sun's going down. Darwin: it's okay. The sun's going down. It'll be dark soon. The sun's going down. It'll be dark soon. Gumball: [gasps] It'll be dark soon. Gumball: [gasps] Just in time to get eaten alive. Gumball: [gasps] Just in time to get eaten alive. [All scream] Just in time to get eaten alive. [All scream] Long way from home, ain't ya? [All scream] Long way from home, ain't ya? [Laughs] Long way from home, ain't ya? [Laughs] Darwin: oh, it's okay! [Laughs] Darwin: oh, it's okay! He's not toothless. Darwin: oh, it's okay! He's not toothless. Mom: thank you, sir, but we he's not toothless. Mom: thank you, sir, but we have roadside assistance. Mom: thank you, sir, but we have roadside assistance. I'll just use my cell. Have roadside assistance. I'll just use my cell. You can try calling for help, I'll just use my cell. You can try calling for help, but you won't get none. You can try calling for help, but you won't get none. There's no signal here. But you won't get none. There's no signal here. [Both laugh] There's no signal here. [Both laugh] Mom: please excuse me for a [both laugh] Mom: please excuse me for a second. Mom: please excuse me for a second. [Horn honking] Second. [Horn honking] I don't suppose you could help [horn honking] I don't suppose you could help us, could you? I don't suppose you could help us, could you? Sure, but we better go soon. Us, could you? Sure, but we better go soon. We don't want to miss dinner! Sure, but we better go soon. We don't want to miss dinner! [Laughs] We don't want to miss dinner! [Laughs] [Crash! Crash! ] [Laughs] [Crash! Crash! ] Ahh. [Crash! Crash! ] Ahh. Darwin: okay. Ahh. Darwin: okay. He's toothless now. Darwin: okay. He's toothless now. Time to panic. He's toothless now. Time to panic. [All scream] Time to panic. [All scream] Mom: kids, stop staring at [all scream] Mom: kids, stop staring at him. Mom: kids, stop staring at him. Gumball: but, mom, it's the him. Gumball: but, mom, it's the guy from the story. Gumball: but, mom, it's the guy from the story. Mom: no, don't be silly. Guy from the story. Mom: no, don't be silly. Thank you again, sir. Mom: no, don't be silly. Thank you again, sir. This is very kind of you. Thank you again, sir. This is very kind of you. Don't worry 'bout me. This is very kind of you. Don't worry 'bout me. I'm just workin' up my appetite. Don't worry 'bout me. I'm just workin' up my appetite. [Laughs] I'm just workin' up my appetite. [Laughs] Darwin: we're being pushed to [laughs] Darwin: we're being pushed to our doom! Darwin: we're being pushed to our doom! Gumball: really, really our doom! Gumball: really, really slowly. Gumball: really, really slowly. Mom: look, just because he slowly. Mom: look, just because he matches the story I made up mom: look, just because he matches the story I made up doesn't mean he's a psycho, even matches the story I made up doesn't mean he's a psycho, even if he is obviously, you know, doesn't mean he's a psycho, even if he is obviously, you know, dentally challenged. If he is obviously, you know, dentally challenged. And, anyway, I'd be very dentally challenged. And, anyway, I'd be very surprised if we ended up in a and, anyway, I'd be very surprised if we ended up in a derelict gas sta-- surprised if we ended up in a derelict gas sta-- oh, what do you know? Derelict gas sta-- oh, what do you know? Here we are -- your final oh, what do you know? Here we are -- your final destination. Here we are -- your final destination. Gumball: really? Destination. Gumball: really? He lives in a gas station? Gumball: really? He lives in a gas station? [Whiffle! Whiffle! Whiffle! ] He lives in a gas station? [Whiffle! Whiffle! Whiffle! ] Come on! [Whiffle! Whiffle! Whiffle! ] Come on! Mom: it's just come on! Mom: it's just an assassination -- mom: it's just an assassination -- an obliteration -- an assassination -- an obliteration -- an extermination. An obliteration -- an extermination. [Sighs] An extermination. [Sighs] I mean a coincidence. [Sighs] I mean a coincidence. How 'bout you guys just go I mean a coincidence. How 'bout you guys just go stretch your legs? How 'bout you guys just go stretch your legs? Darwin: I don't like this, stretch your legs? Darwin: I don't like this, dude. Darwin: I don't like this, dude. Gumball: me, neither. Dude. Gumball: me, neither. We should watch our backs. Gumball: me, neither. We should watch our backs. [Crank! Crank! Crank! ] We should watch our backs. [Crank! Crank! Crank! ] Darwin: that's much better. [Thud! ] Both: aaaaaaah! Aah! Aah! Aah! Both: aaaaaaah! Aah! Aah! Aah! Gumball: that one looks like aah! Aah! Aah! Gumball: that one looks like it's angry at both of us at the gumball: that one looks like it's angry at both of us at the same time! It's angry at both of us at the same time! Both: aah! Same time! Both: aah! Gumball: he stuffed all of both: aah! Gumball: he stuffed all of his animals -- and his mom! Gumball: he stuffed all of his animals -- and his mom! We-e-e-e-e-e-e-l his animals -- and his mom! We-e-e-e-e-e-e-l both: aaaaaaaaaaaaaaaaah! We-e-e-e-e-e-e-l both: aaaaaaaaaaaaaaaaah! Come. Both: aaaaaaaaaaaaaaaaah! Come. [Zoom! ] Come. [Zoom! ] Gumball: mom, we got to get [zoom! ] Gumball: mom, we got to get out of here now! Gumball: mom, we got to get out of here now! Mom: yes, about that -- out of here now! Mom: yes, about that -- apparently, the engine is mom: yes, about that -- apparently, the engine is caramelized. Apparently, the engine is caramelized. Dad: [gasps] Caramelized. Dad: [gasps] Caramelized. Dad: [gasps] Caramelized. [Whimpers] Caramelized. [Whimpers] Mmm. [Whimpers] Mmm. Mom: [sighs] Mmm. Mom: [sighs] He can't fix it. Mom: [sighs] He can't fix it. We're stuck here. He can't fix it. We're stuck here. But the good news is he says we're stuck here. But the good news is he says he'll have us for dinner. But the good news is he says he'll have us for dinner. [Suspenseful music plays] He'll have us for dinner. [Suspenseful music plays] Can you guys stop screaming [suspenseful music plays] Can you guys stop screaming every five minutes? Can you guys stop screaming every five minutes? Gumball: actually, we're every five minutes? Gumball: actually, we're doing a silent scream. Gumball: actually, we're doing a silent scream. We need to save our voices for doing a silent scream. We need to save our voices for when he eats us! ! We need to save our voices for when he eats us! ! Anais: you guys are being when he eats us! ! Anais: you guys are being ridiculous, scaring yourselves anais: you guys are being ridiculous, scaring yourselves with narrow-minded assumptions ridiculous, scaring yourselves with narrow-minded assumptions about country people. With narrow-minded assumptions about country people. Big brain for such a small about country people. Big brain for such a small thing. Big brain for such a small thing. I like that. Heh. Thing. I like that. Heh. [Zoom! ] I like that. Heh. [Zoom! ] Anais: we got to get out of [zoom! ] Anais: we got to get out of here now! ! Anais: we got to get out of here now! ! Mom: all right, that's it! Here now! ! Mom: all right, that's it! I only get five days off a year! Mom: all right, that's it! I only get five days off a year! We already wasted christmas when I only get five days off a year! We already wasted christmas when you decorated the house with we already wasted christmas when you decorated the house with whipped cream instead of fake you decorated the house with whipped cream instead of fake snow! Whipped cream instead of fake snow! Merry christmas! Snow! Merry christmas! Aah! Merry christmas! Aah! Dad: uh, how much cream did aah! Dad: uh, how much cream did you eat? Dad: uh, how much cream did you eat? Mom: then there was the you eat? Mom: then there was the fourth of july. Mom: then there was the fourth of july. Be careful, richard fourth of july. Be careful, richard [boom! ] Be careful, richard [boom! ] [Whistle! ] [Boom! ] [Whistle! ] [Boom! ] [Whistle! ] [Boom! ] Then your mother's visit [boom! ] Then your mother's visit after you drop me at the then your mother's visit after you drop me at the mall, go to the grocery store after you drop me at the mall, go to the grocery store and buy me a melon -- not too mall, go to the grocery store and buy me a melon -- not too hard, not too soft. And buy me a melon -- not too hard, not too soft. Then pick me up at 2:30. Hard, not too soft. Then pick me up at 2:30. Don't be late. Then pick me up at 2:30. Don't be late. I have a 3:00 p. M. Appointment don't be late. I have a 3:00 p. M. Appointment at the beauty parlor, and by the I have a 3:00 p. M. Appointment at the beauty parlor, and by the looks of you, you could do with at the beauty parlor, and by the looks of you, you could do with an appointment yourself. Looks of you, you could do with an appointment yourself. Then you need to collect -- an appointment yourself. Then you need to collect -- mom: and let's not forget then you need to collect -- mom: and let's not forget halloween! Mom: and let's not forget halloween! Dad: happy halloween! Halloween! Dad: happy halloween! Mom: aaah! Dad: happy halloween! Mom: aaah! Dad: aaaaaaaaaaah! Mom: aaah! Dad: aaaaaaaaaaah! [Thud! Thud! Thud! ] Dad: aaaaaaaaaaah! [Thud! Thud! Thud! ] Oww! [Thud! Thud! Thud! ] Oww! Mom: [gasps] Richard? Oww! Mom: [gasps] Richard? Dad: there's some liquid in mom: [gasps] Richard? Dad: there's some liquid in my lungs! Dad: there's some liquid in my lungs! Mom: so I am not going to my lungs! Mom: so I am not going to ruin this by listening to your mom: so I am not going to ruin this by listening to your crazy assumptions! Ruin this by listening to your crazy assumptions! We said we were going camping, crazy assumptions! We said we were going camping, so weare goingcamping! ! We said we were going camping, so weare goingcamping! ! [Breathing heavily] So weare goingcamping! ! [Breathing heavily] And it'll be nice. [Breathing heavily] And it'll be nice. Thanks for the hospitality, sir. And it'll be nice. Thanks for the hospitality, sir. Could you just let us know when thanks for the hospitality, sir. Could you just let us know when dinner's ready? Could you just let us know when dinner's ready? Oh, don't worry. Dinner's ready? Oh, don't worry. You'll be the first to know. Oh, don't worry. You'll be the first to know. [Music ã la "psycho" theme you'll be the first to know. [Music ã la "psycho" theme plays] [Music ã la "psycho" theme plays] [Squeaking rhythmically] Plays] [Squeaking rhythmically] Mmm. [Squeaking rhythmically] Mmm. Caramel. Mmm. Caramel. [Animals howling] Caramel. [Animals howling] [Thunder crashes] [Animals howling] [Thunder crashes] [Breathing heavily] [Thunder crashes] [Breathing heavily] [Shing! ] [Breathing heavily] [Shing! ] Heh. [Shing! ] Heh. Mom: if you're happy and heh. Mom: if you're happy and you know it, clap your hands mom: if you're happy and you know it, clap your hands gumball: [whimpers] You know it, clap your hands gumball: [whimpers] Mom: if you're happy gumball: [whimpers] Mom: if you're happy and you mom: if you're happy and you oh, come on, guys! And you oh, come on, guys! Just because an ugly man lives oh, come on, guys! Just because an ugly man lives in a terrifying shack in the just because an ugly man lives in a terrifying shack in the middle of nowhere with his in a terrifying shack in the middle of nowhere with his mother and a bunch of stuffed middle of nowhere with his mother and a bunch of stuffed animals and, uh, he's holding a mother and a bunch of stuffed animals and, uh, he's holding a saw and he's dug five holes that animals and, uh, he's holding a saw and he's dug five holes that exactly fit our sizes and, uh -- saw and he's dug five holes that exactly fit our sizes and, uh -- it's dinnertime! Come on, fellas! Let's eat! Who doesn't like pizza? Let's eat! Who doesn't like pizza? Mom: I don't understand! Who doesn't like pizza? Mom: I don't understand! How can this be happening? ! Mom: I don't understand! How can this be happening? ! I made it up! How can this be happening? ! I made it up! Gumball: well, next time you I made it up! Gumball: well, next time you make up a randomly scary story gumball: well, next time you make up a randomly scary story that comes true, could you make up a randomly scary story that comes true, could you please invent a vegetarian that comes true, could you please invent a vegetarian psycho who lives near a well-lit please invent a vegetarian psycho who lives near a well-lit police station? ! Psycho who lives near a well-lit police station? ! Come back here! Police station? ! Come back here! Mom made some hot poppers, too. Come back here! Mom made some hot poppers, too. Gumball: aaaaaaaah! Mom made some hot poppers, too. Gumball: aaaaaaaah! Dad: we can't run forever! Gumball: aaaaaaaah! Dad: we can't run forever! I'm out of calories! Dad: we can't run forever! I'm out of calories! [Bong! ] I'm out of calories! [Bong! ] And I'm almost out of [bong! ] And I'm almost out of marshmallows! And I'm almost out of marshmallows! Anais: look -- a head in the marshmallows! Anais: look -- a head in the road! Anais: look -- a head in the road! All: aaaah! Road! All: aaaah! Anais: no! I mean ahead in all: aaaah! Anais: no! I mean ahead in the road -- a car! Anais: no! I mean ahead in the road -- a car! All: ohh. The road -- a car! All: ohh. [All shouting indistinctly] All: ohh. [All shouting indistinctly] [Low, raspy voice] You guys [all shouting indistinctly] [Low, raspy voice] You guys need a ride? [Low, raspy voice] You guys need a ride? [Hinges creak] Need a ride? [Hinges creak] Dad: aaah! [Hinges creak] Dad: aaah! The fridge is empty! Dad: aaah! The fridge is empty! All: aaaaaaaaaaah! The fridge is empty! All: aaaaaaaaaaah! Hmm? I guess not. All: aaaaaaaaaaah! Hmm? I guess not. All: aaaah! Hmm? I guess not. All: aaaah! Come back! All: aaaah! Come back! Dad: kids! Come back! Dad: kids! Kids, where are you? ! Dad: kids! Kids, where are you? ! Aaaaaaaaaaaaah! Kids, where are you? ! Aaaaaaaaaaaaah! [Creeeeeeeeak! Pop! ] Aaaaaaaaaaaaah! [Creeeeeeeeak! Pop! ] Ugh! [Creeeeeeeeak! Pop! ] Ugh! Mom: guys! Ugh! Mom: guys! Guys, where are you? ! Mom: guys! Guys, where are you? ! Guys! Guys, where are you? ! Guys! Dad: I'm here! Guys! Dad: I'm here! Mom: aaaaaaaaaaaah! Dad: I'm here! Mom: aaaaaaaaaaaah! Dad: [groans] Mom: aaaaaaaaaaaah! Dad: [groans] [Splash! ] Dad: [groans] [Splash! ] Yello! [Splash! ] Yello! Come and get it! Yello! Come and get it! I'm ready for ya! Come and get it! I'm ready for ya! Gumball: aah! Leave us alone! I'm ready for ya! Gumball: aah! Leave us alone! [Sobs] Gumball: aah! Leave us alone! [Sobs] I have been looking around too [sobs] I have been looking around too fast. I have been looking around too fast. [Whack! Thud! ] Fast. [Whack! Thud! ] Anais: mom? Dad? [Whack! Thud! ] Anais: mom? Dad? Help me. I'm scared. Anais: mom? Dad? Help me. I'm scared. Dad: don't worry, baby. Help me. I'm scared. Dad: don't worry, baby. [Thud! Whip! Whip! Whip! ] Dad: don't worry, baby. [Thud! Whip! Whip! Whip! ] Ugh! [Thud! Whip! Whip! Whip! ] Ugh! Anais: [gasps] Dad! Ugh! Anais: [gasps] Dad! Sorry! Anais: [gasps] Dad! Sorry! Dad: don't worry, honey! Sorry! Dad: don't worry, honey! Dad's here to save you! Dad: don't worry, honey! Dad's here to save you! Anais: ugh! Dad's here to save you! Anais: ugh! Why are you guys runnin' from anais: ugh! Why are you guys runnin' from me? Why are you guys runnin' from me? I'm a nice guy. Look. Me? I'm a nice guy. Look. Mom: [breathing heavily] I'm a nice guy. Look. Mom: [breathing heavily] Ugh! Ugh! Ugh! Mom: [breathing heavily] Ugh! Ugh! Ugh! Get away from my family, you ugh! Ugh! Ugh! Get away from my family, you pointy-headed goblin! Get away from my family, you pointy-headed goblin! Gumball: mom, chill out! Pointy-headed goblin! Gumball: mom, chill out! It's only us! Gumball: mom, chill out! It's only us! Dad: aaaah! It's only us! Dad: aaaah! [Rattle! Rattle! Rattle! ] Dad: aaaah! [Rattle! Rattle! Rattle! ] Gumball: dad, chill out. [Rattle! Rattle! Rattle! ] Gumball: dad, chill out. It's us. Gumball: dad, chill out. It's us. Dad: thank heavens it's us. Dad: thank heavens you're alive! Dad: thank heavens you're alive! Anais: me too! You're alive! Anais: me too! Dad: aah! Anais: me too! Dad: aah! Gumball: dad, chill out. Dad: aah! Gumball: dad, chill out. It's anais. Gumball: dad, chill out. It's anais. Dad: wait. How did you -- it's anais. Dad: wait. How did you -- [singsong voice] Over here! Dad: wait. How did you -- [singsong voice] Over here! Gumball: everybody stop [singsong voice] Over here! Gumball: everybody stop chilling. Gumball: everybody stop chilling. It's him. Chilling. It's him. [Whiffle! Whiffle! Whiffle! ] It's him. [Whiffle! Whiffle! Whiffle! ] I can't be havin' dinner [whiffle! Whiffle! Whiffle! ] I can't be havin' dinner without you! I can't be havin' dinner without you! That'd be just plain rude. Without you! That'd be just plain rude. Anais: there, in the that'd be just plain rude. Anais: there, in the distance -- a house! Anais: there, in the distance -- a house! Mom: I don't understand. Distance -- a house! Mom: I don't understand. Well, you sure got me runnin' mom: I don't understand. Well, you sure got me runnin' there. Well, you sure got me runnin' there. That's gonna be a dinner well there. That's gonna be a dinner well deserved. That's gonna be a dinner well deserved. [All whimpering] Deserved. [All whimpering] Gumball: please, I beg you, [all whimpering] Gumball: please, I beg you, let us go! Gumball: please, I beg you, let us go! Oh, I see you guys found the let us go! Oh, I see you guys found the restroom. Oh, I see you guys found the restroom. Darwin: restroom? Restroom. Darwin: restroom? Well, you know -- to "powder darwin: restroom? Well, you know -- to "powder your nose"? Well, you know -- to "powder your nose"? Gumball: why are there five your nose"? Gumball: why are there five of them? Gumball: why are there five of them? One each, for privacy. Of them? One each, for privacy. Gumball: so, you mean you're one each, for privacy. Gumball: so, you mean you're not gonna eat our brains? Gumball: so, you mean you're not gonna eat our brains? If I was after brains, I not gonna eat our brains? If I was after brains, I wouldn't go chasin' you folks. If I was after brains, I wouldn't go chasin' you folks. [Chuckles] Wouldn't go chasin' you folks. [Chuckles] [Laughter] [Chuckles] [Laughter] Gumball: hey, wait a minute. [Laughter] Gumball: hey, wait a minute. Dad: [laughs] Gumball: hey, wait a minute. Dad: [laughs] Mom: thank you for your dad: [laughs] Mom: thank you for your help, sir. Mom: thank you for your help, sir. Gumball: we're really sorry help, sir. Gumball: we're really sorry for thinking you were a psycho. Gumball: we're really sorry for thinking you were a psycho. [Laughs] For thinking you were a psycho. [Laughs] Gumball: you have to admit, [laughs] Gumball: you have to admit, you guys look like a bunch of gumball: you have to admit, you guys look like a bunch of weirdo mutants. You guys look like a bunch of weirdo mutants. I mean, the stuffed animals, the weirdo mutants. I mean, the stuffed animals, the screaming, the saw, your mom. I mean, the stuffed animals, the screaming, the saw, your mom. What did you just say about screaming, the saw, your mom. What did you just say about my mama? What did you just say about my mama? All: nothing! Bye! My mama? All: nothing! Bye! Mom: see? All: nothing! Bye! Mom: see? I told you I made it all up. Mom: see? I told you I made it all up. Darwin: yeah, we knew there's I told you I made it all up. Darwin: yeah, we knew there's no such thing as a haunted darwin: yeah, we knew there's no such thing as a haunted pickup truck. No such thing as a haunted pickup truck. Gumball: yeah, or a desert pickup truck. Gumball: yeah, or a desert monster. Gumball: yeah, or a desert monster. [Laughter] Monster. [Laughter] [Quacks]

{"type": "series", "show": "The Amazing World of Gumball", "episode": "03x09 & 03x10 - The Gripes; The Vacation"}

foreverdreaming

[Upbeat music plays] And today, we'll see record-high temperatures in elmore with a sweltering record-high temperatures in elmore with a sweltering elmore with a sweltering I guess the term is no longer I guess the term is no longer "global warming. " I guess the term is no longer "global warming. " It's "global burning. " "Global warming. " It's "global burning. " Gumball: dude, it's so hot it's "global burning. " Gumball: dude, it's so hot that I'm sweating this right gumball: dude, it's so hot that I'm sweating this right out. That I'm sweating this right out. Darwin: I don't have sweat out. Darwin: I don't have sweat glands. Darwin: I don't have sweat glands. Give me some! Glands. Give me some! Ahh! That's better. Give me some! Ahh! That's better. Gross, but better. Ahh! That's better. Gross, but better. Gumball: [sighs] Gross, but better. Gumball: [sighs] [Upbeat music plays in gumball: [sighs] [Upbeat music plays in distance] [Upbeat music plays in distance] Both: ice-cream truck! Distance] Both: ice-cream truck! Darwin: quick! He's not gonna both: ice-cream truck! Darwin: quick! He's not gonna be there for long! Darwin: quick! He's not gonna be there for long! Gumball: but I have no shoes! Be there for long! Gumball: but I have no shoes! I'm losing an inch with every gumball: but I have no shoes! I'm losing an inch with every step! I'm losing an inch with every step! [Laughing hysterically] Step! [Laughing hysterically] Darwin: stop! [Laughing hysterically] Darwin: stop! Gumball: what are you doing? ! Darwin: stop! Gumball: what are you doing? ! Just one, please. Gumball: what are you doing? ! Just one, please. There you go. Just one, please. There you go. Thanks. There you go. Thanks. Aah! Brain freeze! Thanks. Aah! Brain freeze! Ahh. Aah! Brain freeze! Ahh. Oh, wait. Ugh! Ugh! Ahh. Oh, wait. Ugh! Ugh! Gumball: come on, come on, oh, wait. Ugh! Ugh! Gumball: come on, come on, come on! Gumball: come on, come on, come on! Darwin: do something! Come on! Darwin: do something! I'm melting here! Darwin: do something! I'm melting here! Gumball: oh, come on! I'm melting here! Gumball: oh, come on! Don't exagerrate. Gumball: oh, come on! Don't exagerrate. Darwin: [groaning] Don't exagerrate. Darwin: [groaning] One ice cream, please, darwin: [groaning] One ice cream, please, good sir. One ice cream, please, good sir. Since you're such a polite good sir. Since you're such a polite boy and you guys are my last since you're such a polite boy and you guys are my last customers, this one's on the boy and you guys are my last customers, this one's on the house. Customers, this one's on the house. Mother, is it not ironic we house. Mother, is it not ironic we get free food when clearly we mother, is it not ironic we get free food when clearly we could afford to pay for it? Get free food when clearly we could afford to pay for it? [Both laugh] Could afford to pay for it? [Both laugh] Gumball: aah! That's it! [Both laugh] Gumball: aah! That's it! I'm crossing! Gumball: aah! That's it! I'm crossing! [Tires screech, siren wails] I'm crossing! [Tires screech, siren wails] Freeze, you hoodlums! [Tires screech, siren wails] Freeze, you hoodlums! Gumball: what for? ! Freeze, you hoodlums! Gumball: what for? ! Jaywalking. Gumball: what for? ! Jaywalking. Gumball: aw, give us a break, jaywalking. Gumball: aw, give us a break, man. Gumball: aw, give us a break, man. We just wanted an ice cream. Man. We just wanted an ice cream. [Upbeat music fades] We just wanted an ice cream. [Upbeat music fades] [Both groan] [Upbeat music fades] [Both groan] I don't care. [Both groan] I don't care. You're getting a ticket. I don't care. You're getting a ticket. Gumball: aw, man! You're getting a ticket. Gumball: aw, man! Really? Gumball: aw, man! Really? I'm sorry, but that's the really? I'm sorry, but that's the law, kid. I'm sorry, but that's the law, kid. Crime is a slippery slope. Law, kid. Crime is a slippery slope. If I turn a blind eye on the crime is a slippery slope. If I turn a blind eye on the smallest misdemeanor, before you if I turn a blind eye on the smallest misdemeanor, before you know it, the whole society falls smallest misdemeanor, before you know it, the whole society falls apart. Know it, the whole society falls apart. Especially in this heat. Apart. Especially in this heat. Gumball: well, I understand. Especially in this heat. Gumball: well, I understand. You're a cop. Gumball: well, I understand. You're a cop. I mean, it's obviously not your you're a cop. I mean, it's obviously not your job to be cool. I mean, it's obviously not your job to be cool. What do you mean "not cool"? Job to be cool. What do you mean "not cool"? All kids think cops are cool. What do you mean "not cool"? All kids think cops are cool. Darwin: mm, not really. All kids think cops are cool. Darwin: mm, not really. Gumball: yeah, we're more darwin: mm, not really. Gumball: yeah, we're more into privileged rap stars that gumball: yeah, we're more into privileged rap stars that pretend to be hard-core. Into privileged rap stars that pretend to be hard-core. That is ridiculous! Pretend to be hard-core. That is ridiculous! Cops are cool. That is ridiculous! Cops are cool. That's what I wanted to be when cops are cool. That's what I wanted to be when I was a kid. That's what I wanted to be when I was a kid. [Both inhale sharply] I was a kid. [Both inhale sharply] Okay. Get in the car. [Both inhale sharply] Okay. Get in the car. I'll show you. Okay. Get in the car. I'll show you. Gumball: hold on. I'll show you. Gumball: hold on. [Grunting] Gumball: hold on. [Grunting] What are you doing? [Grunting] What are you doing? Gumball: we're just what are you doing? Gumball: we're just pretending to be handcuffed. Gumball: we're just pretending to be handcuffed. Sorry. I just don't want anyone pretending to be handcuffed. Sorry. I just don't want anyone to think we're friends with you. Sorry. I just don't want anyone to think we're friends with you. And I want my phone call! To think we're friends with you. And I want my phone call! You mind pushing my head down? And I want my phone call! You mind pushing my head down? There's no jail that can hold you mind pushing my head down? There's no jail that can hold me! There's no jail that can hold me! Just get in. Me! Just get in. [Tires screech] Just get in. [Tires screech] Mother, thinketh you the heat [tires screech] Mother, thinketh you the heat that drove those two poor mother, thinketh you the heat that drove those two poor urchins to crime? That drove those two poor urchins to crime? No, dear. Urchins to crime? No, dear. It's public school. No, dear. It's public school. Darwin: dude, can you scratch it's public school. Darwin: dude, can you scratch my nose? Darwin: dude, can you scratch my nose? Gumball: [grunting] My nose? Gumball: [grunting] You're not handcuffed, and he gumball: [grunting] You're not handcuffed, and he doesn't have a nose. You're not handcuffed, and he doesn't have a nose. Gumball: oh, yeah, right. Doesn't have a nose. Gumball: oh, yeah, right. Uhso, what's so cool about gumball: oh, yeah, right. Uhso, what's so cool about being a cop? Uhso, what's so cool about being a cop? Well, I file a lot of being a cop? Well, I file a lot of reports, I write parking well, I file a lot of reports, I write parking tickets, I stop for lunch, I reports, I write parking tickets, I stop for lunch, I give some people directions, I tickets, I stop for lunch, I give some people directions, I file some more reports, I write give some people directions, I file some more reports, I write some parking tickets, I make a file some more reports, I write some parking tickets, I make a report on all the reports I've some parking tickets, I make a report on all the reports I've filed -- report on all the reports I've filed -- gumball: sorry. You were so filed -- gumball: sorry. You were so boring, and we thought the car gumball: sorry. You were so boring, and we thought the car was moving, and, uh boring, and we thought the car was moving, and, uh didn't expect to have to explain was moving, and, uh didn't expect to have to explain it. Didn't expect to have to explain it. Uh, please continue. It. Uh, please continue. [Sighs] Uh, please continue. [Sighs] Help me out here, guys. [Sighs] Help me out here, guys. What do I have to do to prove to help me out here, guys. What do I have to do to prove to you that cops are cool? What do I have to do to prove to you that cops are cool? Oh. You that cops are cool? Oh. [Siren wails] Oh. [Siren wails] Aah! [Siren wails] Aah! [Laughter] Aah! [Laughter] Gumball: see? It's not that [laughter] Gumball: see? It's not that hard to have a good time. Gumball: see? It's not that hard to have a good time. All you have to do is -- hard to have a good time. All you have to do is -- ah, sh**t! All you have to do is -- ah, sh**t! They're coming back down! Ah, sh**t! They're coming back down! Let's bail! They're coming back down! Let's bail! Unh! Let's bail! Unh! Aah! Unh! Aah! Gumball: oh, wait! Aah! Gumball: oh, wait! You forgot to drive through the gumball: oh, wait! You forgot to drive through the boxes! You forgot to drive through the boxes! Oh, yeah! Boxes! Oh, yeah! I always wanted to do that. Oh, yeah! I always wanted to do that. [Tires screech] I always wanted to do that. [Tires screech] [Laughter] [Tires screech] [Laughter] Gumball: so what other cool [laughter] Gumball: so what other cool stuff can you do? Gumball: so what other cool stuff can you do? I can commandeer any vehicle stuff can you do? I can commandeer any vehicle I want. I can commandeer any vehicle I want. Gumball: any vehicle? I want. Gumball: any vehicle? Anything. Gumball: any vehicle? Anything. Gumball: I guess I can't anything. Gumball: I guess I can't complain. Gumball: I guess I can't complain. It is a spaceship. Complain. It is a spaceship. I can make it more it is a spaceship. I can make it more interesting. I can make it more interesting. Darwin: ow? Interesting. Darwin: ow? [Electricity crackles] Darwin: ow? [Electricity crackles] Gumball: wh-o-o-o-o-oa! [Electricity crackles] Gumball: wh-o-o-o-o-oa! [Speaking indistinctly] Gumball: wh-o-o-o-o-oa! [Speaking indistinctly] Oh, no! And it hurts! [Speaking indistinctly] Oh, no! And it hurts! Oh, it hurts! Oh, no! And it hurts! Oh, it hurts! [Laughing] Oh, it hurts! [Laughing] Darwin: shh. [Laughing] Darwin: shh. Wussies. Darwin: shh. Wussies. Darwin: wow! I forgot you wussies. Darwin: wow! I forgot you guys had those. Darwin: wow! I forgot you guys had those. What else can you do with them? Guys had those. What else can you do with them? Well what else can you do with them? Well [taser crackling] Well [taser crackling] [Electricity crackles] [Taser crackling] [Electricity crackles] [Laughs] [Electricity crackles] [Laughs] [Laughter] [Laughs] [Laughter] Gumball: oh! [Laughter] Gumball: oh! [Both scream] Gumball: oh! [Both scream] [Taser crackling] [Both scream] [Taser crackling] [Laughter] [Taser crackling] [Laughter] [Taser crackling] [Laughter] [Taser crackling] [Both scream] [Taser crackling] [Both scream] [Taser crackling] [Both scream] [Taser crackling] [Laughter] [Taser crackling] [Laughter] [Taser crackling] [Laughter] [Taser crackling] Ta-da! [Taser crackling] Ta-da! [Alarm blaring] Ta-da! [Alarm blaring] [Taser crackling] [Both screaming] [Taser crackling] [Laughter] [Siren wails] Look, billy. Elmore's finest, risking their look, billy. Elmore's finest, risking their lives to protect our freedom. Elmore's finest, risking their lives to protect our freedom. [Siren chirps] Lives to protect our freedom. [Siren chirps] Both: that's the sound of law [siren chirps] Both: that's the sound of law enforcement! Both: that's the sound of law enforcement! [Siren chirps] Enforcement! [Siren chirps] Both: that's the sound of law [siren chirps] Both: that's the sound of law enforcement! Both: that's the sound of law enforcement! [Laughter] Enforcement! [Laughter] Gumball: oh, man, I take it [laughter] Gumball: oh, man, I take it all back. Gumball: oh, man, I take it all back. Cops are cool! All back. Cops are cool! Darwin: yeah, that was really cops are cool! Darwin: yeah, that was really fun. Darwin: yeah, that was really fun. Was? What do you mean "was"? Fun. Was? What do you mean "was"? We're just getting started! Was? What do you mean "was"? We're just getting started! [Tires screeching] We're just getting started! [Tires screeching] [Laughing hysterically] [Tires screeching] [Laughing hysterically] [Metal crunching] [Laughing hysterically] [Metal crunching] Did you see that? ! [Metal crunching] Did you see that? ! Gumball: dude, look at your did you see that? ! Gumball: dude, look at your car! Gumball: dude, look at your car! What are we gonna do? Car! What are we gonna do? Oh, that's not a problem what are we gonna do? Oh, that's not a problem for a cop! Oh, that's not a problem for a cop! Stop! I commandeer this vehicle! For a cop! Stop! I commandeer this vehicle! [Tires screeching] Unh! And that, sir, is exactly why you need to wear a seat belt. And that, sir, is exactly why you need to wear a seat belt. Come on, guys. You need to wear a seat belt. Come on, guys. Get in the car. Come on, guys. Get in the car. Gumball: uh, this doesn't get in the car. Gumball: uh, this doesn't feel right. Gumball: uh, this doesn't feel right. In the name of the law, get feel right. In the name of the law, get in the car! In the name of the law, get in the car! [Tires screeching] In the car! [Tires screeching] Help! Police! [Tires screeching] Help! Police! Unh! Help! Police! Unh! [Body thuds] Unh! [Body thuds] Uh, false alarm. [Body thuds] Uh, false alarm. [Tires screech] Uh, false alarm. [Tires screech] Help! Ambulance! [Tires screech] Help! Ambulance! [Both screaming] Help! Ambulance! [Both screaming] [Laughing hysterically] [Both screaming] [Laughing hysterically] Gumball: aaaaaaah! [Laughing hysterically] Gumball: aaaaaaah! It's red, it's red, it's red! Gumball: aaaaaaah! It's red, it's red, it's red! [Horns honking] It's red, it's red, it's red! [Horns honking] [Laughing] [Horns honking] [Laughing] Aah! [Laughing] Aah! Gumball: aah! Aah! Aah! Gumball: aah! Aah! Aaaaah! Gumball: aah! Aah! Aaaaah! Darwin: uh, I don't want to aaaaah! Darwin: uh, I don't want to be a buzz k*ll, but, uh, isn't darwin: uh, I don't want to be a buzz k*ll, but, uh, isn't all this a bit too much? Be a buzz k*ll, but, uh, isn't all this a bit too much? Gumball: I think what darwin all this a bit too much? Gumball: I think what darwin is politely trying to say is, gumball: I think what darwin is politely trying to say is, have you lost your gosh-darn is politely trying to say is, have you lost your gosh-darn mind? ! Have you lost your gosh-darn mind? ! [Laughing] Mind? ! [Laughing] [Both screaming] [Laughing] [Both screaming] Darn. I missed every single one [both screaming] Darn. I missed every single one of them. Darn. I missed every single one of them. [Laughing] Of them. [Laughing] Gumball: dude, I know you [laughing] Gumball: dude, I know you just want to show you're cool, gumball: dude, I know you just want to show you're cool, but where's the limit? Just want to show you're cool, but where's the limit? I mean, why not drive with your but where's the limit? I mean, why not drive with your eyes closed and your hands in I mean, why not drive with your eyes closed and your hands in the air, too? Eyes closed and your hands in the air, too? Ah! Great idea! The air, too? Ah! Great idea! Whoo-hoo! Ah! Great idea! Whoo-hoo! Gumball: no! Whoo-hoo! Gumball: no! Darwin: no, no! Gumball: no! Darwin: no, no! He was trying to use reverse darwin: no, no! He was trying to use reverse psychology! He was trying to use reverse psychology! Did someone say "reverse"? ! Psychology! Did someone say "reverse"? ! [Both screaming] [Camera shutter clicks] [Both screaming] Gumball: [grunting] [Both screaming] Gumball: [grunting] Please, I'm begging you! Gumball: [grunting] Please, I'm begging you! Someone's gonna get hurt unless please, I'm begging you! Someone's gonna get hurt unless you stop breaking the law! Someone's gonna get hurt unless you stop breaking the law! Ah, don't worry, kid. You stop breaking the law! Ah, don't worry, kid. Nothing can happen. Ah, don't worry, kid. Nothing can happen. I amthe law! Nothing can happen. I amthe law! [Laughing] I amthe law! [Laughing] [Engine revving] [Laughing] [Engine revving] [Both screaming] [Engine revving] [Both screaming] [Tires screeching] [Both screaming] [Tires screeching] Gumball: oh, thank gosh it's [tires screeching] Gumball: oh, thank gosh it's the old stroller full of trash gumball: oh, thank gosh it's the old stroller full of trash trick. The old stroller full of trash trick. [Baby cooing] Trick. [Baby cooing] [Crying] [Baby cooing] [Crying] Misuse of your police siren, [crying] Misuse of your police siren, unlawful discharge of your misuse of your police siren, unlawful discharge of your w*apon, absolute disregard for unlawful discharge of your w*apon, absolute disregard for traffic regulation, grand theft w*apon, absolute disregard for traffic regulation, grand theft auto, as*ault with a motorized traffic regulation, grand theft auto, as*ault with a motorized vehicle, baby bashing! Auto, as*ault with a motorized vehicle, baby bashing! My sand castle's got a jelly vehicle, baby bashing! My sand castle's got a jelly moat here, and there's no one to my sand castle's got a jelly moat here, and there's no one to scoop out the dice! Moat here, and there's no one to scoop out the dice! I'm bl*wing a fog horn, but the scoop out the dice! I'm bl*wing a fog horn, but the only thing coming out of it is I'm bl*wing a fog horn, but the only thing coming out of it is hot foam! Only thing coming out of it is hot foam! Am I making myself clear? ! Hot foam! Am I making myself clear? ! Gumball: n-n-n-not really. Am I making myself clear? ! Gumball: n-n-n-not really. I'm taking your badges. Gumball: n-n-n-not really. I'm taking your badges. Darwin: we don't work for the I'm taking your badges. Darwin: we don't work for the police. Darwin: we don't work for the police. Oh. Police. Oh. Then I'm taking your badge! Oh. Then I'm taking your badge! You're fired! Then I'm taking your badge! You're fired! [Sighs] You're fired! [Sighs] What is wrong with me? [Sighs] What is wrong with me? Gumball: don't blame what is wrong with me? Gumball: don't blame yourself, man. Gumball: don't blame yourself, man. Maybe it was the heat. Yourself, man. Maybe it was the heat. Darwin: if by heat you mean maybe it was the heat. Darwin: if by heat you mean you, gumball. Darwin: if by heat you mean you, gumball. Gumball: hey! You're the one you, gumball. Gumball: hey! You're the one who said he was about as cool as gumball: hey! You're the one who said he was about as cool as world music. Who said he was about as cool as world music. Darwin: I did. World music. Darwin: I did. That's all right, kid. Darwin: I did. That's all right, kid. It's true. That's all right, kid. It's true. Gumball: no, it isn't! It's true. Gumball: no, it isn't! Wait. Yeah, it is. Gumball: no, it isn't! Wait. Yeah, it is. But who will protect our wait. Yeah, it is. But who will protect our freedom? But who will protect our freedom? Who will make sure that society freedom? Who will make sure that society doesn't fall apart? Who will make sure that society doesn't fall apart? Who will keep the streets safe doesn't fall apart? Who will keep the streets safe for every man, woman, and child? Who will keep the streets safe for every man, woman, and child? Who will make sure that we never for every man, woman, and child? Who will make sure that we never lose control of our destiny? Who will make sure that we never lose control of our destiny? Not the cool hero we want but lose control of our destiny? Not the cool hero we want but the petty, uptight, and not the cool hero we want but the petty, uptight, and boring -- the petty, uptight, and boring -- darwin: [imitating trumpet] Gumball: you need to get your job back. Darwin: [imitates trumpet] Job back. Darwin: [imitates trumpet] [Sighs] Darwin: [imitates trumpet] [Sighs] No, I don't have it in me. [Sighs] No, I don't have it in me. Gumball: well, what if no, I don't have it in me. Gumball: well, what if someone were tojaywalk? Gumball: well, what if someone were tojaywalk? Eh, it wouldn't matter. Someone were tojaywalk? Eh, it wouldn't matter. Gumball: wouldn't it? Eh, it wouldn't matter. Gumball: wouldn't it? I remember a certain pastry who gumball: wouldn't it? I remember a certain pastry who once told me that if one turns a I remember a certain pastry who once told me that if one turns a blind eye on the smallest once told me that if one turns a blind eye on the smallest misdemeanor, before you know it, blind eye on the smallest misdemeanor, before you know it, the whole of society falls misdemeanor, before you know it, the whole of society falls apart. The whole of society falls apart. Really? Jaywalking right in apart. Really? Jaywalking right in front of the police? ! Really? Jaywalking right in front of the police? ! Isn't there any law left in this front of the police? ! Isn't there any law left in this town? ! Isn't there any law left in this town? ! Gumball: huh? Town? ! Gumball: huh? Well, if that's the way it gumball: huh? Well, if that's the way it is, why should I pay for this well, if that's the way it is, why should I pay for this ice cream, huh? ! Is, why should I pay for this ice cream, huh? ! Why don't I just help myself? ! Ice cream, huh? ! Why don't I just help myself? ! Why don't I just take the whole why don't I just help myself? ! Why don't I just take the whole darn truck? ! Why don't I just take the whole darn truck? ! Ohh! Ohh! Darn truck? ! Ohh! Ohh! Why don't I just upset who I ohh! Ohh! Why don't I just upset who I like? ! Why don't I just upset who I like? ! Gumball: well, that got out like? ! Gumball: well, that got out of hand quickly. Gumball: well, that got out of hand quickly. I mean, since there's of hand quickly. I mean, since there's obviously no law in this town, I mean, since there's obviously no law in this town, why don't I take a nice drive obviously no law in this town, why don't I take a nice drive right through the park? ! Why don't I take a nice drive right through the park? ! Why don't I just keep on driving right through the park? ! Why don't I just keep on driving until I run someone over? ! Why don't I just keep on driving until I run someone over? ! [Both scream] Until I run someone over? ! [Both scream] Gumball: [panting] [Both scream] Gumball: [panting] We need a vehicle! Gumball: [panting] We need a vehicle! Darwin: there! We need a vehicle! Darwin: there! [Baby laughs] Darwin: there! [Baby laughs] Gumball: is this really the [baby laughs] Gumball: is this really the best we could do? ! Gumball: is this really the best we could do? ! Just step on it and put the best we could do? ! Just step on it and put the siren on! Just step on it and put the siren on! Darwin: whoo! Whoo! Whoo! Siren on! Darwin: whoo! Whoo! Whoo! Whoo! Whoo! Whoo! Darwin: whoo! Whoo! Whoo! Whoo! Whoo! Whoo! Disregard for everyone's whoo! Whoo! Whoo! Disregard for everyone's health and safety? ! Disregard for everyone's health and safety? ! Darwin: whoo! Whoo! Whoo! Health and safety? ! Darwin: whoo! Whoo! Whoo! Get out of the way, dough darwin: whoo! Whoo! Whoo! Get out of the way, dough boy! Get out of the way, dough boy! Gumball: aah! Watch out! Boy! Gumball: aah! Watch out! No! I've had it with people gumball: aah! Watch out! No! I've had it with people using their strollers like no! I've had it with people using their strollers like w*apon to push people out of using their strollers like w*apon to push people out of their way! w*apon to push people out of their way! For once, you can go arou-- their way! For once, you can go arou-- why don't I run over this for once, you can go arou-- why don't I run over this beautiful lawn, and the why don't I run over this beautiful lawn, and the pull over! Beautiful lawn, and the pull over! Disregard for mother pull over! Disregard for mother nature! Disregard for mother nature! Pull over, lady! [Both screaming] She's head for the gate! [All coughing] She's head for the gate! [All coughing] Okay. She asked for it. [All coughing] Okay. She asked for it. Get behind her! Okay. She asked for it. Get behind her! Yaah! Get behind her! Yaah! [Tires screeching] Yaah! [Tires screeching] [Off-key notes play] [Tires screeching] [Off-key notes play] Wicked! Ice-cream truck! [Off-key notes play] Wicked! Ice-cream truck! Commissioner, look out! Wicked! Ice-cream truck! Commissioner, look out! Don't move! Commissioner, look out! Don't move! You should've done your job when don't move! You should've done your job when you had the chance. You should've done your job when you had the chance. One more step and the you had the chance. One more step and the commissioner kicks his own one more step and the commissioner kicks his own bucket! Commissioner kicks his own bucket! Please don't! Bucket! Please don't! I have a wife and three nuggets please don't! I have a wife and three nuggets to feed! I have a wife and three nuggets to feed! Gumball: come on, man -- do to feed! Gumball: come on, man -- do something. Gumball: come on, man -- do something. I can't! Something. I can't! I can't think of any lame puns. I can't! I can't think of any lame puns. And I'm not a cop anymore. I can't think of any lame puns. And I'm not a cop anymore. Yes, you are. And I'm not a cop anymore. Yes, you are. [Both imitate dramatic music yes, you are. [Both imitate dramatic music playing] Aah! Aah! [Dramatic music continues] [Dramatic music continues] You just got iced. [Dramatic music continues] [Cheers and applause] [Dramatic music continues] [Cheers and applause] Well, like I've always said, [cheers and applause] Well, like I've always said, when the potato chips are down, well, like I've always said, when the potato chips are down, the hash come out to brown. When the potato chips are down, the hash come out to brown. Gumball: can we take these the hash come out to brown. Gumball: can we take these off, please? Gumball: can we take these off, please? It's like a million degrees out off, please? It's like a million degrees out here. It's like a million degrees out here. No, you're in shock. Here. No, you're in shock. Gumball: can we at least have no, you're in shock. Gumball: can we at least have an ice cream? Gumball: can we at least have an ice cream? Darwin: what are you gonna do an ice cream? Darwin: what are you gonna do with her? Darwin: what are you gonna do with her? I'll do what any cool cop with her? I'll do what any cool cop would do and let her off with a I'll do what any cool cop would do and let her off with a warning. Would do and let her off with a warning. Gumball: are you kidding me? ! Warning. Gumball: are you kidding me? ! That woman is a menace to gumball: are you kidding me? ! That woman is a menace to society! That woman is a menace to society! She's an absolute psychopathic society! She's an absolute psychopathic criminal! She's an absolute psychopathic criminal! Ah. Too cool? [Both grunting] Gumball: [thinking] First, distract target. Gumball: [thinking] First, distract target. Look! Behind you! Distract target. Look! Behind you! Your butt! Look! Behind you! Your butt! [Thinking] Then disorientate. Your butt! [Thinking] Then disorientate. Adopt a 90-degree evasion. [Thinking] Then disorientate. Adopt a 90-degree evasion. Uppercut. Adopt a 90-degree evasion. Uppercut. And disarm. Uppercut. And disarm. Discombobulate. And disarm. Discombobulate. Wait. I have no idea what that discombobulate. Wait. I have no idea what that means. Wait. I have no idea what that means. Just double-bonk him on the head means. Just double-bonk him on the head real hard. Just double-bonk him on the head real hard. Darwin: ooh! Real hard. Darwin: ooh! Gumball: employ rabbit block darwin: ooh! Gumball: employ rabbit block and strike. Gumball: employ rabbit block and strike. Enemy disarmed, confused -- and strike. Enemy disarmed, confused -- ready for the coup de grace. Enemy disarmed, confused -- ready for the coup de grace. Deliver final quip. Ready for the coup de grace. Deliver final quip. Time to h*t the sack, literally. Deliver final quip. Time to h*t the sack, literally. [Thinking] A formidable plan. Time to h*t the sack, literally. [Thinking] A formidable plan. Commence att*ck. [Thinking] A formidable plan. Commence att*ck. Anais: hyah! Commence att*ck. Anais: hyah! [Laughter] Anais: hyah! [Laughter] Mom: what are you doing? ! [Laughter] Mom: what are you doing? ! You're going to miss the school mom: what are you doing? ! You're going to miss the school bus! You're going to miss the school bus! [Horn honking] Bus! [Horn honking] [Gasps] [Horn honking] [Gasps] [Thinking] Okay. Plan of [gasps] [Thinking] Okay. Plan of att*ck -- kick chair through the [thinking] Okay. Plan of att*ck -- kick chair through the window, grab the two boys, twirl att*ck -- kick chair through the window, grab the two boys, twirl three times to generate speed, window, grab the two boys, twirl three times to generate speed, release at an exact 78-degree three times to generate speed, release at an exact 78-degree angle, throw the boys through release at an exact 78-degree angle, throw the boys through the window directly into the angle, throw the boys through the window directly into the school bus, preserve reputation the window directly into the school bus, preserve reputation for punctuality, deliver clever school bus, preserve reputation for punctuality, deliver clever mom quip. For punctuality, deliver clever mom quip. What? Mom quip. What? Where are they? What? Where are they? [Door opens, closes] Where are they? [Door opens, closes] Anais: I think you lost them [door opens, closes] Anais: I think you lost them at throw them through the anais: I think you lost them at throw them through the window. At throw them through the window. Mom: [sighs] Window. Mom: [sighs] Anais: all right. Mom: [sighs] Anais: all right. What was your quip? Anais: all right. What was your quip? Mom: [breathes deeply] What was your quip? Mom: [breathes deeply] You just got bus-ted. Mom: [breathes deeply] You just got bus-ted. Anais: meh. Would've been you just got bus-ted. Anais: meh. Would've been better if you'd said, "you just anais: meh. Would've been better if you'd said, "you just got schooled. " Better if you'd said, "you just got schooled. " Mom: you just got -- got schooled. " Mom: you just got -- anais: it's too late now. Mom: you just got -- anais: it's too late now. Mom: [sighs] Anais: it's too late now. Mom: [sighs] [School bell rings] Mom: [sighs] [School bell rings] Darwin: [sneezes] [School bell rings] Darwin: [sneezes] [High-pitched sneeze] Darwin: [sneezes] [High-pitched sneeze] Gumball: dude, what is that? [High-pitched sneeze] Gumball: dude, what is that? You've been doing it all gumball: dude, what is that? You've been doing it all morning. You've been doing it all morning. Darwin: [sneezes] Morning. Darwin: [sneezes] Sneezing. Can't you tell? Darwin: [sneezes] Sneezing. Can't you tell? Gumball: not really. Sneezing. Can't you tell? Gumball: not really. You sound like the world's gumball: not really. You sound like the world's angriest baby. You sound like the world's angriest baby. What's wrong with you? Angriest baby. What's wrong with you? Darwin: my throat is itchy. What's wrong with you? Darwin: my throat is itchy. Ah-choo! Darwin: my throat is itchy. Ah-choo! My breath is wheezy. Ah-choo! My breath is wheezy. Ah-choo! My breath is wheezy. Ah-choo! My eyes are watery. Ah-choo! My eyes are watery. Ah-choo! My eyes are watery. Ah-choo! Gumball: mm. Sounds like ah-choo! Gumball: mm. Sounds like worms. Gumball: mm. Sounds like worms. I think you've got worms. Worms. I think you've got worms. Just squat over a bowl of milk I think you've got worms. Just squat over a bowl of milk and whistle till they come out. Just squat over a bowl of milk and whistle till they come out. Darwin: no, dude, I think I'm and whistle till they come out. Darwin: no, dude, I think I'm allergic to something. Darwin: no, dude, I think I'm allergic to something. Gumball: don't worry, my allergic to something. Gumball: don't worry, my friend. Gumball: don't worry, my friend. Whatever it is, we will find it, friend. Whatever it is, we will find it, and we will not rest until we whatever it is, we will find it, and we will not rest until we find you a cure! And we will not rest until we find you a cure! And you will be rid of this find you a cure! And you will be rid of this terrible affliction! And you will be rid of this terrible affliction! I promise! Terrible affliction! I promise! [Video game playing] I promise! [Video game playing] Darwin: so? When? [Video game playing] Darwin: so? When? Gumball: huh? "When" what? Darwin: so? When? Gumball: huh? "When" what? Darwin: ah-choo! Gumball: huh? "When" what? Darwin: ah-choo! [Video game crashes] Darwin: ah-choo! [Video game crashes] Gumball: oh. That. [Video game crashes] Gumball: oh. That. Well, now, I guess. Gumball: oh. That. Well, now, I guess. So, the symptoms are a weird, well, now, I guess. So, the symptoms are a weird, empty sensation in my stomach, a so, the symptoms are a weird, empty sensation in my stomach, a feeling of lightheadedness, and empty sensation in my stomach, a feeling of lightheadedness, and an unusual amount of saliva in feeling of lightheadedness, and an unusual amount of saliva in my mouth when I think of food. An unusual amount of saliva in my mouth when I think of food. I checked on the internet, and my mouth when I think of food. I checked on the internet, and apparently, it might be I checked on the internet, and apparently, it might be something called the g-virus, apparently, it might be something called the g-virus, which can only be cured by something called the g-virus, which can only be cured by cutting off the infected part or which can only be cured by cutting off the infected part or the removal of the brain. Cutting off the infected part or the removal of the brain. Hmm. I'm gonna prescribe two the removal of the brain. Hmm. I'm gonna prescribe two weeks off and a couple of heavy hmm. I'm gonna prescribe two weeks off and a couple of heavy sedatives a day for six weeks. Weeks off and a couple of heavy sedatives a day for six weeks. Ah! Thank you! Sedatives a day for six weeks. Ah! Thank you! No, that's for me. Ah! Thank you! No, that's for me. What you described is called no, that's for me. What you described is called being hungry. What you described is called being hungry. Now, for the last time, please being hungry. Now, for the last time, please get out of my office so I can now, for the last time, please get out of my office so I can curl up under my desk and revise get out of my office so I can curl up under my desk and revise my career choices. Curl up under my desk and revise my career choices. But I told you, I need -- my career choices. But I told you, I need -- gumball: hi. Darwin can't but I told you, I need -- gumball: hi. Darwin can't stop snee-- gumball: hi. Darwin can't stop snee-- but I was here first! Stop snee-- but I was here first! Just a sec. But I was here first! Just a sec. [Muffled speaking] Just a sec. [Muffled speaking] How can I help you? [Muffled speaking] How can I help you? Darwin: ah-choo! How can I help you? Darwin: ah-choo! Right. Sounds like a simply darwin: ah-choo! Right. Sounds like a simply allergy. Right. Sounds like a simply allergy. Just hold it in and get back to allergy. Just hold it in and get back to class. Just hold it in and get back to class. Darwin: oh, okay. Class. Darwin: oh, okay. [Inhales sharply] Darwin: oh, okay. [Inhales sharply] [Muffled speaking] [Inhales sharply] [Muffled speaking] You should never hold in a [muffled speaking] You should never hold in a sneeze! You should never hold in a sneeze! It's very dangerous. Sneeze! It's very dangerous. You could pop a blood vessel or it's very dangerous. You could pop a blood vessel or even worse. You could pop a blood vessel or even worse. Gumball: is she right? Even worse. Gumball: is she right? What she is, is a pain in the gumball: is she right? What she is, is a pain in the neck who makes my job a what she is, is a pain in the neck who makes my job a nightmare. Neck who makes my job a nightmare. If you have a pain in the nightmare. If you have a pain in the neck, you should really consult if you have a pain in the neck, you should really consult a medical professional. Neck, you should really consult a medical professional. Darwin: ah-choo! A medical professional. Darwin: ah-choo! Vertebrae may have darwin: ah-choo! Vertebrae may have slipped out of alignment, which vertebrae may have slipped out of alignment, which could be a sign of something slipped out of alignment, which could be a sign of something have a nice day. Could be a sign of something have a nice day. Gumball: aren't you supposed have a nice day. Gumball: aren't you supposed to take care of kids who are gumball: aren't you supposed to take care of kids who are ill. To take care of kids who are ill. Have a nice day! Ill. Have a nice day! Gumball: but we still don't have a nice day! Gumball: but we still don't know what he's allergic to. Gumball: but we still don't know what he's allergic to. Have a nice day! Know what he's allergic to. Have a nice day! Gumball: I feel like you're have a nice day! Gumball: I feel like you're trying to tell us something. Gumball: I feel like you're trying to tell us something. Have a nice -- trying to tell us something. Have a nice -- darwin: ah-choo! Have a nice -- darwin: ah-choo! Gumball: [sighs] Darwin: ah-choo! Gumball: [sighs] I'll never know what she was gumball: [sighs] I'll never know what she was gonna say now. I'll never know what she was gonna say now. Darwin: what are we gonna do? Gonna say now. Darwin: what are we gonna do? Gumball: hmm. We're gonna darwin: what are we gonna do? Gumball: hmm. We're gonna need to find an alternative to gumball: hmm. We're gonna need to find an alternative to traditional medicine. Need to find an alternative to traditional medicine. [Door slams] Traditional medicine. [Door slams] [Footsteps approaching] [Door slams] [Footsteps approaching] [Panting] [Footsteps approaching] [Panting] [Breathing heavily] [Panting] [Breathing heavily] Did I hear someone talk about [breathing heavily] Did I hear someone talk about alternative medicine? Did I hear someone talk about alternative medicine? Alternative medicines are often alternative medicine? Alternative medicines are often ridiculed for being a bunch of alternative medicines are often ridiculed for being a bunch of magic baloney practiced by a ridiculed for being a bunch of magic baloney practiced by a g*ng of almost criminal bozos. Magic baloney practiced by a g*ng of almost criminal bozos. But look at me. g*ng of almost criminal bozos. But look at me. You can tell right away it is no but look at me. You can tell right away it is no laughing matter. You can tell right away it is no laughing matter. Gumball: yeah, it's laughing matter. Gumball: yeah, it's definitely a bit sad. Gumball: yeah, it's definitely a bit sad. So, the plan is to clean your definitely a bit sad. So, the plan is to clean your energy by absorbing the toxins so, the plan is to clean your energy by absorbing the toxins with the power of this energy by absorbing the toxins with the power of this unbreakable crystal. With the power of this unbreakable crystal. The power of these two unbreakable crystal. The power of these two unbreakable crystals. The power of these two unbreakable crystals. Gumball: how does that work? Unbreakable crystals. Gumball: how does that work? Mm. I don't know. Gumball: how does that work? Mm. I don't know. The magazine this came with went mm. I don't know. The magazine this came with went bankrupt after two editions. The magazine this came with went bankrupt after two editions. I'll just, uh, do this. Bankrupt after two editions. I'll just, uh, do this. Darwin: [groans] I'll just, uh, do this. Darwin: [groans] How does that feel? Darwin: [groans] How does that feel? Darwin: good. I think -- how does that feel? Darwin: good. I think -- ah-choo! Darwin: good. I think -- ah-choo! Unh! Ah-choo! Unh! [Body thuds] Unh! [Body thuds] I'm not okay! [Body thuds] I'm not okay! Don't worry! I'm not okay! Don't worry! I've got a diploma in the don't worry! I've got a diploma in the ancient art of acupuncture. I've got a diploma in the ancient art of acupuncture. Gumball: really? Ancient art of acupuncture. Gumball: really? Yeah, I bought it on the gumball: really? Yeah, I bought it on the internet. Yeah, I bought it on the internet. It came with a scuba-diving internet. It came with a scuba-diving license and a dog-breeding it came with a scuba-diving license and a dog-breeding permit. License and a dog-breeding permit. Darwin: ow! Eee! Ohh! Permit. Darwin: ow! Eee! Ohh! Argh! Not there! Darwin: ow! Eee! Ohh! Argh! Not there! Ohh! Argh! Not there! Ohh! Gumball: well, on a pain ohh! Gumball: well, on a pain scale of 1 to 10, this looks gumball: well, on a pain scale of 1 to 10, this looks like it would score at least, scale of 1 to 10, this looks like it would score at least, uh"somebody please finish me like it would score at least, uh"somebody please finish me off. Uh"somebody please finish me off. Every second of my tragic off. Every second of my tragic existence is pure agony. " Every second of my tragic existence is pure agony. " Don't worry. Existence is pure agony. " Don't worry. Acupuncture is completely don't worry. Acupuncture is completely painless. Acupuncture is completely painless. Darwin: you're right. Painless. Darwin: you're right. I can't feel painor anything darwin: you're right. I can't feel painor anything from the neck down. I can't feel painor anything from the neck down. Yeah, I couldn't remember the from the neck down. Yeah, I couldn't remember the exact energy points I need to yeah, I couldn't remember the exact energy points I need to strike, so better safe than exact energy points I need to strike, so better safe than sorry. Strike, so better safe than sorry. But, hey! Sorry. But, hey! At least it worked. But, hey! At least it worked. You haven't sneezed for a whol-- at least it worked. You haven't sneezed for a whol-- darwin: ah-choo! You haven't sneezed for a whol-- darwin: ah-choo! [Deflating] Darwin: ah-choo! [Deflating] Gumball: uh, I can smell [deflating] Gumball: uh, I can smell dancing and taste purple. Gumball: uh, I can smell dancing and taste purple. Are there gonna be any more side dancing and taste purple. Are there gonna be any more side effects? Are there gonna be any more side effects? [Speaking foreign language] Effects? [Speaking foreign language] I'm sorry. [Speaking foreign language] I'm sorry. What I meant to say was I'm sorry. What I meant to say was ugh! What I meant to say was ugh! Darwin: ah-choo! Ugh! Darwin: ah-choo! Ah-choo! Darwin: ah-choo! Ah-choo! Ah-choo! Ah-choo! Ah-choo! Gumball: yeah, I think the ah-choo! Gumball: yeah, I think the best thing to do is just ignore gumball: yeah, I think the best thing to do is just ignore it. Best thing to do is just ignore it. I mean, how bad can it get? It. I mean, how bad can it get? [Grunting] I mean, how bad can it get? [Grunting] Do you have any 9s? [Grunting] Do you have any 9s? Darwin: no. Ah-choo! Do you have any 9s? Darwin: no. Ah-choo! [Body thuds] Darwin: no. Ah-choo! [Body thuds] Go fish. [Body thuds] Go fish. Gumball: it's the other go fish. Gumball: it's the other people that I'm worried about. Gumball: it's the other people that I'm worried about. I think your allergy is starting people that I'm worried about. I think your allergy is starting to seriously get on their I think your allergy is starting to seriously get on their nerves. To seriously get on their nerves. Darwin: ah-choo! Nerves. Darwin: ah-choo! What do you mean? Darwin: ah-choo! What do you mean? So annoying. What do you mean? So annoying. Darwin: ah-choo! So annoying. Darwin: ah-choo! Ah-choo! Darwin: ah-choo! Ah-choo! Aah! Ah-choo! Aah! I'm lactose intolerant! Aah! I'm lactose intolerant! Uh, probably. I'm lactose intolerant! Uh, probably. Hmm. Uh, probably. Hmm. Darwin: ah-choo! Hmm. Darwin: ah-choo! Aah! Darwin: ah-choo! Aah! [Body thuds] Darwin: ahhh-choo! [Body thuds] That hurt! [Body thuds] That hurt! Gumball: I can't believe you that hurt! Gumball: I can't believe you were suspended for being too gumball: I can't believe you were suspended for being too dangerous. Were suspended for being too dangerous. Dad: well, I can't believe dangerous. Dad: well, I can't believe you just ditched school without dad: well, I can't believe you just ditched school without a proper excuse. You just ditched school without a proper excuse. Gumball: well, we are all in a proper excuse. Gumball: well, we are all in this together. Gumball: well, we are all in this together. If darwin gets to skip class, this together. If darwin gets to skip class, then so do i. If darwin gets to skip class, then so do i. Darwin: I thought this was then so do i. Darwin: I thought this was about finding what I'm allergic darwin: I thought this was about finding what I'm allergic to. About finding what I'm allergic to. Gumball: yes, that, as well. To. Gumball: yes, that, as well. Anais: well, he's been gumball: yes, that, as well. Anais: well, he's been hanging around with you all day, anais: well, he's been hanging around with you all day, so maybe he's allergic to hanging around with you all day, so maybe he's allergic to stupidity. So maybe he's allergic to stupidity. Gumball: hey! It's not nice stupidity. Gumball: hey! It's not nice to be mean about people's gumball: hey! It's not nice to be mean about people's stupidity! To be mean about people's stupidity! But I'm gonna calm down now stupidity! But I'm gonna calm down now because, now that I think about but I'm gonna calm down now because, now that I think about it, that's actually quite a good because, now that I think about it, that's actually quite a good theory! It, that's actually quite a good theory! Anais: uh, is it? Theory! Anais: uh, is it? Gumball: well, yeah. Anais: uh, is it? Gumball: well, yeah. It all started with that stupid gumball: well, yeah. It all started with that stupid pillow fight. It all started with that stupid pillow fight. Darwin: and the more people pillow fight. Darwin: and the more people gave me stupid solutions, the darwin: and the more people gave me stupid solutions, the worse it got. Gave me stupid solutions, the worse it got. Anais: hmm. Worse it got. Anais: hmm. There must be a way to prove anais: hmm. There must be a way to prove this. There must be a way to prove this. But how? This. But how? Dad: hey, guys, do you but how? Dad: hey, guys, do you sometimes wonder what tree does dad: hey, guys, do you sometimes wonder what tree does cheese come from? Sometimes wonder what tree does cheese come from? Darwin: ah-choo! Cheese come from? Darwin: ah-choo! Anais: now we're sure. Darwin: ah-choo! Anais: now we're sure. Mom: okay, we need to come up anais: now we're sure. Mom: okay, we need to come up with a plan, but please, no more mom: okay, we need to come up with a plan, but please, no more stupid ideas. With a plan, but please, no more stupid ideas. I don't think this house can stupid ideas. I don't think this house can take it. I don't think this house can take it. Or any other house, for that take it. Or any other house, for that matter. Or any other house, for that matter. Gumball, please think before you matter. Gumball, please think before you speak. Gumball, please think before you speak. Gumball: what if we -- speak. Gumball: what if we -- darwin: ah-choo! Gumball: what if we -- darwin: ah-choo! [Both coughing] Darwin: ah-choo! [Both coughing] Gumball: what the what? [Both coughing] Gumball: what the what? Dude, I didn't even finish my gumball: what the what? Dude, I didn't even finish my sentence! Dude, I didn't even finish my sentence! Darwin: sorry. I anticipated. Sentence! Darwin: sorry. I anticipated. Anais: it was bound to be darwin: sorry. I anticipated. Anais: it was bound to be stupid. Anais: it was bound to be stupid. Gumball: hey! We're in a stupid. Gumball: hey! We're in a democracy here! Gumball: hey! We're in a democracy here! Can I get a chance to speak, democracy here! Can I get a chance to speak, please? Can I get a chance to speak, please? Anais: [sighs] Please? Anais: [sighs] Gumball: what if he sneezed anais: [sighs] Gumball: what if he sneezed upwards? Gumball: what if he sneezed upwards? Nothing would get damaged. Upwards? Nothing would get damaged. Darwin: ah-choo! Nothing would get damaged. Darwin: ah-choo! Anais: I knew it. Darwin: ah-choo! Anais: I knew it. Gumball: [grumbles] Anais: I knew it. Gumball: [grumbles] Mom: come on. You're the one gumball: [grumbles] Mom: come on. You're the one with all the good genes. Mom: come on. You're the one with all the good genes. What should we do? With all the good genes. What should we do? Anais: let's move to the what should we do? Anais: let's move to the desert. Anais: let's move to the desert. There's nothing to destroy desert. There's nothing to destroy there. There's nothing to destroy there. Mom: all right, we're not there. Mom: all right, we're not gonna talk. Mom: all right, we're not gonna talk. We're just going to listen to gonna talk. We're just going to listen to the radio. We're just going to listen to the radio. Worried about your weight? The radio. Worried about your weight? Try h2low, our new diet water. Worried about your weight? Try h2low, our new diet water. Twice the taste, half the waste. Try h2low, our new diet water. Twice the taste, half the waste. Sighs. Twice the taste, half the waste. Sighs. Anais: diet water? Sighs. Anais: diet water? That sounds completely stu-- anais: diet water? That sounds completely stu-- darwin: ah-choo! That sounds completely stu-- darwin: ah-choo! Gumball: I guess we'll be darwin: ah-choo! Gumball: I guess we'll be walking. Gumball: I guess we'll be walking. Darwin: ah-choo! Walking. Darwin: ah-choo! Gumball: or running. Darwin: ah-choo! Gumball: or running. Come on, man! Gumball: or running. Come on, man! Darwin: ah-choo! Come on, man! Darwin: ah-choo! [Both grunting] Darwin: ah-choo! [Both grunting] Ah-choo! [Both grunting] Ah-choo! Ah-choo! Ah-choo! Ah-choo! Anais: let's try the other ah-choo! Anais: let's try the other way around. Anais: let's try the other way around. Darwin: ah-choo! Way around. Darwin: ah-choo! Gumball: hey, that was a darwin: ah-choo! Gumball: hey, that was a pretty good trick, man! Gumball: hey, that was a pretty good trick, man! Try sneezing down! Pretty good trick, man! Try sneezing down! That should propel us straight try sneezing down! That should propel us straight out of town. That should propel us straight out of town. Darwin: a-h-h-h-choo! Gumball: even I admit that was a stupid idea. Anais: and it's gonna get was a stupid idea. Anais: and it's gonna get worse! Anais: and it's gonna get worse! R-u-u-u-un! [Horn honking] Gumball: quick! Let's run away as fast as we can in a gumball: quick! Let's run away as fast as we can in a straight line! Away as fast as we can in a straight line! [All screaming] Anais: I don't know what was more stupid -- the fact that that was your solution or that more stupid -- the fact that that was your solution or that we chose to follow you. That was your solution or that we chose to follow you. Darwin: ah-ah we chose to follow you. Darwin: ah-ah gumball: I think it was more darwin: ah-ah gumball: I think it was more stupid that you pointed it out. Gumball: I think it was more stupid that you pointed it out. Anais: no! Don't do it there! Stupid that you pointed it out. Anais: no! Don't do it there! Darwin: ah-ah anais: no! Don't do it there! Darwin: ah-ah darwin: ah darwin: ah-ah darwin: ah gumball: we need to choose! Darwin: ah gumball: we need to choose! Darwin: go for the panda! Gumball: we need to choose! Darwin: go for the panda! They've given up on life anyway! Darwin: go for the panda! They've given up on life anyway! Anais: guys, over here! They've given up on life anyway! Anais: guys, over here! Darwin: ah-ah-ah-choo! [Both sigh] Gumball: that was close. Good job, team. Gumball: that was close. Good job, team. [Cats meowing] Good job, team. [Cats meowing] Anais: come on, darwin! [Cats meowing] Anais: come on, darwin! We're almost out of town! Anais: come on, darwin! We're almost out of town! Gumball: just as long as we we're almost out of town! Gumball: just as long as we don't bump into some stupid gumball: just as long as we don't bump into some stupid obstacle again! Don't bump into some stupid obstacle again! Oh, hey, guys. Obstacle again! Oh, hey, guys. Did you know that -- oh, hey, guys. Did you know that -- gumball: don't! Trust me. Did you know that -- gumball: don't! Trust me. It's for your own safety. Gumball: don't! Trust me. It's for your own safety. But I just -- it's for your own safety. But I just -- gumball: no, no, no, no! But I just -- gumball: no, no, no, no! Don't speak! Don't say a thing! Gumball: no, no, no, no! Don't speak! Don't say a thing! He's really dangerous. Don't speak! Don't say a thing! He's really dangerous. One stupid word and you could he's really dangerous. One stupid word and you could all get blown off to the other one stupid word and you could all get blown off to the other side of the specific ocean. All get blown off to the other side of the specific ocean. Anais: did you just say side of the specific ocean. Anais: did you just say "specific ocean"? Anais: did you just say "specific ocean"? [Sighs] "Specific ocean"? [Sighs] Darwin: ah-ah-ah [bird screeches] [All breathing heavily] Gumball: yay! We made it! Darwin: stop! I'm gonna continue alone. Darwin: stop! I'm gonna continue alone. Gumball: what? ! Why? ! I'm gonna continue alone. Gumball: what? ! Why? ! Darwin: because I love you! Gumball: what? ! Why? ! Darwin: because I love you! But -- but -- darwin: because I love you! But -- but -- anais: but you're a but -- but -- anais: but you're a slack-jawed, pea-brained dimwit, anais: but you're a slack-jawed, pea-brained dimwit, and you'll always be in danger slack-jawed, pea-brained dimwit, and you'll always be in danger of getting your head blown off and you'll always be in danger of getting your head blown off every time you open your mouth of getting your head blown off every time you open your mouth around him. Every time you open your mouth around him. Gumball: I'm not going around him. Gumball: I'm not going anywhere, man! Gumball: I'm not going anywhere, man! Darwin: go! Anywhere, man! Darwin: go! Gumball: ow! Darwin: go! Gumball: ow! Darwin: just go! Gumball: ow! Darwin: just go! Gumball: ow! Darwin: just go! Gumball: ow! Darwin: I don't want to hurt gumball: ow! Darwin: I don't want to hurt you! Darwin: I don't want to hurt you! Gumball: well, stop throwing you! Gumball: well, stop throwing stones at me, then! Gumball: well, stop throwing stones at me, then! Darwin: but what are you stones at me, then! Darwin: but what are you gonna do if I sneeze again? Darwin: but what are you gonna do if I sneeze again? [Crying] Gonna do if I sneeze again? [Crying] Gumball: then I will be [crying] Gumball: then I will be ready! Gumball: then I will be ready! Darwin: ah-ah-ah-ah-- ready! Darwin: ah-ah-ah-ah-- run! Darwin: ah-ah-ah-ah-- run! Gumball: we can take it! Run! Gumball: we can take it! We're your fami-- gumball: we can take it! We're your fami-- uh we're your fami-- uh what are you doing? ! Uh what are you doing? ! Anais: well, I'm avoiding the what are you doing? ! Anais: well, I'm avoiding the blast. Anais: well, I'm avoiding the blast. Darwin: ah-chooooooooooo! Blast. Darwin: ah-chooooooooooo! [Cow moos] Darwin: ah-chooooooooooo! [Cow moos] Gumball: [groaning] Darwin: oh. I feel great! Gumball: [groaning] Anais: yeah. My bad. Gumball: [groaning] Anais: yeah. My bad. Looks like you weren't allergic anais: yeah. My bad. Looks like you weren't allergic to stupidity. Looks like you weren't allergic to stupidity. Just feathers. To stupidity. Just feathers. Gumball: it must've got in just feathers. Gumball: it must've got in there during the pillow fight! Gumball: it must've got in there during the pillow fight! Darwin: everything is okay, there during the pillow fight! Darwin: everything is okay, then. Darwin: everything is okay, then. We can all go home. Then. We can all go home. Ah-ah-choo!

{"type": "series", "show": "The Amazing World of Gumball", "episode": "03x15 & 03x16 - The Law; The Allergy"}

foreverdreaming

[Upbeat music plays] "Apply wax strip to hairy area, leave for a few seconds, then peel back quickly for a area, leave for a few seconds, then peel back quickly for a smooth and painless experience. " Then peel back quickly for a smooth and painless experience. " [Squish! Squish! ] Smooth and painless experience. " [Squish! Squish! ] This is all for you, my darling. [Squish! Squish! ] This is all for you, my darling. And also because this is all for you, my darling. And also because hello? ! And also because hello? ! Oh, well. Hello? ! Oh, well. I guess I'll just have to wait oh, well. I guess I'll just have to wait for the '70s to come back into I guess I'll just have to wait for the '70s to come back into fashion. For the '70s to come back into fashion. Oh. Fashion. Oh. How long have you been standing oh. How long have you been standing there? How long have you been standing there? Gumball: long enough for there? Gumball: long enough for curiosity to turn into regret. Gumball: long enough for curiosity to turn into regret. Right. Curiosity to turn into regret. Right. Any plans for the weekend? Right. Any plans for the weekend? Gumball: well, I was gonna go any plans for the weekend? Gumball: well, I was gonna go on a date with penny, but maybe gumball: well, I was gonna go on a date with penny, but maybe I'll just stay home and bleach on a date with penny, but maybe I'll just stay home and bleach my eyeballs. I'll just stay home and bleach my eyeballs. Well, clear your diaries, my eyeballs. Well, clear your diaries, gentlemen! Well, clear your diaries, gentlemen! It's your turn to look after the gentlemen! It's your turn to look after the school hamster, chris morris. It's your turn to look after the school hamster, chris morris. [Breathing shakily] School hamster, chris morris. [Breathing shakily] [Hiccups] [Breathing shakily] [Hiccups] [Silence] [Breathing shakily] Gumball: oh, come on! This hamster's so old it should gumball: oh, come on! This hamster's so old it should be classified as a mineral. This hamster's so old it should be classified as a mineral. I don't want to be the kid be classified as a mineral. I don't want to be the kid responsible for him when he I don't want to be the kid responsible for him when he turns into dust. Responsible for him when he turns into dust. Well, I'm afraid it wasn't a turns into dust. Well, I'm afraid it wasn't a request -- it's an order. Well, I'm afraid it wasn't a request -- it's an order. He's been in this cage since he request -- it's an order. He's been in this cage since he was born six long years ago, so he's been in this cage since he was born six long years ago, so please take extremely good -- was born six long years ago, so please take extremely good -- [squeaks] Please take extremely good -- [squeaks] Extremely good care of him. [Squeaks] Extremely good care of him. Gumball: principal brown, extremely good care of him. Gumball: principal brown, there's no way -- gumball: principal brown, there's no way -- aha! Just a moment. There's no way -- aha! Just a moment. Uh aha! Just a moment. Uh [school bell rings] Uh [school bell rings] It's 4:00. [School bell rings] It's 4:00. I'm not a principal anymore. It's 4:00. I'm not a principal anymore. I don't care. I'm not a principal anymore. I don't care. [Blam! ] I don't care. [Blam! ] Romance now! [Blam! ] Romance now! Whoa! Romance now! Whoa! Ah! Whoa! Ah! Ra-da-da-do! Ah! Ra-da-da-do! [Babbles] Ra-da-da-do! [Babbles] [Lows] [Babbles] [Lows] [Babbles] [Lows] [Babbles] Errr! [Babbles] Errr! [Smooching] Errr! [Smooching] La-la-la-la-la! [Smooching] La-la-la-la-la! [Screeches] La-la-la-la-la! [Screeches] La-la! [Screeches] La-la! Both: ahhhhh! La-la! Both: ahhhhh! Gumball: I think we've heard both: ahhhhh! Gumball: I think we've heard enough. Gumball: I think we've heard enough. [Scamper! ] Enough. [Scamper! ] [Grunts] [Dramatic music plays] [Squeaks] [Alarm clock buzzes] Gumball: my date with penny! [Upbeat music plays] Gumball: my date with penny! [Upbeat music plays] [Grunts] [Upbeat music plays] [Grunts] [Crrrrrrreak! ] [Grunts] [Crrrrrrreak! ] [Grunts] [Crrrrrrreak! ] [Grunts] Nah. [Grunts] Nah. Eh nah. Eh [horse-like snort] Eh [horse-like snort] Aw. [Horse-like snort] Aw. [Grunts] Aw. [Grunts] Yeah! [Grunts] Yeah! Actually yeah! Actually darwin: what are you doing? Actually darwin: what are you doing? Gumball: I'm doing my hair darwin: what are you doing? Gumball: I'm doing my hair for the date. Gumball: I'm doing my hair for the date. Darwin: oh, cool, what should for the date. Darwin: oh, cool, what should I wear? Darwin: oh, cool, what should I wear? Gumball: what do you mean? I wear? Gumball: what do you mean? Darwin: for the date. Gumball: what do you mean? Darwin: for the date. Gumball: dude, you're not darwin: for the date. Gumball: dude, you're not coming to my date -- you'd be a gumball: dude, you're not coming to my date -- you'd be a third wheel. Coming to my date -- you'd be a third wheel. Darwin: yeah, on your third wheel. Darwin: yeah, on your tricycle! Darwin: yeah, on your tricycle! Gumball: no way, man! Tricycle! Gumball: no way, man! Darwin: but I got nothing to gumball: no way, man! Darwin: but I got nothing to do! Darwin: but I got nothing to do! Gumball: you can look after do! Gumball: you can look after chris morris. Gumball: you can look after chris morris. Darwin: what? No! Chris morris. Darwin: what? No! I got stuff to do. Darwin: what? No! I got stuff to do. Gumball: you just said you I got stuff to do. Gumball: you just said you had nothing to do! Gumball: you just said you had nothing to do! Fine! I'll look after him, then. Had nothing to do! Fine! I'll look after him, then. But it's your fault if this fine! I'll look after him, then. But it's your fault if this drain-hair burrito uses his last but it's your fault if this drain-hair burrito uses his last breath to ruin my date. Drain-hair burrito uses his last breath to ruin my date. Oh, he's so cute! Breath to ruin my date. Oh, he's so cute! I think it's so cool that you're oh, he's so cute! I think it's so cool that you're looking after him. I think it's so cool that you're looking after him. Gumball: you do? Looking after him. Gumball: you do? Well, [sighs] You see, the thing gumball: you do? Well, [sighs] You see, the thing you've got to learn about me, well, [sighs] You see, the thing you've got to learn about me, penny, is that I'm a stand-up you've got to learn about me, penny, is that I'm a stand-up guy -- the kind of guy that penny, is that I'm a stand-up guy -- the kind of guy that takes care of school pets guy -- the kind of guy that takes care of school pets without being asked, the kind of takes care of school pets without being asked, the kind of guy who welcomes without being asked, the kind of guy who welcomes responsibility guy who welcomes responsibility [giggles] Responsibility [giggles] Gumball: the kind of guy [giggles] Gumball: the kind of guy you'd want to marry. Gumball: the kind of guy you'd want to marry. [Inhales sharply] Eh you'd want to marry. [Inhales sharply] Eh gumball: what? [Inhales sharply] Eh gumball: what? You don't believe me? Gumball: what? You don't believe me? Then check out these dad skills. You don't believe me? Then check out these dad skills. There, there. Then check out these dad skills. There, there. I've got ya little fella. There, there. I've got ya little fella. I will always be there for you. I've got ya little fella. I will always be there for you. Ooh! He's so paternal! I will always be there for you. Ooh! He's so paternal! Gumball: here, my son. Ooh! He's so paternal! Gumball: here, my son. I have provided. Gumball: here, my son. I have provided. [Chomp! ] I have provided. [Chomp! ] Eat. [Chomp! ] Eat. Ew! Eat. Ew! Gumball: [retching] Ew! Gumball: [retching] Okay, all right, I believe gumball: [retching] Okay, all right, I believe you. Okay, all right, I believe you. Maybe you are marriage material. You. Maybe you are marriage material. Gumball: well, please send maybe you are marriage material. Gumball: well, please send your rã©sumã© to my secretaire. Gumball: well, please send your rã©sumã© to my secretaire. Oh! Your rã©sumã© to my secretaire. Oh! [Both laugh] Darwin: "oh, penny. " [Babbling mockingly] "Oh, no. You can't come. " [Babbling mockingly] "Oh, no. You can't come. " [Door opens, romantic music "oh, no. You can't come. " [Door opens, romantic music plays] [Door opens, romantic music plays] [Groans] Gumball: oh, my gosh, dude! You have to hang out with chris morris! You have to hang out with chris morris! He's the best! Chris morris! He's the best! I just had the most awesome date he's the best! I just had the most awesome date with penny, and he was the I just had the most awesome date with penny, and he was the perfect wingman! With penny, and he was the perfect wingman! I'm gonna ask principal brown if perfect wingman! I'm gonna ask principal brown if we can take care of him next I'm gonna ask principal brown if we can take care of him next weekend and the weekend after we can take care of him next weekend and the weekend after and the weekend after that and weekend and the weekend after and the weekend after that and the weekend -- and the weekend after that and the weekend -- darwin: dude! The weekend -- darwin: dude! I'm trying to give you the darwin: dude! I'm trying to give you the silent treatment, but it doesn't I'm trying to give you the silent treatment, but it doesn't work if you don't notice! Silent treatment, but it doesn't work if you don't notice! Gumball: just try him. Work if you don't notice! Gumball: just try him. Try chris morris. Gumball: just try him. Try chris morris. [Dog barking, birds singing] Try chris morris. [Dog barking, birds singing] Darwin: [sighs] [Dog barking, birds singing] Darwin: [sighs] Things have changed. Darwin: [sighs] Things have changed. It used to just be me and him things have changed. It used to just be me and him versus the world, but now all he it used to just be me and him versus the world, but now all he cares about is [mockingly] Versus the world, but now all he cares about is [mockingly] Penny. Cares about is [mockingly] Penny. I mean, of course I want him to penny. I mean, of course I want him to be happy. I mean, of course I want him to be happy. I just wish I could be part of be happy. I just wish I could be part of it. I just wish I could be part of it. Am I being too possessive? It. Am I being too possessive? I am being too possessive. Am I being too possessive? I am being too possessive. Do you mind if I lie down? I am being too possessive. Do you mind if I lie down? I think this all started a long do you mind if I lie down? I think this all started a long time ago, back when I was still I think this all started a long time ago, back when I was still just a kid. Time ago, back when I was still just a kid. [Laughs crazily] Just a kid. [Laughs crazily] I don't know why I'm so worried! [Laughs crazily] I don't know why I'm so worried! It doesn't matter anyway! I don't know why I'm so worried! It doesn't matter anyway! [Laughs crazily] It doesn't matter anyway! [Laughs crazily] I just don't want to be left [laughs crazily] I just don't want to be left alone, you see? Alone, you see? It's the silence, the terrible it's the silence, the terrible silence. Silence. You don't get to judge me, chris morris! You don't get to judge me, chris morris! You're not one of my dads! Chris morris! You're not one of my dads! [Sobbing] You're not one of my dads! [Sobbing] Oh, hey, darwin. [Sobbing] Oh, hey, darwin. Darwin: oh, hi. Oh, hey, darwin. Darwin: oh, hi. [Sobbing] Darwin: oh, hi. [Sobbing] You know what, chris morris? [Sobbing] You know what, chris morris? I think I just realized that all you know what, chris morris? I think I just realized that all this is coming from my fear of I think I just realized that all this is coming from my fear of abandonment. This is coming from my fear of abandonment. I'm projecting my anxieties onto abandonment. I'm projecting my anxieties onto my brother and forgetting to I'm projecting my anxieties onto my brother and forgetting to actually live my own life. My brother and forgetting to actually live my own life. [Sighs] Actually live my own life. [Sighs] Dude, thank you. [Sighs] Dude, thank you. Chris morris is the best! Dude, thank you. Chris morris is the best! Gumball: the best, right? ! Gumball: the best, right? ! Darwin: he's such a good darwin: he's such a good listener. Listener. He really helped me through some he really helped me through some stuff. Stuff. Gumball: is there nothing he can't do? Gumball: is there nothing he can't do? [Both laugh] Can't do? [Both laugh] Darwin: I love it when he [both laugh] Darwin: I love it when he does that! Darwin: I love it when he does that! Gumball: oh, I can't believe does that! Gumball: oh, I can't believe how much happiness he's brought gumball: oh, I can't believe how much happiness he's brought us! How much happiness he's brought us! Darwin: and to think all his us! Darwin: and to think all his life he's been locked up like darwin: and to think all his life he's been locked up like this, starved of affection life he's been locked up like this, starved of affection gumball: just because people this, starved of affection gumball: just because people couldn't see beyond the layers gumball: just because people couldn't see beyond the layers of oozing fur couldn't see beyond the layers of oozing fur darwin: the weird of oozing fur darwin: the weird stickiness darwin: the weird stickiness gumball: that putrid smell stickiness gumball: that putrid smell darwin: and the fact that gumball: that putrid smell darwin: and the fact that he's probably contagious. Darwin: and the fact that he's probably contagious. Gumball: [crying] We're he's probably contagious. Gumball: [crying] We're sorry, chris morris. Gumball: [crying] We're sorry, chris morris. We're gonna give you all the sorry, chris morris. We're gonna give you all the love you deserve. We're gonna give you all the love you deserve. [Sobs] Love you deserve. [Sobs] [Squish! ] [Sobs] [Squish! ] [Normal voice] We'd better [squish! ] [Normal voice] We'd better take him out of the cage first. [Normal voice] We'd better take him out of the cage first. [Cage rattles, squeaks] Take him out of the cage first. [Cage rattles, squeaks] Like rain you are so soft to [cage rattles, squeaks] Like rain you are so soft to touch like rain you are so soft to touch you tremble, and it's all too touch you tremble, and it's all too much you tremble, and it's all too much and we're closer than much and we're closer than [distorted buzzing] And we're closer than [distorted buzzing] Sharing all those little [distorted buzzing] Sharing all those little things sharing all those little things the joys that only things the joys that only [distorted buzzing] The joys that only [distorted buzzing] Can bring [distorted buzzing] Can bring and we wash away the pain of can bring and we wash away the pain of [distorted] Yesterday and we wash away the pain of [distorted] Yesterday it's love is what [distorted] Yesterday it's love is what [distorted buzzing] It's love is what [distorted buzzing] Take her with [distorted buzzing] Take her with [buzz! ] Take her with [buzz! ] Gumball: mwah! [Buzz! ] Gumball: mwah! Darwin: mwah! Gumball: mwah! Darwin: mwah! Gumball: mwah! Darwin: mwah! Gumball: mwah! [Buzz! ] Gumball: mwah! [Buzz! ] [Laughs] [Buzz! ] [Laughs] [Buzz! ] [Laughs] [Buzz! ] Darwin: mwah! [Buzz! ] Darwin: mwah! [Buzz! ] Darwin: mwah! [Buzz! ] [Laughs] [Buzz! ] [Laughs] [Rapid buzzing, song skipping] Both: aah! [Suspenseful music plays] Gumball: he's not moving! [Suspenseful music plays] Gumball: he's not moving! Darwin: do something! Gumball: he's not moving! Darwin: do something! Gumball: I'm gonna put some darwin: do something! Gumball: I'm gonna put some water on his face! Gumball: I'm gonna put some water on his face! Aah! Water on his face! Aah! [Plop! ] Aah! [Plop! ] Dad: aah! Rat! [Plop! ] Dad: aah! Rat! [Screaming] Dad: aah! Rat! [Screaming] Gumball: dad, stop! [Screaming] Gumball: dad, stop! [Hiss! ] Gumball: dad, stop! [Hiss! ] Aah! [Hiss! ] Aah! Darwin: [grunts] Aah! Darwin: [grunts] Aah! Darwin: [grunts] Aah! Gumball: I got it, I got it! Aah! Gumball: I got it, I got it! Aah! Gumball: I got it, I got it! Aah! Darwin: you have to wait for aah! Darwin: you have to wait for the end of the cycle! Darwin: you have to wait for the end of the cycle! [Both whimpering] The end of the cycle! [Both whimpering] [Dishwasher beeps] [Both whimpering] [Dishwasher beeps] Gumball: aah! [Dishwasher beeps] Gumball: aah! We need to give him gumball: aah! We need to give him mouth-to-mouth! We need to give him mouth-to-mouth! Darwin: use this macaroni! Mouth-to-mouth! Darwin: use this macaroni! Gumball: [inhales deeply] Darwin: use this macaroni! Gumball: [inhales deeply] [Blows] Gumball: [inhales deeply] [Blows] [Pop! ] [Blows] [Pop! ] Darwin: you have some [pop! ] Darwin: you have some chris morris on your face. Darwin: you have some chris morris on your face. Gumball: I'm not really a chris morris on your face. Gumball: I'm not really a vet, but i-i don't think that gumball: I'm not really a vet, but i-i don't think that was chris morris. Vet, but i-i don't think that was chris morris. Darwin: yourealize what was chris morris. Darwin: yourealize what that means? Darwin: yourealize what that means? Gumball: [sighs] That means? Gumball: [sighs] The real chris morris has been gumball: [sighs] The real chris morris has been at school all weekend. The real chris morris has been at school all weekend. [Gasps] At school all weekend. [Gasps] With no food or water! [Gasps] With no food or water! Darwin: yes, but it also with no food or water! Darwin: yes, but it also means that what we've been darwin: yes, but it also means that what we've been kissing all day was in fact means that what we've been kissing all day was in fact gumball: don't. Kissing all day was in fact gumball: don't. Darwin: remember in brown's gumball: don't. Darwin: remember in brown's office, and he was waxing his -- darwin: remember in brown's office, and he was waxing his -- gumball: no. Office, and he was waxing his -- gumball: no. No! No! No!! Gumball: no. No! No! No!! [Door rattling] No! No! No!! [Door rattling] Darwin: should we call rocky [door rattling] Darwin: should we call rocky and get him to let us in so we darwin: should we call rocky and get him to let us in so we can find chris morris? And get him to let us in so we can find chris morris? Gumball: are you crazy, man?! Can find chris morris? Gumball: are you crazy, man?! We can't let people know we left gumball: are you crazy, man?! We can't let people know we left an infirm rodent alone all we can't let people know we left an infirm rodent alone all weekend with no food or water. An infirm rodent alone all weekend with no food or water. People hate animal cruelty. Weekend with no food or water. People hate animal cruelty. We'd get our butts kicked. People hate animal cruelty. We'd get our butts kicked. Darwin: wouldn't that be we'd get our butts kicked. Darwin: wouldn't that be animal cruelty? Darwin: wouldn't that be animal cruelty? Gumball: yeah, it's a vicious animal cruelty? Gumball: yeah, it's a vicious circle. Gumball: yeah, it's a vicious circle. [Breathing shakily] Circle. [Breathing shakily] Gumball: we got to get [breathing shakily] Gumball: we got to get chris morris back in his cage gumball: we got to get chris morris back in his cage before anyone finds out. Chris morris back in his cage before anyone finds out. [Squeaking] Darwin: how do we get in without being seen? Gumball: leave this to me. Without being seen? Gumball: leave this to me. [Shing! ] Gumball: leave this to me. [Shing! ] [Film noir music plays] [Shing! ] [Film noir music plays] [Clang! Plop! ] [Film noir music plays] [Clang! Plop! ] [Crash! ] [Clang! Plop! ] [Crash! ] [Clatter! ] [Crash! ] [Clatter! ] [Plop! ] [Clatter! ] [Plop! ] [Dogs barking] [Plop! ] [Dogs barking] [Suspenseful music plays] [Dogs barking] [Suspenseful music plays] [Gasps] There he is. [Suspenseful music plays] [Gasps] There he is. [Breathing shakily] [Gasps] There he is. [Breathing shakily] Gumball: I got this. [Breathing shakily] Gumball: I got this. [Singsong voice] Chris morris. Gumball: I got this. [Singsong voice] Chris morris. Come here, little buddy. [Singsong voice] Chris morris. Come here, little buddy. [Babbles] Come here, little buddy. [Babbles] Uh, don't worry, chris morris. [Babbles] Uh, don't worry, chris morris. We won't hurt you. Uh, don't worry, chris morris. We won't hurt you. Just drop your w*apon. [Squeaks] Gumball: chris morris, no! Gumball: chris morris, no! [f*re alarm blaring] Why, you little [squeak! ] Darwin: get him! Gumball: wait. What? We're gonna have to adapt to his speed. Darwin: how slow would that speed. Darwin: how slow would that be? Darwin: how slow would that be? Gumball: like '90s-internet be? Gumball: like '90s-internet slow? [Suspenseful music plays] [Grinding, whirring] [Gasps] Must be some kind of alarm malfunction, but we'd better must be some kind of alarm malfunction, but we'd better take a look around. Malfunction, but we'd better take a look around. Gumball: phew! Take a look around. Gumball: phew! Huh? Gumball: phew! Huh? Ha! Huh? Ha! Hmm. Ha! Hmm. Gumball: he's heading for the hmm. Gumball: he's heading for the science lab. Gumball: he's heading for the science lab. [Breathing shakily] Both: ohh! Gumball: let's head him off at the lab. Gumball: let's head him off at the lab. You can run, but you can't hide. At the lab. You can run, but you can't hide. [Sniffing] You can run, but you can't hide. [Sniffing] I can smell you. [Sniffing] I can smell you. Darwin: yeah, me too. I can smell you. Darwin: yeah, me too. It's kind of gassy. Darwin: yeah, me too. It's kind of gassy. [Gas hissing] It's kind of gassy. [Gas hissing] [Suspenseful music plays] Gumball: aah! Jump! [Sighs] Jump! [Sighs] Oh, sorry. Wrong timing. [Sighs] Oh, sorry. Wrong timing. [Echoing] Chris morris! Oh, sorry. Wrong timing. [Echoing] Chris morris! [Roars] [Echoing] Chris morris! [Roars] Uh, I think we're wasting our [roars] Uh, I think we're wasting our time here. Uh, I think we're wasting our time here. [Yawns] Time here. [Yawns] Gumball: [screaming] [Yawns] Gumball: [screaming] Huh? Gumball: [screaming] Huh? Oh, well. Huh? Oh, well. Gumball: [screaming] Oh, well. Gumball: [screaming] Ow, ow, ow, ow! Gumball: [screaming] Ow, ow, ow, ow! Ow, ow, ow, ow, ow, ow! Ow, ow, ow, ow! Ow, ow, ow, ow, ow, ow! Aah! Ow, ow, ow, ow, ow, ow! Aah! Ow, ow, ow, ow, ow, ow! Aah! Ow, ow, ow, ow, ow, ow! [Screaming] Ow, ow, ow, ow, ow, ow! [Screaming] Gotcha. [Screaming] Gotcha. [Chomp! ] Gotcha. [Chomp! ] [Screams] [Chomp! ] [Screams] What was that? [Screams] What was that? Gumball: where is that what was that? Gumball: where is that little -- gumball: where is that little -- darwin: shh! Little -- darwin: shh! [Suspenseful music plays] Darwin: shh! [Suspenseful music plays] We're gonna get busted, and [suspenseful music plays] We're gonna get busted, and they'll throw us in jail for we're gonna get busted, and they'll throw us in jail for animal cruelty. Ah! Aw, must be a false alarm. Then let's get back to our aw, must be a false alarm. Then let's get back to our weekend. Then let's get back to our weekend. Romance now! Weekend. Romance now! M-- romance now! M-- not you! M-- not you! [Door closes] Not you! [Door closes] Gumball: [sighs] [Door closes] Gumball: [sighs] Thanks, man. Gumball: [sighs] Thanks, man. But why did you help us? [Squeaking] Gumball: yeah, I have no idea what he just said. Gumball: yeah, I have no idea what he just said. Darwin: maybe he knows how it what he just said. Darwin: maybe he knows how it feels to be caged and he darwin: maybe he knows how it feels to be caged and he wouldn't wish that on another feels to be caged and he wouldn't wish that on another soul. Wouldn't wish that on another soul. [Whimpers] Soul. [Whimpers] Gumball: this is for you, gumball: this is for you, chris morris. [Gagging] Chris morris. [Gagging] Darwin: nobody will ever know [gagging] Darwin: nobody will ever know the difference. Darwin: nobody will ever know the difference. [Birds singing] The difference. [Birds singing] [Mystical flute plays] [Squeaking] [Folk music plays] [Squeaking] [Folk music plays] [Squeaking] Ahh! [Squeaking] Ahh! Gumball: goodbye, ahh! Gumball: goodbye, chris morris. Gumball: goodbye, chris morris. [Sniffles] Chris morris. [Sniffles] [Music stops] [Sniffles] [Music stops] [Squeaking] [Music stops] [Squeaking] Ahh! [Squeaking] Ahh! [Music continues] Gumball: okay, this is taking forever. Darwin: let's go home. Gumball: what's your best dance move? [Seat squeaking] Dance move? [Seat squeaking] Darwin: what's yours? [Seat squeaking] Darwin: what's yours? Gumball: cossack dance, but darwin: what's yours? Gumball: cossack dance, but there's a problem with it. Gumball: cossack dance, but there's a problem with it. Darwin: what? There's a problem with it. Darwin: what? Gumball: [grunting] Darwin: what? Gumball: [grunting] My torso's too short. Gumball: [grunting] My torso's too short. [Both laugh] My torso's too short. [Both laugh] Darwin: what's your best [both laugh] Darwin: what's your best face? Darwin: what's your best face? Gumball: unh! What's yours? Face? Gumball: unh! What's yours? Darwin: [honks] Gumball: unh! What's yours? Darwin: [honks] [Both laugh] Darwin: [honks] [Both laugh] Thanks. [Both laugh] Thanks. Darwin: and what's your best thanks. Darwin: and what's your best party trick? Darwin: and what's your best party trick? [Wiggle! ] Party trick? [Wiggle! ] [Giggles] [Wiggle! ] [Giggles] Gumball: [nasal voice] Oh, [giggles] Gumball: [nasal voice] Oh, by the way [normal voice] Gumball: [nasal voice] Oh, by the way [normal voice] There's something very personal by the way [normal voice] There's something very personal I've wanted to ask you. There's something very personal I've wanted to ask you. If you had to do something I've wanted to ask you. If you had to do something really, really special for if you had to do something really, really special for someone really, really really, really special for someone really, really important, what would be the someone really, really important, what would be the best place ever? Important, what would be the best place ever? Darwin: [inhales sharply] Best place ever? Darwin: [inhales sharply] It would be a log cabin. Darwin: [inhales sharply] It would be a log cabin. Gumball: yes! By a blue lake! It would be a log cabin. Gumball: yes! By a blue lake! Both: ahh! Gumball: yes! By a blue lake! Both: ahh! Gumball: and there would be both: ahh! Gumball: and there would be fireflies. Gumball: and there would be fireflies. Darwin: and mason jars. Fireflies. Darwin: and mason jars. Both: ahh! Darwin: and mason jars. Both: ahh! Gumball: what else? Both: ahh! Gumball: what else? Darwin: a fireplace! Gumball: what else? Darwin: a fireplace! Gumball: a bearskin rug! Darwin: a fireplace! Gumball: a bearskin rug! Darwin: a chocolate fountain! Gumball: a bearskin rug! Darwin: a chocolate fountain! Gumball: and r&b music! Darwin: a chocolate fountain! Gumball: and r&b music! [Both inhale sharply] Gumball: and r&b music! [Both inhale sharply] Both: ahh! [Both inhale sharply] Both: ahh! [Both imitating r&b music] Gumball: so, who would you invite? Darwin: never you mind. Invite? Darwin: never you mind. Gumball: oh, come on. Darwin: never you mind. Gumball: oh, come on. Tell me. Gumball: oh, come on. Tell me. Darwin: no. You first. Tell me. Darwin: no. You first. Gumball: oh, fine! Darwin: no. You first. Gumball: oh, fine! [Singsong voice] But you got gumball: oh, fine! [Singsong voice] But you got to say yours at the same time. [Singsong voice] But you got to say yours at the same time. On "three. " One, two, three. To say yours at the same time. On "three. " One, two, three. Penny! On "three. " One, two, three. Penny! Darwin: you! Penny! Darwin: you! Both: what? ! Darwin: you! Both: what? ! [Air brakes hiss] Both: what? ! [Air brakes hiss] Darwin: I am not making a [air brakes hiss] Darwin: I am not making a scene! Darwin: I am not making a scene! Gumball: okay. Scene! Gumball: okay. Darwin: and I'm not jealous gumball: okay. Darwin: and I'm not jealous of penny! Darwin: and I'm not jealous of penny! Gumball: dude, don't freak of penny! Gumball: dude, don't freak out. Gumball: dude, don't freak out. There's enough space in my life out. There's enough space in my life for the both of you. There's enough space in my life for the both of you. She's crowding us! For the both of you. She's crowding us! She's suffocating us! She's crowding us! She's suffocating us! She's oppressing us! She's suffocating us! She's oppressing us! She's smothering us! She's oppressing us! She's smothering us! Gumball: okay, enough! She's smothering us! Gumball: okay, enough! [Pop! Pop! ] Gumball: okay, enough! [Pop! Pop! ] I wanted your opinion on [pop! Pop! ] I wanted your opinion on something important, but if it's I wanted your opinion on something important, but if it's gonna be like this, then just go something important, but if it's gonna be like this, then just go home! Gonna be like this, then just go home! I need to go to the store, home! I need to go to the store, anyway. I need to go to the store, anyway. Darwin: [cries] Anyway. Darwin: [cries] Back off, penny fitzgerald! Darwin: [cries] Back off, penny fitzgerald! He's my brother from another back off, penny fitzgerald! He's my brother from another mother! He's my brother from another mother! [School bell rings] Mother! [School bell rings] Hmm? [School bell rings] Hmm? Darwin: I'm gonna dig some hmm? Darwin: I'm gonna dig some dirt on you and expose you as darwin: I'm gonna dig some dirt on you and expose you as the treacherous bro thief you dirt on you and expose you as the treacherous bro thief you are. The treacherous bro thief you are. [Grunts] Are. [Grunts] Oh, hi, darwin. [Grunts] Oh, hi, darwin. Darwin: aah! Oh, hi, darwin. Darwin: aah! Oh! Sorry. Darwin: aah! Oh! Sorry. Uh, uh oh! Sorry. Uh, uh [pants] Uh, uh [pants] [Gasps] [Pants] [Gasps] Byedarwin. [Gasps] Byedarwin. Made these funny faces at me byedarwin. Made these funny faces at me through the window of the bus made these funny faces at me through the window of the bus and -- oh, hi, darwin. Through the window of the bus and -- oh, hi, darwin. [Gasps] And -- oh, hi, darwin. [Gasps] Darwin: ugh! [Gasps] Darwin: ugh! [Stammers] Darwin: ugh! [Stammers] [Grunts] [Stammers] [Grunts] [All coughing] [Grunts] [All coughing] Bye, darwin. [All coughing] Bye, darwin. Here, sussie. Bye, darwin. Here, sussie. I know how much you love chicken here, sussie. I know how much you love chicken skins, so I saved you some from I know how much you love chicken skins, so I saved you some from last night's dinner. Skins, so I saved you some from last night's dinner. Sussie loves chicken skins! Last night's dinner. Sussie loves chicken skins! Aaaaaaah! Sussie loves chicken skins! Aaaaaaah! [Feedback squealing] Aaaaaaah! [Feedback squealing] [Shatter! ] [Feedback squealing] [Shatter! ] Hi, darwin. [Shatter! ] Hi, darwin. Darwin: aah! Hi, darwin. Darwin: aah! [Gasps] Darwin: aah! [Gasps] Andbye, darwin. [Gasps] Andbye, darwin. Chickens! Andbye, darwin. Chickens! [Gasps] Chickens! [Gasps] [School bell rings] [Gasps] [School bell rings] [Humming] [School bell rings] [Humming] [Squeals] [Humming] [Squeals] Darwin: hi, penny. [Squeals] Darwin: hi, penny. Nice, um, diary. Darwin: hi, penny. Nice, um, diary. Hey, how about you come to nice, um, diary. Hey, how about you come to lunch with me and gumball. Hey, how about you come to lunch with me and gumball. Seems like maybe you want to lunch with me and gumball. Seems like maybe you want to talk, right? Seems like maybe you want to talk, right? Right. Talk, right? Right. [Ding! ] Right. [Ding! ] [Case snaps] [Ding! ] [Case snaps] Gumball: [chuckles] [Case snaps] Gumball: [chuckles] Uh, what was that? Yeah, I know. Gumball: [chuckles] Uh, what was that? Yeah, I know. We got so much in common. Uh, what was that? Yeah, I know. We got so much in common. [Chuckles] Be my wife! We got so much in common. [Chuckles] Be my wife! Oh, it's not special enough. [Chuckles] Be my wife! Oh, it's not special enough. [Inhales sharply] Oh, it's not special enough. [Inhales sharply] Lah! [Muffled] Marry me. [Inhales sharply] Lah! [Muffled] Marry me. Still not right. Lah! [Muffled] Marry me. Still not right. [Sighs] Still not right. [Sighs] [Normal voice] I just want it [sighs] [Normal voice] I just want it to be perfect. [Normal voice] I just want it to be perfect. [Laughter] To be perfect. [Laughter] [R&b music playing] [Laughter] [R&b music playing] [Sighs] This is perfect, [r&b music playing] [Sighs] This is perfect, gumball. [Sighs] This is perfect, gumball. Gumball: not quite yet, gumball. Gumball: not quite yet, sugar. Gumball: not quite yet, sugar. But it will be sugar. But it will be when you say yes. But it will be when you say yes. Darwin: what? ! When you say yes. Darwin: what? ! Gumball: ah! Darwin: what? ! Gumball: ah! What are you doing here? ! Gumball: ah! What are you doing here? ! I invited him. [Smooches] What are you doing here? ! I invited him. [Smooches] Darwin: [gasps, smooches] I invited him. [Smooches] Darwin: [gasps, smooches] I don't need an invite! Darwin: [gasps, smooches] I don't need an invite! Gumball: okay. Loud. I don't need an invite! Gumball: okay. Loud. [Shoes squeaking] Gumball: okay. Loud. [Shoes squeaking] Sorry, I didn't know you were [shoes squeaking] Sorry, I didn't know you were coming, so there's only two sorry, I didn't know you were coming, so there's only two plates. Coming, so there's only two plates. Okay. Plates. Okay. Can I use my hand, at least? Okay. Can I use my hand, at least? Darwin: [hisses] Can I use my hand, at least? Darwin: [hisses] Gumball: never mind. Darwin: [hisses] Gumball: never mind. So, uh, darwin, I hope you gumball: never mind. So, uh, darwin, I hope you don't feel thr*at by me, so, uh, darwin, I hope you don't feel thr*at by me, do you? Don't feel thr*at by me, do you? Darwin: [laughs evilly] Do you? Darwin: [laughs evilly] No. Darwin: [laughs evilly] No. Okay, good. No. Okay, good. [Chuckles nervously] Okay, good. [Chuckles nervously] Enjoy your food. [Chuckles nervously] Enjoy your food. Gumball: [slurping] Enjoy your food. Gumball: [slurping] [Slurping] Gumball: [slurping] [Slurping] [Record slows] [Slurping] [Record slows] [Pasta squeaking] [Record slows] [Pasta squeaking] [Squealing] [Pasta squeaking] [Squealing] [All slurping] [Squealing] [All slurping] All: ugh! [All slurping] All: ugh! Gumball: dude, what is wrong all: ugh! Gumball: dude, what is wrong with you? ! Gumball: dude, what is wrong with you? ! Darwin: nothing. I'm fine. With you? ! Darwin: nothing. I'm fine. See you later. Darwin: nothing. I'm fine. See you later. Gumball: well, now that we're see you later. Gumball: well, now that we're alo-- gumball: well, now that we're alo-- darwin: [smooches] Alo-- darwin: [smooches] Gumball: now that we're darwin: [smooches] Gumball: now that we're alone, there's something I gumball: now that we're alone, there's something I wanted to ask you. Alone, there's something I wanted to ask you. What is it? Wanted to ask you. What is it? [Squeeze! ] What is it? [Squeeze! ] Darwin: actually, I'm gonna [squeeze! ] Darwin: actually, I'm gonna stay. Darwin: actually, I'm gonna stay. Pbht! Pbht! Stay. Pbht! Pbht! Okay, now pick your teams. Pbht! Pbht! Okay, now pick your teams. [Horn honking] Okay, now pick your teams. [Horn honking] Gumball: [sighs] [Horn honking] Gumball: [sighs] Darwin: oh. Me? Gumball: [sighs] Darwin: oh. Me? Oh! In your face! Darwin: oh. Me? Oh! In your face! [Grunting] Oh! In your face! [Grunting] Whoo! [Laughs maniacally] [Grunting] Whoo! [Laughs maniacally] [Slap! ] Whoo! [Laughs maniacally] [Slap! ] Pbht! [Slap! ] Pbht! Gumball: penny! Pbht! Gumball: penny! [Slap! ] Gumball: penny! [Slap! ] Darwin: wah! [Slap! ] Darwin: wah! [Slap! ] Darwin: wah! [Slap! ] Wah! [Slap! ] Wah! [Slap! Slap! Slap! Slap! ] Wah! [Slap! Slap! Slap! Slap! ] Ahhhhhhhhh! [Slap! Slap! Slap! Slap! ] Ahhhhhhhhh! [Chanting] Defense! Ahhhhhhhhh! [Chanting] Defense! Defense! [Chanting] Defense! Defense! Gumball: darwin! Defense! Gumball: darwin! What are you doing? ! Gumball: darwin! What are you doing? ! Darwin: playing ball! What are you doing? ! Darwin: playing ball! Gumball: she's on our team, darwin: playing ball! Gumball: she's on our team, man! Gumball: she's on our team, man! You're out! Man! You're out! [Ball bouncing] You're out! [Ball bouncing] Darwin: fine! Suit yourself! [Ball bouncing] Darwin: fine! Suit yourself! [Sighs] Darwin: fine! Suit yourself! [Sighs] [Ding! ] [Sighs] [Ding! ] Gumball: [exhales sharply] [Ding! ] Gumball: [exhales sharply] Penny, there's something I need gumball: [exhales sharply] Penny, there's something I need to ask you. Penny, there's something I need to ask you. Actually, there's something I to ask you. Actually, there's something I wanted to say, as well. Actually, there's something I wanted to say, as well. Gumball: I know. Wanted to say, as well. Gumball: I know. I totally feel what you feel. Gumball: I know. I totally feel what you feel. Let's say it at the same time. I totally feel what you feel. Let's say it at the same time. One, two -- let's say it at the same time. One, two -- we need some space. One, two -- we need some space. Gumball: [gasps] We need some space. Gumball: [gasps] [Dramatic music plays] Gumball: [gasps] [Dramatic music plays] It's just, until you guys [dramatic music plays] It's just, until you guys work it out, I kind of feel bad it's just, until you guys work it out, I kind of feel bad ruining your relationship. Work it out, I kind of feel bad ruining your relationship. You two have something special, ruining your relationship. You two have something special, you know? You two have something special, you know? Gumball: aah! You know? Gumball: aah! Aah! Gumball: aah! Aah! Aaaaaaah! Aah! Aaaaaaah! Oh. Aaaaaaah! Oh. What are you doing? Oh. What are you doing? Darwin: whatever it takes for what are you doing? Darwin: whatever it takes for you to still love me. Darwin: whatever it takes for you to still love me. Is it working? You to still love me. Is it working? Gumball: if by "working," you is it working? Gumball: if by "working," you mean "making me nauseous," gumball: if by "working," you mean "making me nauseous," then -- [gags] Mean "making me nauseous," then -- [gags] [Crying] But it doesn't then -- [gags] [Crying] But it doesn't matter, anyway. [Crying] But it doesn't matter, anyway. Penny's left me! Matter, anyway. Penny's left me! She didn't want to come between penny's left me! She didn't want to come between us, and it's all your fault! She didn't want to come between us, and it's all your fault! [Sobs] Us, and it's all your fault! [Sobs] Darwin: uh, I didn't mean to [sobs] Darwin: uh, I didn't mean to come between you two. Darwin: uh, I didn't mean to come between you two. I-i-i just wanted to spend more come between you two. I-i-i just wanted to spend more time with you. I-i-i just wanted to spend more time with you. I'm so sorry. Time with you. I'm so sorry. Come here. I'm so sorry. Come here. Gumball: wait! Come here. Gumball: wait! This is creepy. Gumball: wait! This is creepy. [Crying] But I need a hug! This is creepy. [Crying] But I need a hug! Darwin: there, there. [Crying] But I need a hug! Darwin: there, there. Gumball: is it weird that I darwin: there, there. Gumball: is it weird that I love her so much, it makes my gumball: is it weird that I love her so much, it makes my ears sweat? Love her so much, it makes my ears sweat? Darwin: no, no. Ears sweat? Darwin: no, no. Gumball: is it weird that I darwin: no, no. Gumball: is it weird that I think about her all the time, gumball: is it weird that I think about her all the time, even in the bathroom? Think about her all the time, even in the bathroom? Darwin: [chuckles] No. Even in the bathroom? Darwin: [chuckles] No. Gumball: is it weird that I darwin: [chuckles] No. Gumball: is it weird that I bought a ring and I want to ask gumball: is it weird that I bought a ring and I want to ask her to marry me? Bought a ring and I want to ask her to marry me? Darwin: well, yeah, that's -- her to marry me? Darwin: well, yeah, that's -- that's completely weird. Darwin: well, yeah, that's -- that's completely weird. Gumball: well, it doesn't that's completely weird. Gumball: well, it doesn't matter now. Gumball: well, it doesn't matter now. It's all ruined. Matter now. It's all ruined. Darwin: no, it's not. It's all ruined. Darwin: no, it's not. What if I could give you the darwin: no, it's not. What if I could give you the perfect setting, the perfect what if I could give you the perfect setting, the perfect moment? Perfect setting, the perfect moment? Gumball: what do you mean? Moment? Gumball: what do you mean? Darwin: [imitates r&b gumball: what do you mean? Darwin: [imitates r&b music] Darwin: [imitates r&b music] Gumball: stop it. That -- music] Gumball: stop it. That -- that's weird. Gumball: stop it. That -- that's weird. Darwin: come on that's weird. Darwin: come on gumball: [chuckles] Darwin: come on gumball: [chuckles] All right. Gumball: [chuckles] All right. Darwin: come on, mm-mm all right. Darwin: come on, mm-mm gumball: how you gonna get a darwin: come on, mm-mm gumball: how you gonna get a log cabin, though, or a lake or gumball: how you gonna get a log cabin, though, or a lake or a chocolate fountain? Log cabin, though, or a lake or a chocolate fountain? And how are you gonna get her to a chocolate fountain? And how are you gonna get her to come over? And how are you gonna get her to come over? Darwin: come on, mm, mm come over? Darwin: come on, mm, mm uh, uh darwin: come on, mm, mm uh, uh [smooches] Come on uh, uh [smooches] Come on [doorbell ringing] [Smooches] Come on [doorbell ringing] I got it! [Doorbell ringing] I got it! Huh? I got it! Huh? Origami roses? Huh? Origami roses? Made out of toilet paper. Origami roses? Made out of toilet paper. [Dog barking] Made out of toilet paper. [Dog barking] [Crickets chirping] Gumball? Guys? Hello? [Sniffs] Are your parents aware there's a hello? [Sniffs] Are your parents aware there's a lake of antifreeze in their are your parents aware there's a lake of antifreeze in their backyard? Lake of antifreeze in their backyard? This stuff's really flammable, backyard? This stuff's really flammable, you know. This stuff's really flammable, you know. Huh? You know. Huh? [Insect screaming] Huh? [Insect screaming] [Knock on door] [Insect screaming] [Knock on door] [Fan whirring loudly] [Knock on door] [Fan whirring loudly] Gumball: [speaking [fan whirring loudly] Gumball: [speaking indistinctly] Gumball: [speaking indistinctly] What? Indistinctly] What? [Whirring stops] What? [Whirring stops] Gumball: ah, please sit down. [Whirring stops] Gumball: ah, please sit down. [Gasps] Wow. Okay. Gumball: ah, please sit down. [Gasps] Wow. Okay. Uh, why are you sitting on road [gasps] Wow. Okay. Uh, why are you sitting on road k*ll? Uh, why are you sitting on road k*ll? Gumball: you have made me the k*ll? Gumball: you have made me the happiest man in the world. Gumball: you have made me the happiest man in the world. Good night. Happiest man in the world. Good night. What? Good night. What? Gumball: aw, dagnabbit, what? Gumball: aw, dagnabbit, that's supposed to be the gumball: aw, dagnabbit, that's supposed to be the last one. That's supposed to be the last one. Uh, hold on. Last one. Uh, hold on. [Chuckles nervously] Uh, hold on. [Chuckles nervously] Romantic deep male voice. [Chuckles nervously] Romantic deep male voice. Welcome to the best night of romantic deep male voice. Welcome to the best night of your life. Welcome to the best night of your life. [Squeaks] Your life. [Squeaks] [Chuckles] [Squeaks] [Chuckles] [Inhales sharply] [Chuckles] [Inhales sharply] Gumball: may I offer you a [inhales sharply] Gumball: may I offer you a refreshment? Gumball: may I offer you a refreshment? [Liquid hissing, squirting] [Ring plops] [Inhales sharply] To us. [Chuckling deeply] [Inhales sharply] To us. [Chuckling deeply] [Croaking] [Chuckling deeply] [Croaking] Chocolate fountain. [Croaking] Chocolate fountain. [Hands clap] Chocolate fountain. [Hands clap] Chocolate fountain! [Hands clap] Chocolate fountain! [Hands clap] Chocolate fountain! [Hands clap] Darwin: [squeals, blows] [Hands clap] Darwin: [squeals, blows] [Pipe gurgling] Darwin: [squeals, blows] [Pipe gurgling] [Chocolate squirting] [Pipe gurgling] [Chocolate squirting] Gumball: so, penny, there's [chocolate squirting] Gumball: so, penny, there's something I've been meaning gumball: so, penny, there's something I've been meaning to ask you. Something I've been meaning to ask you. [Chuckles nervously] To ask you. [Chuckles nervously] I-i'm listening. [Chuckles nervously] I-i'm listening. Gumball: uhuh i-i'm listening. Gumball: uhuh oh, stop with the cards. Gumball: uhuh oh, stop with the cards. Just talk to me. Oh, stop with the cards. Just talk to me. Gumball: okay. Just talk to me. Gumball: okay. [Inhales sharply] Gumball: okay. [Inhales sharply] Will you m-m-m [inhales sharply] Will you m-m-m will you m-m-ma will you m-m-m will you m-m-ma ugh! Will you m-m-ma ugh! Will you m-m-m ugh! Will you m-m-m darwin: come on, man. Will you m-m-m darwin: come on, man. Just say it! Darwin: come on, man. Just say it! Gumball: will you m-m-m just say it! Gumball: will you m-m-m m-m-m gumball: will you m-m-m m-m-m darwin: come on! Come on! M-m-m darwin: come on! Come on! [Insects screeching] Darwin: come on! Come on! [Insects screeching] [expl*si*n] [Insects screeching] [expl*si*n] Ah! Oh! [expl*si*n] Ah! Oh! [bl*wing] Ah! Oh! [bl*wing] Aah! [bl*wing] Aah! Gumball: m-m-m aah! Gumball: m-m-m [growls] Gumball: m-m-m [growls] Will you marry? [Growls] Will you marry? Will you marry? Will you marry? Will you marry? [Choking] Will you marry? [Choking] [Gasping] [Choking] [Gasping] [Coughing] [Gasping] [Coughing] Darwin: [whimpering] [Coughing] Darwin: [whimpering] [Coughs] Darwin: [whimpering] [Coughs] [Gasps] [Coughs] [Gasps] [expl*si*n] [Gasps] [expl*si*n] Gumball: [stammering] [expl*si*n] Gumball: [stammering] [Choking] Gumball: [stammering] [Choking] [Hissing] [Choking] [Hissing] Darwin: [gasps] [Hissing] Darwin: [gasps] [Cannister squealing] Darwin: [gasps] [Cannister squealing] [Grunts] [Cannister squealing] [Grunts] Gumball: will you marry me? ! [Grunts] Gumball: will you marry me? ! [Gags] Gumball: will you marry me? ! [Gags] [Squealing intensifies] [Gags] [Squealing intensifies] [Coughs] [Squealing intensifies] [Coughs] [Breathing heavily] [Coughs] [Breathing heavily] [Coughing] [Breathing heavily] [Coughing] What did you say back there? [Coughing] What did you say back there? Gumball: marry me! What did you say back there? Gumball: marry me! Oh, gumball, I can't. Gumball: marry me! Oh, gumball, I can't. Gumball: why? Oh, gumball, I can't. Gumball: why? We're 12 years old. Gumball: why? We're 12 years old. Gumball: age doesn't matter we're 12 years old. Gumball: age doesn't matter when it comes to love. Gumball: age doesn't matter when it comes to love. Legally, it kind of does. When it comes to love. Legally, it kind of does. And I don't think darwin's over legally, it kind of does. And I don't think darwin's over it yet. And I don't think darwin's over it yet. Darwin: no, I'm perfectly it yet. Darwin: no, I'm perfectly fine with it. Darwin: no, I'm perfectly fine with it. Besides, we don't need a ring fine with it. Besides, we don't need a ring to show we love each other. Besides, we don't need a ring to show we love each other. Gumball: what do we do with to show we love each other. Gumball: what do we do with it then? Gumball: what do we do with it then? I think I have an idea. It then? I think I have an idea. And, gumball, do you, in the I think I have an idea. And, gumball, do you, in the name of the bro code, "bro-mise" and, gumball, do you, in the name of the bro code, "bro-mise" to always love and take care of name of the bro code, "bro-mise" to always love and take care of your bro, in sickness and in to always love and take care of your bro, in sickness and in health, "bro-sperity" and your bro, in sickness and in health, "bro-sperity" and "bro-verty"? Health, "bro-sperity" and "bro-verty"? Gumball: I do. "Bro-verty"? Gumball: I do. You may now high-five the gumball: I do. You may now high-five the bro. You may now high-five the bro. Both: yeah! Bro. Both: yeah! [Smooches] Both: yeah! [Smooches] Darwin: [giggles] [Smooches] Darwin: [giggles] [Smooches] Darwin: [giggles] [Smooches] [Laughter] [Smooches] [Laughter] [Fireworks exploding] [Laughter] [Fireworks exploding] [Triumphant music playing] [Siren wailing]

{"type": "series", "show": "The Amazing World of Gumball", "episode": "03x21 & 03x22 - The Burden; The Bros"}

foreverdreaming

"Pilot" Episode 1x01 Written By: Hart Hanson Directed by: Greg Yaitanes Transcribed by: Cassie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Opening scene has a well dressed woman rushing toward an arrivals board in a busy airport] Angela: I'm late... [Looking up at a malfunctioning arrivals board] Angela: This board is broken. The arrivals board is not working. Uh, did anybody meet the flight from Guatemala? Aviateca airlines? What gate? Yeah, right. I'm late. [Stepping up to a customer service desk] Angela: Excuse me, uh, you have a computer glitch at the arrivals board. [Customer service agent ignores her] Angela: Hello! Sir, excuse me, yoo-hoo... [Customer service guy holds up a finger to silence her] Angela: Great. [She rips open her shirt revealing a lacy bustier, getting young guy's attention] Angela: Yeah. Hi. The flight from Guatemala? [Off Angela to Brennan] Temp: Tell me you tried 'excuse me' first. Angela: Sweeeeetie. Yes, I did. [Hugging Temp] Welcome home. Are you exhausted? Was Guatemala awful? Was it horribly backward? Temp: And yet I was never reduced to flashing my boobs for information. Angela: Flash them for any fun reasons? Temp: I was literally neck deep in a mass grave, not romantic. Angela: You know, diving in a pit of cadavers is no way to handle a messy break up. Temp: Angela, nothing Pete and I ever did was messy. Angela: [Laughing] Then you were not doing the right things. [Brennan suddenly turns, dropping her bag, to confront a man dressed in a suit who has been following the two ladies as they walked through the airport] Temp: Sir, why are you following us? [The unknown man reaches out to take Brennan's arm. Moving quickly, Brennan subdues the man with some strategic kicks and punches] Angela: att*ck! Security! Hello!?! Who runs this airport? [Angela joins in to the fight by hitting the man with her purse] Kick his ass sweetie! Police Officer: Police! Mam, step back now! Temp: He att*cked me!?! Guy: I'm Homeland Security! Angela: Oh, little misunderstanding here. Temp: [Hands in the air] You can put away your g*n. Guy: What is she in charge now? No. I'll tell you when you can lower your w*apon. [To Brennan] Hand over the bag. Temp: [Reaching down to retrieve the bag] Is that what this is about? [Homeland Security agent opens the bag to reveal a skull] Temp: Boo. [Cut to profile view of the skull, fade to Brennan sitting at a table] Temp: I am Doctor Temperance Brennan. I've been in Guatemala for two months identifying victims of genocide including him. [Gesturing to the skull] Agent: Most people in this situation, what they do is, they sweat it. Temp: Guatemala, genocide? How are you scary after that? Agent: You know who doesn't sweat it? [Cut to female agent who is also in the room] Agent 2: Sociopaths. Temp: I am not a sociopath, I'm an anthropologist at the Jeffersonian. Agent: Who works for the FBI. Which I'd maybe believe if you had an ID that did more than allowed you access to the cafeteria. [Behind Brennan, another man in a suit enters the room carrying a book] Agent: You were illegally transporting human remains mam and you as*ault a Homeland Security agent. Temp: Look, I'm sorry if I embarrassed you in front of your friends but, next time you should identify yourself before attacking me. [Turning to the man at the door] What are you doing here? Booth: [To the Agent] FBI. Special Agent Seeley Booth, Major Crime Investigation, D.C. Bones identifies bodies for us. Temp: Don't call me Bones. And I do more than identify. Booth: [Holding up the book, then sliding it across the table to the other Agent] She also writes books. Agent: [Picking up the book, he looks at it noting Brennan's name] Fine. She's all yours. Booth: [To Brennan] Great. Let's grab your skull and let's vamoose. Temp: What! That's it? She's all yours? Why did you stop me? Booth: Why does it matter? You're free to go. Let's just grab your bags, click, click, clang, clang... Temp: [To Booth] You set me up. [To Agent] You got a hold for questioning request from the FBI didn't you? [Agent looks to Booth, Brennan looks at Booth incredulously, Booth knows he's been found out] Agent: I love this book. [Hands it back to Brennan] Temp: [Grabbing the book and then the skull, Brennan stalks past Booth who is holding all of her bags] Come on. [Cut to the inside of an SUV, Booth is driving, Brennan is in the passenger seat] Temp: That's the best you can do? Booth: What? Temp: Getting Homeland Security to snatch me so that you can stage a fake rescue. Booth: Well, at least I picked you up at the airport huh? [Gives her a charming little grin which only annoys Brennan more] Hey, come on. I went through the appropriate channels but your assistant there, he stonewalled me! Temp: Yeah, well after the last case I told Zach to never, ever to put you through. He's a good assistant. You can let me out anywhere along here. Booth: Alright, listen. A decomposed corpse was found this morning at Arlington National Cemetery down... Temp: Arlington National Cemetery is full of decomposed corpses, it's... a cemetery. Booth: Yeah, but this one is your type of corpse, it wasn't in a casket. Temp: If you drive one more block, I'm screaming 'kidnap' out the window. Booth: Do you know what, I'm trying to mend bridges here. Temp: Pull over. [Cut to SUV pulling over, Brennan and Booth both leaving the vehicle] Temp: I'm going home. [Walking quickly away form Booth who is following] Booth: Great! Could we... Look, could we just skip this part? Temp: I find you very condescending. Booth: Me! I'm condescending. I'm not the one who's got to mention that she's got a Doctorate every, five, minutes. Temp: I am the one with the Doctorate. Booth: Yeah, well you know what? I'm the one with the badge and the g*n huh. You know, you're not the only forensic anthropologist in town. Temp: [Laughing] Yes I am. The next nearest is in Montreal. Parlez-vous francais? Booth: What's it going to take? Temp: [Stopping and turning to face him] Full participation in the case. Booth: Fine. Temp: Not just lab work, everything. Booth: What? Do you want me to spit in my hand? We're Scully and Mulder. Temp: I don't know what that means. Booth: It's an olive branch, just get back in the car. [Cut to Arlington National Cemetery, Brennan and Booth walking down a grassy hill, filled with row upon row of headstones, toward a large pond] Temp: What's the context of the find? Booth: Routine landscaping, dropped a load in the local pond, one of the workmen thought he saw something. [Cut to van door with Jeffersonian Medico-Legal Lab emblem, closes to reveal Zach Addy, Brennan's assistant] Temp: Hi Zach. Zach: This eco-warrior look works for you. Temp: Thanks. Zach: Very action oriented. Temp: Agent Booth, you remember my assistant Zach Addy? Booth: Oh yeah... Zach: [To Brennan] How was Guatemala? Dig up lots of massacred victims? Learn a thing or two about machete strikes? Temp: Zach, I need water samples and temperature readings from the pond. Zach: Right away Dr. Brennan. Booth: He's got no sense of discretion that kid. Typical Squint... Temp: I don't know what that means. Booth: When cops get stuck, we bring in people like you. You know? Squints. You know, you squint at things. Temp: Oh, you mean people with very high IQ's and basic reasoning skills. Booth: [Looking chastised] Yeah. [Cut to Brennan and Booth on a boat in the middle of the pond, dropping an underwater camera that feeds to a video screen on the boat] Temp: What exactly am I supposed to be squinting at? Booth: Oh you know, it's like p*rn, you'll know it when you see it. [Cut to the video screen that shows a skeleton under water, wrapped in what looks like chicken wire] Temp: Yeah okay. This is a crime scene. [Cut to opening credits] [Open next scene with Brennan examining the skeleton on the shore, seems to be late at night, Zach taking pictures of the skeleton] Temp: Remains are wrapped in four-milled, flat poly-construction sheeting. Zach: PVC coated chicken wire. Temp: Weighted. That's why the body didn't surface during decomposition. The skeleton is complete but the skull is in fragments. Booth: [Joining Brennan and Zach at the body] What can you tell me? Temp: Not much. She was a young woman, probably between 18 and 22, approximately 5'3", race unknown, delicate features. Booth: [Sarcastically] That's all? Temp: Tennis player. Booth: How do you get a pretty tennis player out of that yuck? Zach: Epiphyses fusion gives age, pelvic bone shape gives sex... Temp: Bursitis in the shoulder, somebody this young, must be an athletic injury. Booth: When did she die? Temp: Ehhhh..... Booth: [Mocking] Ehhhh... What does that even mean? Zach: Means wait until our bug and slime guy takes a look. Temp: No clothing. Booth: You know, in my line of work, no clothes usually means a sex crime. Temp: In my line of work, it could also mean the victim favored natural fibers. Zach: [To Booth] Your suit, for example, will outlast your bones by decades. Temp: [To Zach] Collect silt, 3 meters radius, to a depth of 10 cm. [To Booth] Your FBI forensics team can take the plastic and the chicken wire, we'll take the rest. [Cut to exterior sh*t of the Jeffersonian, fade to Brennan and Dr. Goodman walking inside with Zach trailing behind them] Temp: Dr. Goodman, I wish you wouldn't just give me to the FBI. Dr. Goodman: As a federally funded institution, the Jeffersonian must seize every opportunity to prove our worth to our friends in Congress which means, I loan you out as I see fit, especially to federal agencies. Temp: 'Loan out' implies property Dr. Goodman and the FBI will never respect me as property. Dr. Goodman: I do not view you as property Dr. Brennan, you are one of the Jeffersonian's most valuable assets. Zach: An asset is, by definition, property. Dr. Goodman: What's the rule Mr. Addy? Zach: [Sighing] You only converse with PhD's. You realize I am half way through two Doctorates? Two halves make a whole, so mathematically speaking... Dr. Goodman: Go polish a bone Mr. Addy! [Leaving Zach behind, Dr. Goodman and Temp enter an atrium in the museum] Temp: Dr. Goodman. FBI agents will never respect any of us as long as you simply dole out scientists like office temps. Dr. Goodman: Dr. Brennan, are you playing me ? Temp: You know I'm no good at that. Dr. Goodman: Mmmm. Thus far, but you have a disturbingly steep learning curve. [Cut to the Medico-Legal Lab at the Jeffersonian] Hodgins: The pond is not only warm and teeming with microbes, which accelerated decomposition, but it houses black carp and coy which fed on the body. Angela: Can I, as the only normal person in this room, say, Ew? Hodgins: I got three larval stages of trichoptera, chironimidae... Temp: As we cut to the chase.... Hodgins: The body was in the pond one winter and two summers. Temp: Spring before last. Hodgins: You really think I'm Lesty? [Looking confused, Temp turns to Angela] Angela: The book. Temp: No, No, No. You're not in the book. Zach: Sure he is! We all are... Temp: No, none of you are in the book. Those are fictitious characters based on.... Hodgins: [Interrupting and referring to a computer screen showing the ribcage of the victim] I found some small bone fragments in the silt. Angela: [To Brennan] We're out of the book now, we're back in real life... Hodgins: I guess Rana Temporaria. Temp: Frog bones... Hodgins: Also some tiny gold links, those from a fine chain... Zach: [To Brennan] Point of clarification, I'm not a virgin. Nowhere near in fact. Angela: Who you captured perfectly, is Booth. Buttoned down but buckets of sexual confidence which, uhhh, I for one would love to tap. Zack: It's not right to discuss tapping asses in front of a soaker. Temp: I can't bounce back and forth between my book and real life. Since we're stuck with real life let's just forget the book. Hodgins: I haven't analyzed whatever it was the victim was holding in her hand but it looks like cellulose. Angela: Paper? Hodgins: Possibly. Temp: I found microscopic grit embedded in the skull fragments, I need you to identify those too. [To Zach] Remove the remaining tissue, I'll debreed the skull fragments myself, reassemble it so Angela can put a face on our victim. Angela: Good. I prefer holographs, they don't stink. [The group begins to disperse as Brennan walks over to Zach, strains of Howie Day's, Collide begin in the background] Temp: Zach, I don't like those terms for human remains; soaker, crispy critter... Zach: Sorry Dr. Brennan. [As the music continues to play you see Brennan alone in the lab reconstructing the skull piece by piece. This continues through the night to a sh*t of her asleep on the exam table the next morning as Zach places a cup of coffee in front of her and she wakes. Cut to Brennan walking across the lawn of the Jeffersonian carrying her luggage from the day before. Next cut to Booth sitting in an office facing an older gentleman, his boss, Deputy Director Cullen] Cullen: So, you guaranteed a squint a field role in an active m*rder investigation. Booth: Yes sir. Cullen: The one that wrote the book. Booth: Yes sir. Cullen: Thought you said that she wouldn't work with you anymore. Booth: Well, the last case we worked she provided a description of the m*rder w*apon and the m*rder but I didn't give her much credence. Cullen: Why not? Booth: Because she did it by looking at the victim's autopsy x-rays. Cullen: [Snort] Well I wouldn't give it much credence either. Booth: Turns out she was right on both plus the pond victim, Brennan gives me the victim's age, sex and favourite sport. Cullen: [Chuckling] Which is? Booth: Tennis. Cullen: [In awe] She's good. Booth: Oh, she's amazing. If the only way I can get her back to my side is to bring her out in the field, I'm willing. Cullen: Well, Squints like to stay safe, back at the lab. What's with Brennan? Booth: Remember a case back in the early 90's, a couple goes missing on the interstate, car was found at a rest stop? Cullen: Yeah. Upstate New York, upstanding citizens, nobody found anything... Booth: Those are Brennan's parents. Cullen: [Thinking] Fine. She's on you. Take a Squint out in the field, she's your responsibility. Booth: Thank you sir. [Cut to Brennan asleep, in what we can only assume is, her own bed. Hearing a sound her eyes open and she scrambles over the side of the bed to retrieve a bat she had hidden underneath. Quietly slipping down the hall, she holds that bat up in case she needs a w*apon. As a man walks through a bead curtain she slams the bat into the front of the TV he's carrying.] Temp: [Holding the bat in the air, she looks down at the guy she has knocked out] Peter? [Cut to Brennan carrying a mug of coffee then handing it to Peter] Temp: It's not rational for you to choose the first day I'm back to reclaim your television. Peter: While you were away, I thought a lot about why we broke up. Temp: We fought all the time and don't like each other anymore. Peter: We fought because you are emotionally distant and cold but sexually speaking, I think you'll agree... Temp: [Interrupting] You didn't come for your TV, you timed this for a booty call! [Standing and taking the coffee from Peter, she begins pushing him down the hall toward the front door] Temp: OK, you're leaving. Peter: Your intimacy issues are probably due to being orphaned so young. Temp: Ughh... I hate psychology and you're just horny. Peter: Brennan, do you really want to spend the rest of your life alone? Temp: Ok, I don't know about the rest of my life but I sure as hell wish I was alone right now. [Reaching the door, Brennan pushes Peter out and he turns to face her] Peter: So what, we split the cost of the TV? Temp: Goodbye. [Brennan slams the door in his face and the phone begins to ring] Temp: [Picking up the phone] What? [Cut to Medico-Legal Lab at the Jeffersonian, Angela's office. Booth is considering a large piece of art on her wall] Booth: This is interesting, Angela. Temp: [Entering the room] Good morning. Does Booth know how this works? Angela: This computer program, which I designed, patent pending, accepts a full array of digital input, processes it and then projects it as a three dimensional holographic image. Booth: OK. Temp: [To Booth] You get that? Booth: [Ever the smart ass] Yeah, that and the patent pending part. Angela: Brennan reassembled the skull and applied tissue markers. Temp: [Looking at the Angelator with Hodgins, Booth and Zach] Her skull was badly damaged, but racial indicators, cheekbone dimensions, nasal arch, occipital measurements suggest African American. Angela: And.... We have our victim. [A full upper body photograph appears in holograph form on the Angelator] Booth: [Whispering, wiggles his fingers through the hologram] Whoa... Have to admit, that's pretty cool. Temp: [Removing Booth's hand] Ang, rerun the program substituting Caucasian values. [The image alters slightly] Temp: Does she look familiar to anyone? Booth: [Shaking his head in disbelief] No... Temp: [To Angela] Split the difference, mixed race. Angela: Lenny Kravitz or Vanessa Williams? Temp: I don't know what that means. [Angela makes the change and the image is altered again, and Booth is taken aback] Temp: Angela, reduce tissue depth over the cheekbones to the jaw line. [Booth looks from the skull to the image] Temp: Does anyone recognize her? Zach: Not me. Angela: Wait, is that who I think it is? Zach: The girl who had the affair with the Senator? Booth: Her name is Cleo Louise Eller. Only daughter to Ted and Sharon Eller. Last seen approximately 9pm, April 6, 2003 leaving the Cardio Deluxe Gym on K Street, she didn't even make it to her car. Temp: [To Booth] Pretty good memory. Booth: Yeah well, it's my job to find her. Hodgins: Well, in that case, congratulations on your success. Booth: This isn't exactly the way I wanted it to end. [Cut to the Squints eating lunch on some steps outside the Jeffersonian] Booth: Cleo Eller is not just some missing girl. Hodgins: Yeah, she's a senate intern who was boinking Senator Allen Bethlehem. Booth: I was secondary in the investigation to the disappearance of that girl and we couldn't confirm that. [Cut to pictures from Cleo Eller's file] Booth: [To Brennan] How did you recognize her before she even had her own face? Temp: I recognized the underlying architecture of her features, the rest is just window dressing. Zach: [To Brennan] I'm not an expert but, shouldn't he be happier? Booth: Oh no, believe me, I'm happy. Hodgins: He's not happy because Senator Bethlehem chairs the Senate Committee overseeing the FBI. Angela: You seem happy to me. Booth: [To Angela, Hodgins and Zach] I need this kept quiet. Hodgins: Ha! Cover up! Booth: [Walking down the steps away from the other Squints with Brennan following] Paranoid conspiracy theory. Hodgins: Is it paranoia that Monica Lewinsky was a KGB trained sex agent mole? Temp: [Walking beside Booth across the Jeffersonian lawn] So what do you do first, confront the Senator? Booth: Listen, Bones, I know... Temp: [Interrupting] Don't call me Bones! Booth: I know we talked about you coming out in the field and all... Temp: Ughh.. You Rat Bastard! Booth: A case this big and the Director is going to create a special investigation and if I line all my ducks up in a row I could maybe, maybe I can head it up. Temp: I don't know what that means but I think I could be a duck. Booth: You're not a duck ok! On this one we stick to the book. Cops on the street, Squints in the lab. Temp: Well in that case, the Jeffersonian will be issuing a press release identifying the girl in the pond. Booth: You do that, I'm a d*ad duck. What are you trying to do? Temp: Blackmail you. Booth: Blackmail a Federal Agent? Temp: Yes. Booth: I don't like it. Temp: I'm fairly certain you're not supposed to. Booth: Fine. You're in. [Cut to Cullen's office] Cullen: You're certain it's Cleo Eller. Temp: The profile's d*ad on, age, race, height... Booth: Plus the timeline fits, I mean Cleo Eller did play tennis in college. Cullen: Talk to me about the Senator. Booth: [Handing Cullen a photo of Bethlehem] Cleo Eller, the victim, worked for Senator Bethlehem... Temp: It was reported that they were involved sexually. Booth: We couldn't confirm that. Cullen: Oh Bethlehem's a hound, everybody knows that. Booth: [Handing Cullen another photo] Ken Thompson, Cleo's boyfriend. Cullen: Thompson's still Bethlehem's aid. Thompson keeps Bethlehem's calendar, no way the Senator has an affair that Thompson doesn't know about. No sexual relationship, no motive. What about the ahh, nutcase? Booth: [Handing Cullen yet another photo] Oliver Laurier. Cullen: You like him for this? Booth: Well he's a stalker. Cullen: What's your first move? Booth: I'd like to inform the Eller's that we found their daughter. Cullen: It's better to keep this quiet, it's been what, two years? What's another few of days? Booth: With all due respect sir, I've come to know the family pretty well, especially the Major and two years is a hell of a long time in my book. Temp: [Absorbing everything going on around her jumps in to help] I'll have details of cause of death by this afternoon. Booth: [To Brennan] Then that's where we'll get started. [Cut to Booth and Brennan back in the SUV, Booth driving, Brennan looking at Jeffersonian file with small sample bottle in her hand] Brennan: Hodgins identified the particulates embedded in Cleo Eller's skull as rolled steel most likely from a sledge typed hammer also there's concrete and diatomaceous earth. Booth: What's that? Brennan: [Handing Booth the sample bottle with a white powder inside] Looks like that. It's made up of prehistoric sea creatures, it's used as an insecticide, filtering agent, cleaning abrasive, ceramics... It's very common. Booth: Diatomaceous earth. Common or not, it's a clue. [Cut to Booth and Brennan sitting in a very formal living room with Cleo Eller's parents] Mr. Eller: You're positive it's our Cleo. Brennan: We established 22 matching points of comparison... Booth: [Cutting Brennan off and giving her a stern look] Yes. We're certain. Mr. Eller: Did he do it? The Senator. One military man to another. Booth: Major Eller, we can't discuss the investigation in any way. Mrs. Eller: Can you at least tell us if our daughter suffered? Brennan: Given the state of her skull... Booth: [Another dirty look to Brennan] Cleo never saw it coming. Mr. Eller: Thank you. Brennan: Mrs. Eller, can you tell us what Cleo wore around her neck? Mrs. Eller: Her father's Bronze Star. Ted won it in the first Gulf w*r then, he gave it to her for luck. [Mrs. Eller then breaks down and Booth looks to Brennan] [Cut to outside the Eller's home, Booth and Brennan getting back into the SUV.] Brennan: Those people deserved the truth. Booth: Their daughter was m*rder, they deserve the kindness of a lie. Brennan: There'll be an inquest report. Booth: Which they won't read because they don't want to, especially because toward the end, Cleo and her parents weren't even speaking. Brennan: They told you that? Booth: You know, getting information out of live people is a lot different than getting information out of a pile of bones, you have to offer up something of yourself first. Bones: What exactly did you do in the military? Booth: See? See what you did right there Bones? You asked a personal question without offering anything personal in return and since I'm not a skeleton, you get zilch. Sorry. [Cut to Brennan and Zach back at the Medico Legal lab in the Jeffersonian] Brennan: There are s*ab marks here and odd markings on the distal phalanges. Nothing I've seen before. Hodgins: In a nutshell; anxious, depressed and nauseous. Brennan: Take a sick day. Hodgins: Not me. Cleo Eller. Pupal casings show that she was on Lorazepam, Chloradiazepoxide, and Meclizine Hydrochloride. Brennan: Nausea. Show me those bone fragments. [Cut to screen showing bone fragments enlarged.] Brennan: These aren't frog bones, Cleo Eller was pregnant. Zach: Fetal remains.... Brennan: Malleus, Incus, Stapes, these are fetal ear bones. Hodgins: The girl was pregnant. Brennan: Not very far along. Zach: Do you want to try to get a DNA reading see if we can prove paternity? Brennan: You can try, lets hope there's enough genetic material to test. Hodgins: This Senator, ahhh he is smart. He gets an intern pregnant and then m*rder her when it thr*at his career and he has the connections to get away with it. Brennan: I hate it when you make paranoia plausible, it's like sliding off a cliff. Hodgins: Special Unit? No way your FBI pal heads it up unless the dark powers in charge are convinced he knows where his political bread is buttered. Either way, this is where this investigation ends. [Beautiful by Lifehouse begins to play and we cut to Brennan leaning on a swinging partition located at the Jeffersonian in one of the hallways, thinking. Angela joins her...] Angela: Want to get a drink? Non-topical application. Glug, glug, Woo hoo! [In a softer voice] Come on Sweetie... [The two begin walking down the hallway] Brennan: What if Booth's right. What if I'm only good with bones and lousy with people? Angela: People like you. Brennan: I don't care if men like me. Angela: [Chuckling wryly] Okay, interesting leap from people to men but I'm sure it means nothing. Brennan: I hate psychology. [Chuckling disbelievingly] My most meaningful relationships are with d*ad people! Angela: Who said that. Brennan: [Sitting down on a bench] It's true! I understand Cleo, and her bones are all I've ever seen. When she was seven, she broke her wrist probably falling off a bike and two weeks later, before the cast was even removed, she got right back on that bike and broke it all over again. And when she was being m*rder, she fought back hard, even though she was so depressed she could hardly get up in the morning. She didn't welcome death, Cleo wanted to live. Angela: Honey, you ever think you come off kind of distant because you connect too much? Brennan: I hate psychology, it's a soft science. Angela: I know but, people are mostly soft. Brennan: Except for their bones. Angela: Yeah... You want some advice? Brennan: [Sarcastically] Glug, glug, woo hoo... Angela: Offer up a little bit of yourself every once and awhile. Just... tell somebody something you're not completely certain you want them to know. Brennan: [Laughing] God! That's the second time I've received that advice. Angela: Well, you know I give great advice. Brennan: I'm gonna have to push this to the next level. [Cut to the Hart Office Building of the US Senate. Brennan is meeting with Thompson and Senator Bethlehem in an atrium of sorts] Thompson: I'm a little confused as to why the Director of the FBI would send you to speak to the Senator instead of coming himself. Brennan: Probably because I'm the one who found out that Cleo Eller was pregnant. Bethlehem: You can tell the girl was pregnant from her skeleton? Brennan: We found fetal bones, The only question now, Senator, is which one of you is the father. Are you willing to submit to a DNA test? Thompson: [To Bethlehem] You know what, given the sensitivity, don't say anything on the subject without your attorney present. That's my advice. Bethlehem: Advice I intend to take. Ken, we have a vote to get to. [The Senator tosses some gum into a trash can and Brennan runs to retrieve it.] Bethlehem: Ummm, hehe, what are you doing? Brennan: Saliva, say from chewing gum, is an excellent source of DNA. I intend to compare it to the DNA in the fetal bones. Bethlehem: You need a warrant for that. Ken, she needs a warrant. [Thompson walks up to Brennan and grabs her wrist intending to take the gum however, she turns and swiftly elbows him in the stomach causing him to drop to the floor.] Brennan: [As she is walking out of the building she turns to the men] If we have any further questions, we'll be in touch. Bethlehem: Ken, you okay? [Cut to Cullen, in his office, standing with his arms crossed looking very pissed.] Cullen: When you work for the FBI Dr. Brennan, you're a Federal Agent, government property, I own you. Brennan: I'm not certain that's accurate sir. Cullen: Well how's this for accurate. I could place you under arrest on a Federal charge right now for uttering thr*at against a United States Senator. Brennan: What... Booth: Bones... Cullen: [To Booth] I own her, but she was your responsibility. Booth: Yes sir. Cullen: [Speaking to the intercom] Send in Special Agent First. [To Booth] I warned you about taking squints out to the field but you vouched for her, said she wouldn't screw up. Booth: Yes sir. Cullen: She accosted a Senator, as*ault his aid, that counts as screwing things up. Brennan: No! No! Booth didn't know I was going to see the Senator, I wanted to get a sample of his DNA. Cullen: [To Booth] Exactly. Booth: Not helping.... [Agent First enters the office as Cullen sits down behind his desk.} Cullen: Tomorrow morning I'm announcing the formation of a special unit to investigate the m*rder of Cleo Eller at which time your investigation will be officially terminated. [To Booth] You will not head the new unit. Booth: [Addressing Agent first without looking at him and not trying to hide the disdain from his voice] Congratulations Patrick. Agent First: No hard feelings. Booth: Right. Agent First: I need the complete case files in the morning. Booth: Of course, they'll be ready. Cullen: Thank you Agent First. Booth: [Getting up to leave] At least Dr. Brennan found out that the Senator Bethlehem was having sex with Cleo. Brennan: I did? Cullen: [To Booth] Report said there wasn't enough DNA in the fetal bones to determine paternity. Booth: Senator Bethlehem didn't want Dr. Brennan to take that gum, he's hiding something. Brennan: [To Cullen] He didn't know there wasn't enough DNA. Cullen: I suggest you ummm, go back to your lab Dr. Brennan and get used to being there. Booth: Come on Bones... [As they are leaving Cullen's office] You okay? Brennan: Don't be nice to me after I got you in trouble. Booth: Your heart was in the right place. Brennan: No, I'm not a heart person, you're a heart person, I'm a brain person. You vouched for me. Booth: Forget it... Brennan: No, I won't. you think it was the Senator? Booth: Look, the Senator has had sex with a dozen of these interns and he hasn't k*lled any of them, our best bet is still the stalker. Brennan: You want to check him out, we can, I don't, what do you call it, roost him? Booth: [Smirking] Rouse. Brennan: Rouse. Well the m*rder snatched a Bronze Star from Cleo's neck so... Booth: I've got twelve hours before this case is over and I'm off it so, let's go rouse. [Cut to Brennan at Oliver Laurier's door, he has the door opened as far as the security chain will allow] Brennan: Mr. Laurier, we have a warrant to search your apartment.... [The door slams in her face and Oliver turns to run but is stopped by Booth who grabs him by the wrist and puts him to the floor] Booth: [Calmly] Don't run Oliver. [Cut to Oliver who is reading the warrant thoroughly as Booth is taking a look around the apartment] Brennan: Agent Booth is under the impression that you may have something that is pertinent to a case he is working on. Oliver: You're looking for a Bronze Star? Like the one that Cleo wore? Brennan: Exactly like that one Mr. Laurier. Oliver: I don't have it. Brennan: Sometimes stalkers retain keepsakes. Booth: [Picking up a tiny booklet] What the hell are these things huh? Oliver: Miniature lives of the Saints, I hand them out.... Booth: [Tossing one at Brennan] Heads up Bones. Oliver: [To Booth] I hand them out for donations, I'm not a panhandler, help yourself. [To Brennan] I never stalked Cleo. Brennan: Then why did she get a restraining order? Oliver: Okay, okay, no. First of all no. Ken Thompson, her supposed boyfriend, got the restraining order with his boss, the Senator but Ken is only concerned with his job and his tropical fish. They colluded to ruin my reputation with this specious, stalker label when in actuality, I was Cleo's close friend. Brennan: Then why'd you run from the warrant? Oliver: My fight or flight response is heavily weighted toward flight. If there is anything I can do to help you catch Cleo's k*ller, just tell me. Booth: Oh! Full confession, that would be great. Oliver: I love Cleo. Why would I hurt her? Brennan: If you don't mind, I'm gonna keep one of these little books. Oliver: Whatever you need, Dr. Brennan. [As Brennan leaves Booth narrows his eyes at Oliver contemplating the new infatuation that Oliver has formed. Cut to the Jeffersonian, Angela's office, looking at the holograph of Cleo Eller] Angela: This is a rough composite but, you get the idea. Brennan: Skull trauma was not the cause of death, Cleo was s*ab first. She was s*ab 5 to 8 times with a military issued K-Bar Kn*fe. Angela: And I just completed this rendering. The defensive wounds to the bones of her hands suggest that it wasn't until the third or the fourth penetration that.... Brennan: [Interrupting and referring to the simulation of Cleo being s*ab] That's likely the fatal s*ab right there. Angela: ..that Cleo stopped fighting back. Brennan: I believe that the distinctive damage to her distal phalanges, the tips of her finger bones, was caused by the m*rder using a Kn*fe to remove her finger pads. Cranial fragmentation suggests a 20lb hammer striking four to five times while the victims head rested on a cement floor containing traces of diatomaceous earth, that's the best explanation for the particulates found in her skull. This was not a crime of passion. Angela: Cleo never saw the first s*ab coming, it didn't arise out of an argument. Why smash Cleo's face, why whittle away her finger tips, remove her clothing and her jewelry? Zach: Sink her body. Brennan: The m*rder put more effort into hiding the victim's identity than he did into the m*rder itself. Hodgins: In case Cleo was identified, the m*rder planted evidence. The little book that Brennan got from the stalker matches the cellulose I found in Cleo's hand. Angela: Military cemetery, military Kn*fe implicate her own father. More misdirection. Hodgins: Sound like any conniving, son-of-bitch senators you know? Booth: You expect me, to declare w*r on a United States Senator based on your little holographic crystal ball. Brennan: It's not magic. It's a logical recreation of events based on evidence. Booth: No more valid than my gut. Zach: A good hypothesis withstands testing that's what makes it a good hypothesis. Booth: It's not a hypothesis, you have a d*ad girl and a United States Senator. This is exactly why squints belong in the lab, you guys don't know anything about the real world. Brennan: [Glaring at Booth as she leaves Angela's office] Come on, we're done here. Booth: [To Angela, who stayed in her office] Wow. Touchy... Angela: You must know about her family. Both parents vanish when she's fifteen? Probably counts as the real world. Booth: Yeah. I know the story, read the file, cops never found out anything. Angela: Yeah. Brennan figures that if maybe somebody like her had been there... Booth: For someone who hate psychology, she sure has a lot of it. [Cut to Brennan sh**ting a g*n in a f*ring range] Booth: Thought I'd find you here. You know, you being a good sh*t and doing martial arts, it's all your way of dealing. Who knows better than you how fragile life can be? Brennan: Maybe an Army Ranger sn*per who became an FBI homicide investigator? Booth: Ah, you looked me up, huh? [Referring to the g*n] Do you mind? Brennan: Be my guest. Booth: Thank You. [Booth picks up the g*n and purposely makes a lousy sh*t] Brennan: [Chuckling] Were you any good at being a sn*per? Booth: A sn*per gets to know a little something about K*llers. Senator Bethlehem, he's no k*ller. Brennan: Oh, and Oliver Laurier is? Booth: [Backing Brennan against the wall of the f*ring booth, he gets right in her face] The way I read Laurier, he's unhinged. That makes him dangerous. Brennan: That'd be your gut telling you that, correct? Booth: You know, homicides, they're not solved by scientists. They're solved by guys like me asking a thousand questions a thousand times, catching people telling lies every time. You're great at what you do, Bones, but you don't solve m*rder, cops do. Brennan: Cleo Eller was k*lled on a cement floor sprinkled with diatomaceous earth. Traces of her blood will still be in that cement. One of us is wrong, maybe both of us. But if Bethlehem wasn't a Senator, you'd be right there in his basement looking for that k*lling floor. You're afraid of him. Your hypothesis is that squints don't solve m*rder and cops do, prove it. Be a cop. [Smirking, Brennan turns and leaves. Booth picks up the g*n and fires two quick sh*ts with his own g*n. Camera fades to show both being perfect k*ll sh*ts. Cut to Booth sitting at his desk watching home video of Cleo Eller and her family while by plays. Brennan knocks on the door and clears her throat] Booth: They look pretty happy, don't they. Otherwise they wouldn't turn on the camera I guess. Brennan: Zach said you wanted to see me? Booth: That something you don't like to talk about? Families? Temperance, partners they, share things, builds trust. Brennan: Since when are we partners? Booth: I apologize for the assumption. [Hands Brennan a piece of paper] Brennan: You got a warrant to search Bethlehem's place? Booth: You were right. If Bethlehem wasn't a Senator, I'd be in that basement, looking for that k*lling floor. But you're wrong, I was never afraid of that guy and I'm not doing this because you're a genius, I'm doing this for Cleo. [Cut to a media circus outside Senator Bethlehem's mansion] Thompson: The warrant says they're searching for blood traces, a sledgehammer and diatomaceous earth. Bethlehem: What the hell is that? [Thompson angrily storms up to Brennan] Thompson: You're making a big mistake. [Brennan ignores him and looks over to where Booth is in a heated conversation with Agent First. Sensing she is being watched, she turns to see Oliver Laurier behind the gate] Brennan: What are you doing here? Oliver: Look at him, for all his politics he's got nothing. He should have loved Cleo properly like I would have. Will you sign my book? Brennan: Stalk me Oliver and I will Kick. Your. Ass. [Cut to a sledgehammer being removed from the Senators home in an evidence bag] Bethlehem: I don't recognize that, that is not mine. That is not mine! Brennan: [To Booth as he walks up to her] At least we got the hammer. Booth: Yeah but that's all we got. Brennan: The cement floor in the basement? Booth: Yeah, no blood, diatomaceous earth. We needed a trifecta Bones. Physical evidence, m*rder w*apon, crime scene... [Cut to all of the squints drinking alcohol out of beakers in the lounge back at the Jeffersonian] Zach: They won't even arrest him? Hodgins: Don't worry, if that's the hammer used on Cleo Eller, he'll get arrested. A toast to getting this bastard. Brennan: The hammer's not enough. He's gonna get away with it. And maybe Booth is right, maybe outside the lab I'm useless. Hodgins: [Holding up Oliver's book] Let's take guidance from the lives of the Saints. Angels: Albertus Magnus, Patron Saint of Scientists. Zach: I thought Magnus was the Patron Saint of fish mongers? Hodgins: Two separate entities. Albertus Magnus was a 13th century philosopher, the fish monger saint was a ... Brennan: Fish! [Everyone stares at Brennan] You said that diatomaceous earth could be used as a filtering agent. Hodgins: Yeah, for swimming pools, water filters... Brennan: Or tropical fish. Oliver Laurier said that Ken Thompson kept fish. [Jumping up, Brennan begins to rush away] Angela: What's your hurry? Brennan: [Turning back] Thompson read the warrant, he knows we're looking for diatomaceous earth. Get in touch with Booth, tell him where I'm going, okay?. Angela: [To Hodgins] She didn't actually say where she was going, did she? [Brennan pulls up to Thompson's home and sees him through a window spreading gasoline all over the floor] Brennan: Stop! You can't destroy evidence. [Picking up a planter at the front door, Brennan throws it through a glass panel then reaches in to unlock the door. Brennan enters the house] Thompson: This is a private residence, I don't suppose you have a warrant? Brennan: I'm working with the FBI, if I have reasonable suspicion of a crime being committed, I don't need a warrant. Thompson: What crime? Brennan: Destruction of evidence pertinent to a Federal investigation. Thompson: I'm just cleaning up. Is that alcohol I smell on your breath? Brennan: This linoleum looks fairly new, what's underneath, cement? The same cement that was embedded in Cleo's skull when you bashed her head in. Thompson: You might want to get out of here. Brennan: I can't let you destroy evidence. Thompson: How are you going to stop me? Brennan: I'll stop you. Thompson: [Laughing] Not before I burn this place down with you in it. [Brennan quickly pulls her g*n and sh**t Thompson in the leg, then rushes over still holding the g*n on him in order to keep him on the floor] Brennan: I don't get it, it wasn't jealousy, it wasn't passion, Cleo wouldn't get rid of your boss's baby and so you got rid of her. What kind of psychology is that? What kind of person are you? [Oliver Laurier appears in the doorway] Oliver: Temperance. Are you alright? Brennan: Oliver, I understand you're here out of a misguided concern for my safety but I apparently don't read people very well and you could be in some kind of psychotic collusion with Ken so I'm going to ask you to go over there and apply pressure to his wound until the police get here, you understand? Oliver: Okay. Okay. Did he k*ll Cleo? Brennan: Yeah... Oliver: Okay. Well, I'm down with him bleeding to death. Brennan: Did I mention that applying pressure to a g*n wound is extremely painful? [Cut to Cleo Eller's funeral with Collide by Howie Day playing. All the squints have attended as well as Goodman, Booth and Brennan. Brennan leaves the group to place a rose on Cleo's coffin while the rest watch] Angela: Is the FBI going to lay charges against Brennan? Hodgins: She only sh*t him in the leg. Once. Booth: She didn't give him a warning. She just sh*t him, with alcohol on her breath. Goodman It was her first sh**ting, you can't expect it to be perfect right out of the gate. Zach: [To Booth] How much warning did you give people before you sniped them? [sh**ting Zach a dirty look, Booth leaves the group to catch up with Brennan who is walking across the cemetery toward the road. He catches up with her and falls into step beside her with a smug grin on his face] Brennan: [Laughing] What? Booth: Told you it wasn't the Senator. Brennan: And I told you who it was, so we're even. Booth: Except we work on the same cases and you end up on the New York Times Best Sellers list. Brennan: I didn't know that! Booth: Number Three, with a b*llet. Brennan: That's good right!?! The New York Times with a b*llet... Booth: It means you're rich, call your accountant. Brennan: [Laughing] I don't have an accountant. Booth: Well get one. Brennan: Okay, how does that work? Booth: Ughh, you need to get out of the lab you know, watch TV, turn on the radio, anything! Pick up the phone and.... [Booth stops and looks with Brennan back to the funeral where Mr. and Mrs. Eller are laying roses on their daughter's coffin] Booth: You know, if it weren't for you, those people would never have known what happened to their daughter. That's got to be worse than the truth. Brennan: I know exactly how the Eller's felt about Cleo. My parents disappeared when I was fifteen and nobody knows what happened to them. Booth: You know, being a sn*per I took, a lot of lives, What I'd like to do before I'm done is try and catch at least that many m*rder. Brennan: [Laughing] Please! You don't think there's some kind of cosmic balance sheet... [Catching herself with her foot in her mouth, she stops] I'd like to help you with that. Booth: [Smirking] Ehhhh.... [Laughing, Brennan smacks Booth on the arm and they begin walking away] End.

{"type": "series", "show": "Bones", "episode": "01x01 - Pilot"}

foreverdreaming

"The Man in the SUV" Episode 1x02 Written By: Laura Wolner Directed by: Allan Kroeker Transcribed by: Cassie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Open with an elaborate sign stating Arab-American Friendship League...Established in 1971. As the camera moves to doors behind this sign, a man comes out of the building wearing a suit and carrying a briefcase. This gentleman, who has blisters all over his face, and is looking quite upset, gets into his Jeep , revs the engine a few times, then takes off squealing his tires. A cell phone rings and when he checks the display, it reads Sahar. He yells into the phone agitated ending the call abruptly while he continues to drive recklessly. As the phone starts to ring again, he slows to a stop outside a café and all of a sudden, the Jeep blows up. Cut to same place later in the day] Booth: Bones! Bones! Over here. Brennan: Where have you been? You said you would meet us on the corner. Booth: There is a lot going on here in case you haven't noticed. [To security guard] These girls they're with me Dr. Temperance Brennan and Angela Montenegro from the Jeffersonian. Security Guard: I need ID. Booth: Okay, check the RI5 list, homeland security. She's the forensic anthropologist. Security Guard: They're clear. Booth: Thanks. C'mon. Angela: God, What's that smell? Brennan: Burnt flesh. Are there a lot of injuries? Booth: Four known d*ad. Fifteen injured. Angela: [Looking ill at the bodies laid under tarps] Oh my God. Brennan: Details, whatever you have. Booth: Not much. Witnesses said they saw a Middle Eastern man mid thirties pull up to the café and the car just blew. The vehicle is registered to a Hamid Masruk, head of the American-Arab friendship league. Brennan: {Stepping up to the burnt out Jeep] If you know who it is, why do you need me? Agent Gibson: Because we're hoping we're wrong. Masruk is a White House consultant for Arab relations. Had lunch with the President just last week. Booth: Remember Agent Gibson, Homeland Security. [Pointing to Brennan] Dr. Temperance Brennan. [Pointing to Angela] Angela Montenegro. If Masruk was involved in a t*rror1st att*ck it means we have a huge national security problem. Agent Gibson: Not to mention a very humiliated president. The press is already running with this. Brennan: If you think I'm going to alter my findings... Gibson: Look, not at all but maybe it's not Masruk. We need to be sure. Booth says you're the best. Brennan: [To Booth] I need surgical gloves and masks for the retrieval team. Sterile medical bags and vegetable oil. Booth: Vegetable oil? Brennan: The oil will loosen the seared body parts stuck to the metal. It's no different then steak on a grill that sticks. Booth: It's okay, I trust you. Zach: [Joining the group with Brennan's requested items] Should I photograph the scene? Brennan: Focus on a 30 meter radius from the blast. Brennan: [To Booth] Okay to pick up? Booth: [To Brennan] You know, it's okay to be upset. Brennan: I wish this is the worst thing I'd seen. Angela: [Handing the red retrieval bag to Booth] You know...uh... I don't think I can...Sorry. Brennan: [To Booth] Well, if you can't either... Booth: No, I'm cool. Brennan: Zach, I need two more evidence bags. [Cut to Medico Legal Lab at the Jeffersonian] Brennan: Facial epidermis and the fingertips are completely decimated. We're not going to be able to ID anything from the flesh. It's basically carbon. Zach: We are missing the lower left leg and the lumbar spine. Brennan: Here's the C2 and the right ischium. Zach: Smokey here had access to the President. Why would he att*ck a café? Brennan: Smokey? Zach: It's how I deal with the stress. Hodgins: Targeting everyday places causes panic. People stay home. The economy is crippled. It's Terrorism 101, man. Brennan: Take samples from the clothes. See whatever you can find. Traces of cologne, laundry detergent, anything that we can link to Masruk's home. Hodgins: I will grab any particulates that I can identify the type of b*mb. Zach: Isn't that the FBI's job? Hodgins: What you trust the FBI? You realize those guys are going to suppress whatever they need to cover their asses. Zach: I found a portion of the clavicle. Hodgins: Are you even listening? Zach: No. Hodgins: They have a separate division you know that way their hands are always clean. In 1970... Brennan: [To Hodgins] Jack! We're trying to work. [Booth comes walking up the stairs to the center platform behind Hodgins. Hodgins doesn't notice he is coming.] Hodgins: Someone seems really defensive about the FBI lately. You realize Booth is just another Government stooge. Brennan: This has nothing to do with Booth. Booth: You know I don't enjoy having squints on my team anymore then you like me on yours but you know we're supposed to be working together. Okay? Hodgins: [Turning to face Booth] Sure. So what do we do, group hug? Booth: Agent Gibson here will be over seeing things for Homeland Security. Gibson: I'll try not to be in the way. Brennan: No, uhhh ...we don't need to be overseen. Booth: That's really not your call Bones. Okay how soon can we get the DNA match? Brennan: That'll take days. I can get a match much sooner then that I have all we need. Gibson: You're going to be able to ID him from that? Zach: Asking stuff like that is in the way. Brennan: [Walking away leaving Booth to follow] Remove any flesh and particulates you can and then macerate him. [To Gibson] If that's alright with you? Hodgins: [To Gibson who is leaning on the exam table] Don't touch the table. Don't touch the table. [Cut to Booth and Brennan walking to her office] Brennan: This is my lab. I'm a scientist. A doctor. Booth: Yeah, so I've heard. Brennan: Look, would you be able to do your job if someone is looking over your shoulder all the time. Booth: You do, okay I've developed a tolerance. Brennan: I'm sorry but I don't understand the advantage of compromise. Booth: It's a t*rror1st att*ck Brennan. It's bigger then you and It's bigger then me. Brennan: The job is the same. Booth: No, it's not! We're dealing with someone here who devalues an entire culture. Terrorizing people by using God to justify mass m*rder. Brennan: You're making it personal. That doesn't help. Booth: It is personal Brennan. All of us die a little bit on one like this. [Cut to the lab] Zach: All the trace evidence has been stripped. Hodgins scavenged as much as he could. Brennan: Okay, let's get started. Booth: [Referring to the jars of bugs Zach dumps on the bodies] What the hell are those? Zach: Dermestes Maculatus. Brennan: Flesh eating beetles. That's how we clean the flesh off of burn victims. Gibson: [Phone rings] Gibson. Yes sir. Yes sir. [To Brennan] The President wants to know how long the ID is going to take. [Referring to the beetles] Why don't you ask them? [Intro Rolls] [Cut to Interrogation Room with the victim's wife and brother] Mrs. Masruk: You've made a mistake. It can't be my husband. Mr. Masruk: My brother was no t*rror1st. He hated those people. You can read his speeches. Talk to anyone. Booth: We're not making any accusations. Mr. Masruk: It's all over the news. It's all anyone is talking about. Booth: We cannot control the press, Mr. Masruk. Mrs. Masruk: How about your men? They've searched our house. They've talked to our friends. Booth: Until we can identify the body we have to conduct a thorough investigation. Mrs. Masruk: So identify the body. The longer you wait... Do you know what it is like for us? Brennan: His body was fragmented by the blast. We're still retrieving pieces. [Booth touches her arm] I understand how difficult this is not knowing. I'll work as quickly as I can to get you what you need. That's why I asked for his history. Where he grew up? Any injuries from his youth? Medical records? Mrs. Masruk: [Handing Brennan an envelope] Of course. I brought you what you asked for. Booth: Thank you. Mrs. Masruk: [Crying] We lived just like you. We came to this country because we love it. We are Americans. It can't be Hamid. It can't. My husband was not a t*rror1st. [Cut to Lab] Zach: It could be a perchlorate. Would that be used in a b*mb? Hodgins: Yeah but this is a crystalline structure, aluminum based. {Gibson leans over top of the computer trying to seen what they are doing. Hodgins is annoyed and tries to pull the computer screen so he can't see it] Brennan: Okay, I'm back. How are we doing? Zach: I have his detergent brand, cologne, shampoo. He died a well-groomed man. Brennan: Thanks. Gibson: Dr. Brennan? Brennan: [Ignoring Gibson and walking away] Are the bones done yet? Zach: Yeah, I will check the beetles. Gibson: [Annoyed] Dr. Brennan, whatever you have there.... Brennan: [Walking to her office] It's a piece of paper that's all, with some writing on it. [Cut to Brennan' office] Angela: [From the doorway] Hard at work? [Noticing all the pictures from the file] There's a shocker. Brennan: I just saw his wife. She gave me his medical records...photographs. Apparently he was ill. They were testing for Lupus which would explain the face. It must have been painful. Angela: Look I ... I know that you needed help out there. At the crime scene and I wanted to but... Brennan: [Sitting on the couch] It's okay. You see it. I don't anymore. I don't know what's worse. Angela: [Joining Brennan] You holding up okay? Brennan: His wife doesn't believe it was him. I've got to give her an ID. Angela: Whatever I can do. Brennan: Yeah, I know. Angela: And about this weekend... Brennan: Angela I don't know. Angela: Oh come on. Brennan: I don't know. Angela: Brennan I know this great club, they play Trip Hop and Trance. Brennan: I don't know what that means. Angela: It doesn't matter. We'll grab Booth. Brennan: No. Angela: I think he likes you. God if I were you, I'd buy a ticket on that ride. Brennan: [Pointing to plastic boxes of bones] Look, I'm going to be very busy this weekend even after the ID, I have these. Angela: Remains from WWI. Brennan: That's what the institution pays me for. I've got hundreds of these waiting. Angela: And they can't wait one more weekend? Brennan: They've got relatives. They've waited long enough. Angela: You know it's not that scary Brennan. You have a few drinks. You move to the music. You might even smile. Zach: [Interrupting] The bones are clean. Brennan: [To Angela] I've gotta run. You hang around. I may need you. [Cut to Lab] Brennan: [Talking into Voice recorder] Comparing remains to details provided of Hamid Masruk, age 37, of Afghani origin. Texture of pubic synthesis indicates age of bone consistent with Masruk, as is height. Zach: [Brennan points voice recorder in his direction] Complexity of the cranial vault sutures matches the statistical probability of your age and decent. Brennan: Good. Angela: Too bad we can't tell why he did it. Isn't what we all really want to know? Brennan: Uneven growth patterns in the vertebrae indicate malnourishment as a child. Zach: Consistent with the diet where Masruk was from. Probably evidence on the calvarium? Brennan: Why don't you reconstruct the skull and check it out? Zach: [Smiling] My first cranial reconstruction. Brennan: Evidence of multiple fractures to the bottoms of the feet consistent with methods of t*rture used in Afghanistan and consistent with Masruk's history. I'm convinced we have a statistical match. [Turns off recorder] Gibson: So Masruk is the b*mb. Brennan: Yes. Gibson: What about the skull? You're having the kid reconstruct it... Brennan: [Grabbing the file} This is an educational institute. He wants to learn. Is that okay with you? For forensic ID, we have all we need. Now I would like to get this data to Booth as soon as I can. Gibson: [Referring to the file] I'll take it. Brennan: No, I don't think so. I work with Booth. That's my deal. Gibson: Dr. Brennan, I have jurisdiction... Brennan: Then why don't I destroy my notes and let you guarantee the identity of the remains. Angela: [To Gibson] It's best to just ride it out, like an earthquake. [Cut to Booths apartment] Booth: [Answers door with shirt unbuttoned] Bones? Brennan: Yeah Booth: Did we have an appointment? Brennan: [Handing over the file] No, uh...it's him. Masruk is the b*mb. Booth: I guess the wife didn't know the husband very well. Tessa: [Entering the room wearing one of Booth's shirts and not much else] Hey. Brennan: Hi, sorry. Booth: Tessa, this is Brennan. Tessa Jankow, Dr. Temperance Brennan. Tessa: Oh, hi. I've heard a lot about you. Brennan: Really? Booth: Tessa's an attorney. Tessa: Mmmm, corporate, keeping the fat cats fat. Brennan: I was just studying a cranial fissure on a corporate attorney last week. Of course he was d*ad so... Tessa: Interesting. Brennan: Thanks. Booth: [To Brennan] Well the Bureau...I was just heading to the Bureau. Santana called and said something about a b*mb and I thought you were at the lab. Maybe, uh, you should come. Brennan: Sure. Booth: [To Tessa, kissing her goodbye] See you later. [Cut to Booth's office] Booth: Okay, what is so funny? Brennan: [Chuckling] I just never figured you'd be in a relationship. Booth: Why, do you think something's wrong with me? Brennan: Not wrong. You just have alpha male attributes usually associated with a solitary existence. Booth: What! Me? You're solitary. Brennan: No, no I'm private. It's different and we weren't talking about me. Booth: Well I was. Brennan: Well I wasn't. Look, I'm happy for you. Relationships have anthropological meaning. No society can survive if sexual bonds aren't formed betw... Booth: What the hell are you talking about? Santana: [Coming out of his office] Booth. Booth: Yeah? Santana: You got that ID? Booth: Yeah it was Masruk. Santana: Oh, that's too bad. Brennan: He k*lled four people and injured another fifteen. Santana: [Handing a file to Booth] The report came back from ballistics. Now the expl*sives were placed under the car with the trigger connected to the odometer. Masruk was m*rder. Brennan: [Looking at the file as well] So Masruk wasn't a t*rror1st. Booth: Somebody tried to make him look like one. Any leads on who did it? Santana: That's why we're paying you Booth. [Cut to Interrogation Room] Booth: We're very very sorry Mrs. Masruk. Mrs. Masruk: I told you Hamid was the victim, but you wouldn't listen. You couldn't imagine an Arab who's a peace loving man. Booth: That's not true. Mrs. Masruk: No? We must investigate everything Mrs. Masruk. We must turn your house upside down because we believe your husband was a good man. Is that the truth? Brennan: No! They searched your house because Muslim extremist have declared w*r on the United States. Preliminary findings made your husband a suspect which we are required... Booth: It's not Bureau policy to target or profile any ethnic group. It wasn't our intention. I can understand why you may feel offended. Brennan: I can't. Booth: Bones! Brennan: What? She's been a part of a criminal investigation that's all. Her rights haven't been violated. It's unfortunate that her husbands' ethnicity is a factor but to say that it isn't would be disingenuous. Booth: I'm going to have to apologize for Dr. Brennan. Mrs. Masruk: It's fine, Mr. Booth. Honesty is always a welcome relief. So when can I bury him? When can I give him peace? Brennan: There are certain body parts that I'm still examining. Others are still seared to the surface of the wreckage... Booth: [To Brennan quietly] I'm sure Mrs. Masruk doesn't really need to know the details. Brennan: If I can retrieve more remains of her husband, Muslim law requires that I do. [To Mrs. Masruk] I spent some time in Iraq identifying bodies. I'll give you whatever I can so that he can be purified for burial. Mrs. Masruk: Thank you. [To Booth] Is that all? Booth: One last thing. A few calls were made to uh, his cell phone from your house minutes before the blast. Mrs. Masruk: [Looking at a family photo] Yes, we argued. It was a family matter. My final words to him were words of anger. Booth: I'm very sorry. It must be very painful. Brennan: You looked very happy in that picture. Mrs. Masruk: [Picking up her belongings to leave] Yes. Booth: Thank you. If there's anything else that you know that you can think of, just give us a call. [To Brennan after the wife leaves the room] I think she's having an affair. Personally. [Cut to Wong Foos} Booth: [Taking a seat at the bar] She was having an affair! Brennan: [Sitting beside him] I'm sorry but that's an offensive assumption! Booth: Well all the signs are there. Brennan: You can't make wild accusations about somebody's personal life based on a feeling. Booth: It's more then a feeling. Okay, that photograph is evidence just as solid as the markers you squints pick up looking at your little bones. Brennan: The evidence that I find isn't empirical. What you consider evidence is merely conjecture. Booth: She dyed her hair. She lost weight. You know she shoved a little Botox in her forehead. She's still feeling guilty over the last fight she had with her husband. Brennan: [Frustrated] Uhhh! You are an insufferable...arrogant....man! Booth: Oh! So only a woman could know a woman. I thought woman wanted us to understand them. Angela: [Who has come to sit beside the two] Not really. A magician never wants to reveal her tricks... Booth: [To Angela] We're having a private conversation. Angela: I'm not here. Brennan: [To Booth] So you think you know woman just because you live with some sexy lawyer? Unbelievable. Booth: [Scoffs] Angela: [To Booth] You live with a sexy lawyer? Booth: [To Angela] She has her own place okay. Brennan: [To Angela] He thinks just because Masruk's wife started working out and had a little make over, that she was having an affair. Angela: Hmm, and how long were they married? Booth: Eleven years. Angela: [To Brennan indicating Booth] I'm with him. Brennan: There is no concrete proof! Angela: Boobs perkier? Booth: Mmmm Hmm. Brennan: I don't believe this if you're so sure then why didn't you confront her. Angela: Because if she or her boyfriend were involved, she would warn him. Booth: Very good. Angela: I'm a constant surprise. Brennan: [Leaving the bar] Alright. Great. I will be in the lab getting us some real data. Booth: [sighs.] Angela: So, how many nights a week does "sexy" sleep over? Booth: Ha, ha, ha. [Cut to Lab] Brennan: [To Zach] How's it coming? Zach: The Ethnoid and Sphenoid fragments won't piece together. Brennan: Zach, I would like to return the remains to the widow before her demise. Zach: I'm doing my best, Dr. Brennan. The integrity of the bone seems to be compromised. I don't know if it's the metal fragments from the blast... Hodgins: I examined the chemicals used in the expl*sives. The perchlorates I found can have a degenerative effect. Brennan: Not this quickly. Excuse me. [Looking through the microscope] Unusually soft bone tissue. You know, this has nothing to do with the blast. I owe you an apology Zach. Do you have his medicals? Stiff joints, facial disfigurement. There's a disorganized Trabecula pattern here that his doctors wouldn't have been able to see. Could have been a degenerative disease. Hodgins: I don't get it. How does his medical condition figure into the m*rder? Brennan: Now it's a m*rder. Before it was terrorism because we didn't have all the facts. You don't overlook anything when you're looking for the truth. [To Hodgins] Check for Lupus and Pagets. Do you have enough tissue? Hodgins: Yeah, I can manage it. Brennan: If those come back negative, he might have been exposed to a toxin which would mean his brother was too. He's exhibiting similar symptoms. I'll get the brother's medicals. Hodgins: [Sighing] I graduated top of my class, Rhode Scholar, youngest member inducted into the Academy of Physical Sciences but she still makes me feel like a cretin. Zach: She apologized to me. [Cut to the victim's, brother's, Farid Masruk, apartment] Farid: Yes, I am a Christian. Booth: And Hamid is Muslim and Sahar? Farid: I converted. Hamid could never accept it. Religious differences caused too many problems. Brennan: Seems to be a consistent fact throughout history. Farid: Please. [Gestures for them to sit] I tried to make peace with my brother but it was difficult. There was more then religion between us. Booth: Sahar mentioned that there was some...uh... family problems? Farid: Yes. Booth: I can understand how, uh, delicate it can be. Farid: Did she tell you anymore then that? Booth: No, but I mean, if you have any other information that could help us in the investigation? Farid: It's not my place. Booth: We're just trying to find out who k*lled your brother. Farid: Sahar was seeing another man but I can't believe she'd hurt my brother. Brennan: Do you know who this other man is or is it just a feeling you have? Farid: I've met him. Ali Ladjavardi. He worked with Hamid at the friendship league. I wanted Hamid to confront Ladjavardi. Brennan: Did both you and Hamid have contact with Ladjavardi? Farid: Yes, once. Hamid, my brother brought me to meet him. Sharing a meal is a gesture of peace. I was trying to save there marriage but Sahar and Ladjavardi were not going to stop their affair so I told Hamid to repudiate her. Booth: Sorry? Brennan: In Muslim law it's a method of divorce. It's called Talak. Farid: I still respected his traditions. Brennan: You and your brother seem to share a medical condition. Farid: Yes. Why is that important? Booth: We don't mean to embarrass you, but Dr. Brennan is just trying to figure out the condition. That's routine. Part of the investigation. Brennan: Have you seen a doctor? Farid: Yes. He believes it's a genetic disorder we shared. He was going to call Hamid's physician to discuss it. Brennan: Would you mind if we saw your medical records? Farid: Of course not. If I could be helped, I welcome it. [Cut to Lab] Angela: Apparently, they live together a few days a week, but he was very clear that she has her own place. Zach: Should you be intruding into their lives like this? Angela: Oh yeah. Absolutely. Hodgins: We're negative for Lupus and Paget's. When you're done, I will do a scraping for environmental contaminates. Zach: {Handing a petrie dish of particulate to Hodgins] I found these. Shiny flakes that caught onto the torn patches of bone. Angela: Bottom line, I still think Brennan has a sh*t with Booth. Hodgins: But she says she's not interested. Angela: Methinks the lady doth protest too much. Zach: Maybe she protested just enough. Angela: Puh lease. She's been sleeping alone for months. She has enough pent up sexual energy to power a small mid-western city. Hodgins: This looks like gypsum. That wouldn't cause any organic damage. It's probably used to insulate the expl*sives, bet the FBI doesn't know that yet. Angela: I'm gonna go check out this girlfriend. [Cut to Interrogation room] Ladjavardi: I'm not proud of the affair. I admired Hamid but Sahar and I were in love and I can't change that. Booth: You worked with Hamid. You had access to his car. Ladjavardi: That's ridiculous. Booth: You also had contact with his brother Farid who said you were less then friendly with Hamid. Ladjavardi: Have you ever been in the middle of a messy relationship Agent Booth, or are you a perfect man? Booth: You know I prefer to ask the questions Mr. Ladjavardi. Ladjavardi: And I have the right for an attorney. Have you called the number I gave you? Booth: Of course. You know I would never deny anyone his rights. Santana: [Entering the room] Mr. Ladjavardi, I'm Special Agent in Charge, Santana. We're sorry for the inconvenience, you're free to go. Ladjavardi: Thank you. Santana: [To Booth] You're finished. Booth: What the hell was that all about? He was a prime suspect. Santana: He's a mole for Homeland Security. They planted him in the Arab-American Friendship League. Booth: He admitted the affair. Santana: Maybe but Homeland Security says he's clean. They do not want his cover blown. Booth: But sir... Santana: [Angry] Do I look like I'm discussing this? [Santana leaves and Booth punches the wall.] [Cut to Brennan and Booth in his SUV] Booth: [Honking the horn] C'mon. Brennan: You want me to drive? Booth: No. Why? Brennan: You're angry. Booth: [Laughing] I'm not angry. Brennan: Yeah, you're furious. You're going to k*ll somebody. Booth: I'm not angry. Believe me, you do not want to see me angry. That's the last thing you want to see. Brennan: Okay. Booth: This is me accepting reality. Brennan: Okay, my mistake. Booth: My superiors, they make the decisions, Bones. Alright. They don't think them through that's really not my problem. Brennan: If I were you, I'd be mad. Homeland Security is preventing you from doing a proper investigation of a m*rder case. Booth: I'm a grownup. I'll deal. You know that thing where you ask for the strength to change the things that you can and the wisdom to know the difference? Brennan: Not really. Booth: Well it's a good thing. Brennan: Who do you ask? Booth: For what? Brennan: For the strength and the wisdom? Booth: God. Brennan: And that works? Booth: Can we talk about something else? Brennan: Sure. Tessa? Booth: Tessa!? No. Why do you want to talk about Tessa? Brennan: What? Why? Why not? I'm sorry. We won't talk about Tessa. Booth: I prefer if we would just stay on point and talk about things that you like to talk about like d*ad people. d*ad bodies? Brennan: Sure, sure. You've k*lled a lot of people, right? When you were a sn*per? Booth: Maybe we shouldn't talk at all. Brennan: Right cause you're angry. Booth: Not angry. I'm not. Brennan: We'll find out who k*lled him, Booth. We've got Hamid's body. You can always count on the d*ad. [Cut to Lab] Brennan: When Booth sends over the brothers medicals, I want them matched to Hamid's. Hodgins: [Handing a sheet of paper to Brennan] I'm starting on a tox screen. Brennan: Farid said his doctor suspected a genetic condition. Maybe we are overlooking something. Brennan: [Noticing an electronic device on the table] What is that? Zach: We used the trace elements we recovered to try and build the b*mb. It might give you another link. Brennan: Isn't the FBI working on that? Hodgins: Yes, this is just for fun. Brennan: To see who's better? Hodgins: Maybe, a little. Yeah. Brennan: Good luck. Zach: [Presents Brennan with the skull] Ta-da. Brennan: Nice job. No wonder you had such trouble with reconstruction look at the spread of the Trabecular pattern in the bone. Zach: Microscopic fissures, like cracks. Hodgins: I knew that. Zach: I don't think so. Brennan: [To both guys] Can we focus? The spread is too rapid for any organic bones disease or genetic condition. It's definitely a toxin. Is there any surviving marrow to test? Zach: Uh, I'll try and find some. Brennan: Let's do it. [Cut to a Cafeteria. Tessa is sitting at a table snacking on a muffin and reading a book on the FBI when Angela enters. Looking around, Angela holds up a paper in her hand that has a picture of Tessa on it and some personal information. She smiles when she sees Tessa sitting at one of the tables and walks over near her dropping her purse, spilling the contents on purpose. Tessa looks down from her book and goes to help Angela where both strike up a conversation. Cut to Lab] Hodgins: the marrow's degraded. I can give you basics but that's it. Zach: According to these tests the liver function was impaired. Brennan: His body was trying to get rid of whatever was poisoning him. Angela: [Joining the group] There is trouble in paradise. Brennan: I beg your pardon? Angela: Tessa does not feel secure in that relationship. I think she's thr*at by you. Brennan: You talked to her. Angela: She didn't say much but even though she has a phenomenal figure she was chowing down on a fat-free muffin and she was reading a book about unsolved FBI cases. Ughhh, she's obviously feeling insecure. Hodgins: [To Brennan] She's spying for you? Brennan: [Embarrassed] No! No! Zach: [To Brennan} Even if you have nothing in common it's difficult to sublimate intense sexual attraction and we hear it's been awhile. Brennan: Okay, Stop! Angela: He is there for the taking, honey. Booth: [Joining the group] Okay, I couldn't get his medical records. What? Brennan: [Embarrassed beyond belief] Oh nothing. Booth: Trying to track down the doctor? Brennan: Don't need him. It's definitely a toxin but we can't determine what kind. Zach: Too bad the liver is cooked, that could tell us everything. Booth: You know, I need subtitles walking in here. Brennan: The liver is like a filter. It would contain evidence of any toxins in the system, but we don't have the liver or any of the flesh left. Hodgins: But we do have the beetles. Hodgins: They ate Hamid's flesh and whatever organs remained and we all know you are what we eat. Booth: So you can ID the poison from the beetles. Zach: You can't k*ll them. They have names. Brennan: [Taking a handful from the jar] We have to, Zach. Some. Hodgins: In Thailand, they are sautéed in peanut oil. Mmm. Booth: Oh. [Pats Zach on the shoulder] [Cut to later in the day, in the lab] Brennan: We're going to have to run a simulation. I need you to input this skull and give me a face. Angela: You've got it. Brennan: And no more talk about Booth. You shouldn't have gotten involved. Angela: That's what friends are for. Brennan: Please, Angela. Booth: [Walking up behind Zach and noticing the b*mb] Hey, Wha...Where'd you get this? Zach: I'm building it. Theoretical construct of the b*mb based on the particulates we gathered. Booth: This isn't your job. The Bureau's doing this. Hodgins: Got it! They were poisoned by dioxin, a very pure form. It would stay in the system for years cause cancer, diabetes, heart att*ck, and the facial system bone degeneration we saw. Brennan: Give me the saturation levels. Angela can use it in simulation to give us approximate date of ingestion. Booth: How much would it take to poison them? Brennan: [Walking away] Just a little slipped into their food. Like at that lunch they had with Sahar's lover. Angela: [To Booth] Impressed? [Cut to Angela's Office] Brennan: Dioxin levels were 5600 parts per trillion. Speed of bone degeneration is an 88% increase over base line osteoporosis. Date of death was... Angela: I remember that one, thanks. Brennan: Run the scenario. Booth: I'll never get used to this. Angela: Yeah? Chicks with toys? Booth: [Seeing a picture of Hamid] Poor bastard. Brennan: Match it to his INS photograph. See how accurate you are. Brennan: [Seeing a perfect match] Good work, Angela. Probable date of exposure, about four months ago, I'd say first week in June. Booth: Let's go pay a visit to Mr. Ladjavardi. [Cut to Booth and Brennan leaving the SUV and approaching Ladjavardi as he walks down the sidewalk] Brennan: I thought you were told to stay away from him? Booth: Yeah and as an FBI agent I cannot disobey my superior but you're not an FBI agent. Brennan: [To Ladjavardi] Hey! Hi! How ya doing? Ladjavardi: What the hell are you doing here? You had orders. Brennan: No. Not me. I just have a couple of quick questions for you. Ladjavardi: Look, I'm not involved in this. Sahar won't even talk to me anymore. Brennan: Yeah, I wonder why? Ladjavardi: [Pulling out a cell phone] I'm calling Santana. Brennan: Yeah, I don't think so. Ladjavardi: [To Brennan] I'm warning you. Booth: [To Ladjavardi] I wouldn't thr*at her if I were you. Brennan: Look, I just want to know where you were in June, first week, to see if you poisoned Hamid and Farid. Booth: [To Brennan] Subtle. Ladjavardi: I'm leaving, that's it. [Ladjavardi moves to push her out of the way, but Brennan swings her arm around and grabs his. Pulling his arm around, she flips over on the sidewalk where he lands flat on his back. She walks over and puts her foot on his throat.] Booth: [To Ladjavardi] Told ya. She doesn't like to be touched. Ladjavardi: I didn't poison anybody. Brennan: Then tell me where you were in June. Ladjavardi: In Utah for training with Homeland Security. I didn't get to DC until August 12th. Check with the department. Brennan: Alright, thanks. [Cut to the lab] Hodgins: The insulation they used is gypsum based with plaster and lead mixed with asbestos. Zach: Pyrobar, It's a f*re proof tile developed in 1903 by the United States gypsum company. It was only used for a few years. Hodgins: So probably came from the building where the b*mb was constructed in. Zach: We find the building and we find the b*mb. [Cut to Booth and Brennan in his SUV.] Booth: How about this? Sahar wants out of the marriage. Hamid refuses so Sahar poisons him so that she can run off with uh A. Brennan: Doesn't make sense. Booth: When someone dies the first suspect is the spouse. Brennan: Well what about Hamid's brother? Did she poison him too? Booth: Why not? You know he's pushing his nose into the marriage. I mean suddenly Sahar is facing, you know, a devote Muslim and a fundamentalist Christian and you know and nobody allows divorce and she's pushed to m*rder. Brennan: That's eschewed logic. Booth: Ah, C'mon Bones. Just work with me here. Alright. It's what we in the law enforcement call positing a scenario. Don't use the word eschewed. Brennan: What if you and Tessa were going to break up and you didn't want to? Booth: Interesting Bones. Brennan: Well I'm positing a scenario. Tessa wants to break up and you don't want to so she poisons you. Booth: No, no, no. Brennan: And then just to make sure she blows you up with a b*mb. Booth: Why would Tessa do that? Brennan: Exactly. Thank you. Booth: See cause Tessa and I, that's a bad example. Brennan: Well you're a couple in love, right? Booth: Why do you keep bringing up Tessa? I mean why? What's the big deal? Is it so odd for you that I have someone in my life? Brennan: We were talking about couples. It's a natural segue. Booth: Alright, you know, you have to quit using the word segue and eschew. They sound French. Brennan: Keep changing the subject. I get it. You're sensitive about you and Tessa. Booth: Why aren't we talking about you and your boyfriend? Brennan: I don't have a boyfriend. Booth: You just said that as though it's a good thing and you know what? It's a very, very sad comment on your personal life. Brennan: Look, you're angry again. [Phone rings] Brennan. Zach: The b*mb insulation was made from Pyrobar which was used by an architect named William Allard. He was known for developing the Woodley Park neighborhood around 1910. Brennan: Hang on a second Zach. [To Booth] The b*mb was made in Woodley Park. Booth: That's were Farid lives. Hold on. [Making a quick U-turn in the road.] No wonder we couldn't get his medicals. He already knew what was poisoning him. Alright, just stay in contact with your boys and tell them we're going to need them. Alright, Listen Brennan, we're heading into a very unknown situation. I think it's best if you just stay in the car. [She glares at him] Okay, then. You know, if you have to come in with me you just stay behind me. [Same glare] Fine, just be careful, Alright. [Cut to Farid's apartment] Booth: [To Brennan] Okay, Anybody asks that door was open. Stay right here! [Yells] FBI Farid. Show yourself. [To Brennan] Okay, Clear! Brennan: [On the phone] Okay, give me Hodgins. Hodgins: Yeah? Brennan: Farid was making something here. Okay I got uh, melted plastic, bottles of chlorine... Hodgins: Dioxin. That's how you would make it. Booth: Bones! Brennan: [To Booth] Yes. Booth: [Referring to a hole in the wall of a closet] Insulation. Farid definitely made the b*mb. He k*lled his brother. Brennan: [To Hodgins] Alright, Stay with me Hodgins. Hodgins: Yeah, yeah, yeah. Booth: Hamid must have been k*lled because he found his brother making dioxin, alright, and that's probably how they got contaminated. C'mon, A mechanics guide for Hamid's SUV. Page on the odometer, dog-eared. Brennan: He wasn't a Christian. [she looks in a book.] Deceit in the service of Allah is holy. Booth: The Koran? Brennan: No, Imam's twisted interpretation of the Koran so that mass m*rder don't have to feel guilt. Booth: [Finding more b*mb supplies] He's made another b*mb. It's out there, Right now. Brennan: I'm convinced. [To Hodgins] What's the dispersal rate for a b*mb packed with say... two liters of dioxin? Hodgins: Ahhh, homemade device similar to the car b*mb that could be ...three to five hundred meters if the victims weren't k*lled they'd develop cancer, blindness, lesions, diabetes.. Booth: [Looking through a date book] Ah, no. Today's day is marked. [To Brennan] Call Homeland Security they'll secure the apartment. [Cut to Booth and Brennan in his SUV Both on cell phones] Booth: [On the phone] There is a convenience store across the street from Farid's apartment. The owner saw him get onto a bus and head downtown. Brennan: [To Angela] We're not sure what bus. Booth is checking with the FBI now if you find anything... Angela: I know. It's just these bus schedules are totally confusing. Booth: [On the phone] Yeah we saw his date book he had 5:30 circled, so just check anything that has anything to do with 5:30 that begins, ends, whatever. Yeah. I'm not going anywhere. Brennan: [To Booth] Angela is checking too. I still don't understand why Farid would k*ll his brother? Booth: Because both of them were developing symptoms and then people would start asking questions then Farid would have been exposed. He had a mission to accomplish. Brennan: How the hell does he think he's bringing about a better world by bl*wing people up? Booth: Fanaticism and logic don't go hand in hand. Brennan: [To Angela] It's almost 5:30. C'mon Angela anything between Woodley Park and downtown? Angela: Okay, okay, uh...three movies start a six. There's a lecture at Fuller Hall on Birds. I can't imagine that will be crowded and a peace conference at the Hamilton Cultural Center. There will be speeches by Arab Moderates and a Congressman. That looks like the one. Brennan: [To Booth] Peace Conference. Hamilton Cultural Center. Booth: That's... Brennan: That's it. Booth: That's gotta be it. [On the phone] Okay Gibson, just get your boys over to the Hamilton Cultural Center and just keep them back when you get there. You understand me? If you spook this guy he will blow himself up before we can take him out. Fine, bye. Brennan: Thanks Angela. Booth: [To Brennan] You know, you don't have to come. Brennan: You have got to be kidding me. [Cut to Hamilton Cultural Center] Booth: [To Brennan] We'll start down here and make our way upstairs. Announcement: Welcome to the Hamilton Center Peace Conference. We would ask that all delegates check in at the orientation located at the east entry before convening for the keynote speaker address... Brennan: There are too many ways in. Where are the reinforcements? Aren't there always reinforcements? Booth: Sure, they're downstairs tying up the horses. Brennan: Sarcasm doesn't help. Booth: Okay, they are mobilizing swat teams and additional agents but it takes time and if Farid has the b*mb and spots them, it could be bad. Brennan: If you see him will you sh**t? Booth: Well, he might not have the b*mb. Brennan: You don't believe that? Booth: I'm not taking out a target Brennan unless I'm sure. Brennan: Is that how you make it easier? Calling him a target? Booth: You know you really picked an odd time to have this conversation. Brennan: [Pointing to Farid] Booth! Booth: Farid. Brennan: There! That's Farid. Booth: I'm not sure. Brennan: Look his walk is labored from the dioxin poisoning and the parietal bones in his skull match his picture. Booth: It's dexterous. What if you're wrong? Brennan: This is what I do Booth. Do you really want to wait? He's carrying something heavy in his camera bag, see the extra weight is causing his shoulder to... Booth: No, I can't! Brennan: He has all the markers, Booth. Booth: I need a face. I need a face. Brennan: [Shouts out] Farid! [Farid turns around and looks up at them.] Booth: [To Farid] On the ground! [Farid reaches into his bag and grabs a switch placing his thumb on top of it.] Brennan: He's going for the b*mb. [Booth takes aim and sh**t Farid in the head. Gibson move in to check and ends up taking the switch out of Farid's hand, opening the bag to reveal the b*mb Gibson takes off his sunglasses to look up at Booth, nodding his head that he got the right guy.] [Cut to Wong Foo's] Booth: You know I told them to tell the press is was an undercover operation. Brennan: But it would be a rose garden ceremony. That's an honor, Right? I thought you FBI guys loved your medals? Booth: There's no pleasure in taking someone's life. Nothing to celebrate. Brennan: [Smiling and touching his arm] You saved so many people, Booth. Don't forget that. Booth: You want to get another drink? Brennan: Shouldn't you be getting home? Tessa will be worried about you. Booth: Yeah. I guess I should. Thanks for your help Bones. Brennan: Sure. [Alternately cut from scenes of Brennan working in her office and Booth having dinner with Tessa. Booth looks slightly uncomfortable at the table while Tessa is talking a mile a minute. Brennan is in the lab after hours and manages to identify another WWI veteran] End.

{"type": "series", "show": "Bones", "episode": "01x02 - The Man in the S.U.V."}

foreverdreaming

"A Boy in the Tree" Episode 1x03 Written By: Hart Hanson Directed by: Patrick R. Norris Transcribed by: Cassie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Open to Medico Legal Lab at the Jeffersonian. Couple of quick sh*ts of various people doing their jobs etc.. Cut to Booth and Brennan are sitting in Booth's SUV] Booth: Bones, Where's the kid? [Cut to Lab, Zach is talking with a girl and Angela and Hodgins are watching from afar] Angela: Who's that with Zach? Hodgins: Naomi, from Paleontology. Naomi and Zach slept together about a month ago. Since then she hasn't returned a single call. Angela: Ooooohhhhh. Hodgins: You working on anything interesting? Angela: Me? Yeah, yeah, A three dimensional model of an Etruscan burial crypt. Hodgins: Mmmm Hmmm. Angela: You? Hodgins: Yeah. Oh God, Yeah. Very exciting, very exciting. Some uh...silt profiles. Angela: Mmmm Hmmm. God! Etruscan burial crypts are so boring! Hodgins: Oh man I know. Silt profiles. You know what we need? Angela: A m*rder investigation. Brennan and Booth are out front right now waiting for Zach. Hodgins: What there's a case? Why didn't you say so? [To Zach] Zach! You gotta go. Angela: Oh, she really bolted, doesn't look good for Zach. [Angela and Hodgins meet up with Zach.] Hodgins: C'mon Zach. Shake it off. Huh? Be a man. Angela: Are you okay honey? Zach: [Picking up his equipment] She said take a hint but when I asked 'what hint?' Naomi said if she told me what hint that it wouldn't be a hint anymore it would be a statement. Hodgins: [Walking Zach to the door] You know what's good? Throwing yourself into your work, Huh? Angela: [Walking with Zach and Hodgins] You really do hate slime profiles. Have a little compassion! Zach: I understood the individual words but I do not comprehend her meaning. Angela: Did you tell Naomi that? Zach: Yes. She said ask your friends, if I have any. Angela: [Putting a hand to Zach's back, guides him out the door] You know Hodgins is right. Let's not keep Booth waiting. Somebody is decomposing as we speak. Hodgins: Get out there and bring us home a case, buddy. [Cut to Booths' SUV] Booth: We got a d*ad body at a prep school out in the sticks. Brennan: Good morning to you too. Zach: [Leaning forward toward Booth] Successful with woman, right? I mean they like you? Booth: Okay, look, it's a very prestigious prep school with a lot of rich kids. Brennan: I thought that it was good to start with 'Good Morning'. Zach: [To Booth] If a woman said, to you, take a hint, what would that mean? Booth: Could we just concentrate on the job? [Zach leans back into his seat.] Thank you. Now, I know the sheriff out there. She's mostly okay but the school got a lot of pull with the county and she's probably trying to scrape the whole case off on us. Look, what I'm trying to say is... it's not just a crime scene but it's a political situation, so when we get out there you follow my lead and you pay attention. Zach: [To Booth] You call after every sexual encounter, Right? Because that's the good thing to do. Booth: Look, this is a work mode. This is a work zone. Do not talk sex at work. Brennan: First, you tell me I'm too task oriented. Then when I say 'Good Morning', you say that I should concentrate on the job. Booth: All right, look, we've got about a forty-five minute drive. What do you say we pass it in quiet meditation. [Cut to Booth pulling up to the school] Zach: Can I talk now? Booth: No. Brennan: That's not fair. [To Zach] Okay, we're here now. Booth: My car, my rules. Period. Booth: [Flashing his badge at security] FBI Special Agent Seeley Booth and a forensic anthropologist. Brennan: [Leaning forward] Dr. Temperance Brennan from the Jeffersonian institute. Zach: [Leaning forward between the seats] Plus one crack assistant. Guard: I'll need to see some ID, please. [Brennan and Zach hand their ID's to the security guard] Zach: This doesn't remind me of where I went to school. Booth: Yeah, you don't get much farther from the real world that's for sure. The kids that go to school here is actually classified information. Guard: [Returning Brennan and Zach's Ids] Agent Booth, Dr. Brennan, I'll lead you to Mr. Sanders our head of security. Booth: If you could just aim us in the right direction we'll find it. Guard: All outsiders are to be escorted, Sir. Booth: Huh?. [Booth notices a white stone sign and reads it out loud] Omnia Mea Mecum Porto. What's that mean? Huh? Regular people stay out. Brennan : [At the same time as Zach] I carry with me all my things. Zach: [At the same time as Brennan] I carry with me all my things. [Booth looks at them strange and they just stare at him. He starts up the SUV and drives up to the crime scene. They all get out of the SUV and a woman Sheriff approaches them. She is followed by two men, the headmaster and security for Hanover.] Karen: Hey Seeley. How's it going? Booth: Karen, congratulations on being elected full sheriff. Very impressive. Sanders: Agent Booth, I'm Leo Sanders, Head of security at Hanover Prep. This is Headmaster Peter Ronson. Brennan: Where are the human remains? Booth: Dr. Temperance Brennan and her assistant Jack, uh, something. Zach: Zach Addy. Brennan: [To Karen] Could you show me to the remains? [Brennan and Karen walk towards a park-like area] Sanders: [To Booth] Even though the school was mostly empty during the two week break it's impossible anyone... Karen: [To Brennan] I don't know if you remember me but we worked together on a case? Bunch of bones found in a culvert about a year ago? Brennan: I remember the bones in the culvert. Booth: [Whispering to Brennan] You know Bones, being nice to the locals by remembering their names and such wouldn't hurt. Headmaster: Our two week term break ends tomorrow; I'd like to get this tidied up so the students never know what happened. Brennan: Well, we don't know what happened yet that's why I'm here. Did anyone touch the body? Karen: I doubt it. It's pretty grisly. Sanders: Nothing on small talk is she? Booth: Dr. Brennan is very focused. Brennan: [Coming to the crime scene] Where are the remains? Booth: [Pointing up in a tree to a body hanging from a noose] Bones. Is that a student? Sanders: Ah, it's a secure campus. It's got to be a student, staff, or faculty. Brennan: [To Zach] Video first. I don't want your flash disturbing the crows. Sanders: Yeah that would be a shame. Disturb the human flesh eating birds. Booth: You want to increase the perimeter here? [To the Headmaster and Sanders] Gentleman, give my forensic anthropologist some room. Brennan: [To Booth] Your forensic anthropologist? Karen: Agent Booth, if you decide that this becomes a su1c1de it becomes my problem, correct? Brennan: Actually the person who decides if this is a su1c1de is me. Karen: Let's give the bone lady some room. Booth: Ah, You know I'm glad we had that little chat about being nice to the locals. Brennan: I don't like Sheriffs. They are elected into office which means their goal is being re-elected not finding the truth. Zach: I got video, Dr. Brennan. Brennan: Go to stills. Headmaster: [Walking up behind Booth] Can we just get him down from there? Brennan: There's a lot of work to do before we get to that. Booth: You want to step back please sir? Headmaster: I'm a headmaster here. Booth: [Getting pissed] And this is a crime scene. Step back. [Brennan looks up in the tree at the body. It's badly decomposed. Birds are still pecking on the face and skull. Zach is snapping pictures and a bird flies off scared. The head falls towards the ground. Brennan catches it.] Brennan: We're going to need an evidence bag. Booth: Heads up. Brennan: [As the rest of the body falls] We're going to need a bigger bag. [Cut to Int. Cut to Lab] Brennan: I make this a male approximately five foot six, 130lbs, from the looks of his sternum and skull, I would say mid-adolescence, say fourteen to seventeen... High cheek bones... You think maybe Asian? Angela: I'm getting more of a Hispanic vibe. Hodgins: There is a significant Crematogaster ant colony in the tree that fed on the body as well as Tabanid maggots. I will give you a time of death estimate when I figure who ate what when. Brennan: [To Hodgins] Check for insect pupa and larva see what kind of medications and or drugs might have been in his system. Zach: [Holding a necklace] He was wearing this. Angela: Catholic boy. Brennan: One by two forceps. Angela: [As Brennan pulls a small disc out from behind the victim's ear] What is that? Brennan: Cochlear Implant. Looks like the birds were trying to get it. Angela: That would set a boy apart from the others, being deaf. Brennan: [To Zach] Get a serial number. Angela: I'll get X-Rays and 3D imaging of the entire skeleton. Zach: I didn't talk to anybody in high school. I didn't k*ll myself. Hodgins: That wasn't a high school. It was an experimental Eugenics program. [Cut to Hanover Prep] Booth: How hard can it be to find out which one of your students is missing? Sanders: We can't just call parents and say we found a rotting body. Do you know where your child is? Headmaster: We can do a full role call tomorrow. Sanders: All of our higher-risk students are accounted for. Booth: High risk? Sanders: The ones with personal body guards. Headmaster: [To Booth as they enter the Headmaster's office] What are our options? Vis-a-vis, publicity, media? Booth: Not my concern. Sanders: There are student here we really don't want the whole world to know about. Headmaster: It's obviously a su1c1de it's not as though we are asking you to forgo the glory of catching a m*rder. Booth: [Phone ringing] Excuse me. I'm sorry. Booth. Brennan: [To Booth] We'll have the identity of the boy in the tree within the hour. Booth: That was fast? Brennan: Do you know what a Cochlear Implant is? Booth: Hearing Aid? Brennan: Not, not exactly. It's a much more sophisticated piece of equipment which is surgically fit... Booth: Can you identify him through the serial number? Brennan: That's correct, but the interesting thing is that... Booth: Ah, You can fill me in later. Brennan: No, but the interesting thing is that it's... Booth: That is correct. Brennan: What? Booth: That is interesting. Brennan: Are you drunk or something? Booth: Ah, we'll catch up later and uh, thanks for calling. Brennan: Wait, I'm not completely certain the boys' death was a su1c1de. Booth: Ah, you know, We'll grab some Chinese food and you can fill me in later on all the boring details. [To the Headmaster] Sorry. Sanders: A death is very upsetting to a community as tight as ours. Booth: Famous for keeping your students safe but you can't be held responsible if a troubled student kills himself. Sanders: We all agree that su1c1de is the only feasible conclusion. Headmaster: We understand each other? Booth: We sure as hell do. I'll need a complete enrollment list including teacher, staff, students. Sanders: That's extremely confidential information. Booth: [Chuckling] You know, luckily I'm good at keeping secrets. [Cut to the Lab Booth: What do you mean it's not a su1c1de? [An alarm starts beeping wildly as Booth steps on the platform] What the hell is that? Brennan: We can't just let anyone step into the forensics area and contaminate all the boring details. Booth: [Zach swipes his card, then moves Booth out of the way] The boring details? [To Zach] Do not push me kid. [To Brennan] The boring details was my signal for you to stop talking, okay? I want my own card. Brennan: Well, I want my own g*n. Booth: Last time you had a g*n you sh*t someone. Zach: He was a bad guy. Booth: Okay, look, who's our victim? Brennan: All the boring details? Booth: Let it go Bones, move on. Brennan: Don't call me Bones! Zach: We traced the Cochlear Implant to Dr. Maurice Ledbetter at Cedars Sinai who placed it in a boy named, Nestor Olivos. Booth: [Looking at the file] Nestor Olivos, Student visa...son of a Venezuelan ambassador...Oh, What else? Brennan: You want all the boring details? Booth: [Looking at an X-Ray] Let it go Bones.... Brennan: [Snatching the X-Ray out of his hands] Don't call me Bones! The boy's hyoid bone is broken. Booth: Strangulation death, the hyoid bone is always broken. Zach: In adult. This is a boy. Brennan: [Indicating a simulation on the computer screen] His hyoid is flexible, unbreakable. Booth: Well maybe the kid's got some kind of Venezuelan brittle bone syndrome. [Zach and Brennan look at him irritated] I'm just trying to help. So you're saying he was m*rder? Brennan: No, I'm saying I don't know what happened to the boy because I don't have all the facts. [Booths phone rings and it's a page from Santana.] [Cut to the Bureau] Santana: How hard can it be? A kid hanging from a tree obviously, it's a su1c1de. Booth: Sir, Has Hanover Prep been stirring the pudding on this? Santana: Of course they are stirring the pudding. Every mover and shaker in this town is connected to that damn school. Apparently the very future of this country is at stake. Booth: Well, I would like to declare it a m*rder just to shake those little bast... Brennan: I'm not gonna declare it a m*rder so you can shake things up. Santana: [sighs] Dr. Goodman: The evidence is ambiguous at best. Santana: Well unambiguize it. Please Dr. Goodman. [To Brennan] Look, you're very experienced within your field with bones and such, right? Doesn't your gut say su1c1de? Brennan: I don't actually use my gut for that, Sir. Booth: She really, really doesn't Dr. Goodman: Like all of us at the Jeffersonian, Dr. Brennan prefers science to the digestive track. Santana: [To Booth] What about your gut? Booth: My gut says it stinks. Dr. Goodman: [To Brennan] If he smells with his gut what does he use his nose for? Brennan: [laughs] Santana: Alright, Alright, alright. In order for an investigation to occur, You, Dr. Brennan have to declare it a m*rder. Dr. Goodman: Without an investigation we can't find out if it's a m*rder but there will be no investigation unless Dr. Brennan declares it to be a m*rder. Shall I send for a philosopher? Brennan: They're saying it's my call. Santana: [To Booth] You see it's how you talk to these people. Brennan: My official finding is that Nestor Olivos...is a victim of a homicide. [Cut to Booths SUV] Booth: Thank you. Brennan: For what? Booth: For going with my instincts in there. Brennan: I did not back up your instincts. I bought time to find the facts I need to tell me what happened to Nestor Olivos. What's with you and the private school? Booth: I thought we understood each other. Brennan: Oh that it's bad? Booth: I don't...I don't like people who think they're better then other people. Brennan: Some people are better then other people. Booth: Ughh, you know what you said right there that is so Un-American. All men are created equal either you believe that or you don't. Brennan: Some people are smarter then others there's no use being offended by the fact. What are we going to tell Nestor's parents? Booth: We tell them that their son was found d*ad. We're looking into it. Sorry for your loss and we are. Brennan: What? Booth: Sorry for their loss. It's sad. Try to remember that. Brennan: Uh, I'm not a sociopath. Booth: You're bad with people, okay. No use being offended by the fact. [Cut to Venezuelan Embassy] Ambassador: Hanging from a tree at the school? Booth: I'm afraid so Ambassador Olivos. We will provide you will full details when Dr. Brennan finishes her investigation. Father: Will you need us to identify Nestor's remains? Brennan: That won't be necessary. [Brennan takes out the silver necklace they found on her son's body and hands it to the Ambassador.] Booth: When was the last time you heard from Nestor? Father: A few days after his holiday began. He went with a friend to Nova Scotia. Ambassador: We received an email. Booth: Could we have a copy? Brennan: It will help us determine exactly when the victim died. [Booth hits her lightly] Your son. We're very sorry for your loss. Father: There was nothing to suggest in any email that Nestor was unhappy. Certainly not enough to... Mother: We would like to take him home. [To her husband] We must petition the church to bury him in consecrated ground. Father: [To his wife] Nestor was an altar boy. They will bury him properly. [To Booth] When will you release him to us? Booth: It's up to Dr. Brennan. [Cut to the Lab] Zach: What did Naomi mean when she said take a hint? Hodgins: Ooooo... Zach: What did I do wrong? Hodgins: It's not what you did wrong. It's what you didn't do. Zach: Where do you learn this stuff? Hodgins: There are some things you learn by doing... riding a bike, driving a car, pleasing a woman. Zach: I can't ride a bike or drive a car. Hodgins: Or apparently please a woman. Zach: I need specific instructions, a list of techniques to implement or a sequence of moves. Hodgins: I'm not really the guy to talk to about that. Zach: Why not? You've slept with like, ten thousand women. Hodgins: Because our relationship is all about what's up here. What you need to do is talk to someone more earthy. [Cut to Booth's office] Psychiatrist: As a school psychiatrist, I'm bound by patient confidentiality. In the absence of a warrant or permission from his parents, I can't divulge the specifics of my meetings with Nestor Olivos. I can tell you that he was at extreme risk of su1c1de. Brennan: There are no indications that Nestor was taking antidepressants. Psychiatrist: I can only make recommendations to the parents. Booth: You think this boy was depressed enough to hang himself from a tree? Psychiatrist: He was alienated by culture by language by his handicap by his own social awkwardness, yes. Headmaster: Thank you for coming down Dr. Petty, as we suspected, su1c1de. A depressed and lonely boy hangs himself over the holiday. Booth: So, now how does the son of an Ambassador go missing for two weeks and nobody notices? Sanders: As far as the school was concerned Nestor was vacationing with his roommate. [Pulling out a paper and placing it on Booths' desk.] The school requested and received a waiver from Ambassador Olivos. Brennan: I was in Venezuela last year. It's very unstable, politically. Sanders: It's true, the family received thr*at. We were cognizant of that, but you aren't seriously suggesting that some kind of Venezuelan h*t squad assassinated a student at Hanover Prep? Headmaster: Like the Doctor said, it's a simple case of a depressed boy ending his life, not a Tom Clancy novel. Booth: Yeah, well we will start with Nestor's roommate tomorrow morning. Sanders: It's your investigation. [Cut to Wong Foos] Sid: [To Booth] Hey, I'll say this...she's tall. Booth: Dr. Temperance Brennan, meet Sid, the owner. Sid: Hey, the bone lady. Brennan: The sign says Wong Foos. Sid: Family name changed at Ellis Island. I'll get your meal. Brennan: But we didn't order. Booth: No, Sid knows what most people want better then they do. Zach: [Walking in with Angela and Hodgins. All take a seat at the booth] Nestor's bones are completely normal. Not brittle in any way. Booth: [To the Squints] You know this is kinda my little getaway place. You know? Angela: [Ignoring Booth] It proves the rope left in the branch where Nestor was hanging are too deep for his weight. Booth: Please everyone. You know come on just sit down. Hodgins: Eggs, larva, waste all indicate that the insects which fed on the body are all indigenous to the tree in which he was found. It means he died there approximately ten to fourteen days ago. [Yells to Sid] I'll have the seven organ soup. Brennan: You don't order they guy just brings it. Zach: He didn't void. Usually somebody hangs themselves the flood gates open, bodily fluids everywhere. Hodgins: There was plenty of the affluent in his clothes but they are all post decomposition. As the body swells, it bursts from internal gases. How does the guy know what you want? Brennan: The guy has a knack. Booth: The guy's name is Sid. Zach: The birds ate his eyes, ears. They worked their way into the skull. Hodgins: Birds pecking at the soft tissue of the throat, Could that crack the hyoid? Brennan: No, it's a stress fracture caused by the rope against his throat not post mortem. Angela: You put a high sensitive adolescent in a high-pressure prep school add social alienation cultural differences pressure from high achieving parents...could be su1c1de. Booth: It's not a su1c1de. Brennan: Because Booth thinks that prep schools turn out entitled criminals. Hodgins: We all went to private schools and none of us are criminals. Zach: In fact we fight criminals. We're crime fighters. Booth: No you're not. You're...I'm just saying it's not a su1c1de. Angela: I'm a big believer in instinct. Booth: Finally, A squint with an open mind. Angela: You have no idea of how open minded I can be. Sid: What's with these pictures? This is a restaurant. People come here to eat. What's the matter with you people? [Gathering up the pictures] Booth, what the hell did you bring into my place? Booth: I had nothing to do with it. Brennan: This is exactly what I want. This is amazing. The guy definitely has a knack. Hodgins: Ooh, so you do take orders? Sid: Of course we do but it's always better when you leave it to me. Booth? Booth: Okay, I will take care of it. You're saying that the boy died like ten to fourteen days ago? Hodgins: Hey bugs buzz but they do not lie. Brennan: Hodgins is very good at using insects to ascertain a time of death. Booth: How do you explain an email that was sent 7 days ago from Nova Scotia? Hmm? See, look at that. It stinks. Go ahead, smell it. You know you wanna smell it. It stinks. Angela: [To Hodgins] Don't... Don't smell that. Hodgins: No, no you got to taste it. Angela: I can smell it from here. Hodgins: Angela, it's so good. Mmmm. Angela: That's really gross. [Cut to Interrogation Room] Booth: You and Nestor were roommates for three months, correct? Tucker: Yes sir. Booth: And you invited him to spend the vacation with you? Mom: Uh, we have a summer home on Cape Breton, plenty of room. Tucker: Nestor decided to go home back to Venezuela. Booth: What did the other kids say about Nestor? Tucker: Nestor was different. He used to be deaf so he kinda talked like...some kids called him ret*rd. Mom: Tucker, please don't say ret*rd. Tucker: I never called him that! He went to church every Sunday, even though nobody made him go and people thought that was weird. Booth: Did Nestor have a girlfriend? Tucker: He said there was a girl he liked, but he never told me who. Booth: You know Tucker; you're lying to a Federal Agent. DA: Careful Agent Booth. Booth: [Ignoring the DA] An email was sent to Nestor's parents from Nova Scotia saying what a great time he was having. The only thing is that Nestor was already d*ad. Mom: Was it you Tucker? DA: I prefer he didn't answer. Father: No Dawn, if it was Tucker he has to admit it. Tucker: You know the dodge. Booth: You backed him up so he could be with a girl. Mom: Tucker! Tucker: I know! I'm sorry, but he begged me! Booth: What girl? Tucker: I told you! I don't know! I thought Nestor made her up. I sent an email that's all. [Cut to Brennan' office] Dr. Goodman: Dr. Brennan. Can you spare a moment for the Venezuelan Ambassador? Ambassador: [To Dr. Goodman] Thank you. Brennan: Is there something I can do for you? Ambassador: [Handing Brennan a picture of Nestor} I understand that you are very good at your job, Dr. Brennan. But I think that you are not a mother, correct? Brennan: No, I'm not a mother. Ambassador: [Handing Brennan a DVD] Please watch this. Ambassador: All a mother wants to know is that she has raised her child well. That he will grow up to be a good man. I will never see this. I will never know. [Brennan pushes play and sees Nestor as a child getting his implant.] The day Nestor received his implant. Brennan: [Watching the video] The first day that he could hear. Ambassador: And the first thing he heard was my voice. Brennan: His mother's voice. Ambassador: I told him I loved him. The child who has lived through this miracle would never take his own life. You're a scientist. You need more then a mother's reassurance, fine. My husband and I have many enemies, that is why I sent Nestor to Hanover. They promised us that he would be safe. What if they failed? They would not want to admit it. They would do everything they could to bias you towards su1c1de. Brennan: I promise you I will find out the truth. Ambassador: Thank you. [Cut to Angela's office] Angela: Swan dive, cannon ball, cherry b*mb... No matter how he jumps, the hyoid does not break. Brennan: What about added weight? Angela: We figure an added strain of 90 kilos to snap the hyoid. Brennan: 90 kilos is just under 200 lbs, the weight of a muscular man. Booth: So what? The Venezuelan h*t squad fantasy thing? For one thing it's nuts and another the guy'd have to be 20 feet tall. Angela: I'm out of alternative scenarios to explain this hyoid break. [Cut to Hanover Prep] Booth: I want to take another look at Nestor's room. Brennan: What exactly do you hope to find? Booth: [Looks up the stairs in time to see a guy look at him, then run. To Brennan] Stay here. Brennan: [Pushing her way past Booth] Yeah right, that's gonna happen. [Brennan runs into Nestor's room after the guy. He shuts the door after she runs in leaving Booth out in the hall. Brennan turns to face the guy, kicking him in the stomach causing him to fall backwards against the door. Booth opens the door from the other side and the guy goes stumbling forward as Brennan trips him and he goes down on his stomach. The guy jumps up quickly and Booth goes running at him. The mystery man takes some swings at Booth but he ducks and punches mystery guy in the face three times. The guy goes down for good] Booth: [To Brennan] You alright? Brennan: Are you? Booth: [Grabbing the guys wallet and tossing it to Brennan] Check his ID. Brennan: His name's Tovar Comara. He's security at the Venezuelan embassy. Booth: If he's security, why'd he run? [Cut to Ambassador's Office] Brennan: What we would like to know is what Senor Comara was doing in Nestor's room? Ambassador: I asked Senor Comara to go to Nestor's room to prove a point. That su1c1de was not the only possibility. Booth: Prove that an outsider can get to your son. Ambassador: The school informed me that Nestor's death was most certainly a su1c1de. That anything else was impossible. Comara: We proved them correct. I failed to escape without being detected. Brennan: The school lied to you Ambassador. Booth: Dr. Brennan already declared your son's death a homicide. Ambassador: I apologize. I was misinformed. Booth: I won't be pressing any charges. Ambassador: Thank you. [Security guards enter the room] Please excuse me. Brennan: [To Tovar] Do you think Nestor was k*lled by outsiders? Comara: Not Venezuelan insurgents. They would make a statement. Not fake a su1c1de. This hanging. [sniffs] Willa mala. Brennan: Hmm. Booth: Sure, you know someone says, you know, it smells in a Spanish accent and all of a sudden you're like, hmm interesting. [Cut to Nestor's dorm room] Brennan: What are we looking for? Booth: I talked to a few of Nestor's teachers and a few students that he hung out with. He was a loner. Well, I mean he went to his classes but, you know, mainly he just stayed here in his room. That's it so I figured we'd come here and you could do your little anthropologist thing. Huh? Brennan: [laughs] Okay. He liked music. Heavy procession low frequencies for the most part. It's the stuff he probably liked before the implant. He could feel the vibrations in his chest. After the implant he started enjoying stuff with more melody. He was growing. He enjoyed it. Booth: Enjoyment is the opposite of su1c1de. Brennan: You've decided this isn't a su1c1de so you're collecting evidence to support that. By closing your mind you're missing important indicators. Booth: [Pulling a broken CD out of the trash] Oh yeah? So why did he throw this away? I mean hey it's flute music that's reason enough, but where's the case? Brennan: [Walking over to look at the CD's on the book case] I...uh...These aren't organized. Booth: Well, you know, girls they organize alphabetically. Guys are more organic. Good stuff up to the left... Crap [whistles] bottom right. Look at that. [Opening the case to find a burnt disc] Well I mean if he hated it why did he re-burn it. Brennan: This isn't a CD it's a DVD. [Cut to Brennan's office] Booth: I should have known. It's a fifteen year old boy. It's just p*rn. Brennan: Wait Angela: That's our hanging victim. Zach: This is pretty kinky stuff. Brennan: I need to know where and when it was sh*t. What kind of camera and anything else that might help. Booth: I'm going to need stills and close ups of the girls face. Hodgins: [Burping] Thanks a lot Booth. My seven organ soup is repeating on me. Booth: Well, you ordered. You should have left it to Sid. [To Brennan] Let's see what the school has to say about this. Hodgins: [To Zach] That was not wild and kinky sex. It was very, very basic beginner stuff. Just so you know...uh, Angela, you got any bicarbonate? [Cut to the Headmaster's office] Sanders: We've seen this kind of thing before. Brennan: Kids recording themselves having sex? Headmaster: Young people are more jaded then they used to be. Sometimes they swap these tapes. Sanders: I'm surprised to see Nestor. Booth: But not so surprised to see the girl? Headmaster: How is that relevant? Brennan: You know what's a better question? What makes you think you get to decide what's relevant? You're basically a Principle of a High School. Booth: We need to see all the sex tapes that you've confiscated. Headmaster: Absolutely not. Booth: Well, I will just get a warrant and in the application for a warrant I'll include your admission that you allow your students to swap homemade sex tapes. Sanders: The headmaster is not refusing to provide you with the tapes. Brennan: Absolutely not sounds like a refusal. Sanders: When we confiscate the tapes we immediately turn them over to local law enforcement. Booth: Sheriff Roach knew about this? Sanders: No need to issue a warrant. We are cooperating completely. Brennan: Was the girl also a student here? Headmaster: Given your hostility. It's time we bring in a lawyer to advise us. Booth: Or you take my advice. If you don't answer my questions, I'll take you down to FBI headquarters in hand cuffs. Brennan: He'll do it. He doesn't like you. [Booth shakes his head no.] Headmaster: Fine Agent Booth, her name is Camden Destry. [Cut to Interrogation Room] Camden: Nestor Olivos? I knew him. He's kind of famous since he died. Mom: Poor kid, to take his own life. Booth: Were you romantically involved? Camden: No. Mom: Camden is too young to date seriously. Booth: Tell me when you've seen enough to start telling the truth? Lawyer: This is outrageous Agent Booth! Camden: [Seeing the footage] Oh my God. I can't believe this. Oh my God. Where did that come from? Lawyer: Really Mr. Booth, I must protest. Booth: [Irritated] I'm tired of being lied to, so excuse me if I'm indelicate. Okay, Let's start over, Shall we? Did you know Nestor Olivos? Were you romantically involved? Camden: Why would he do that? Why would Nestor tape us? I loved him. [Cut to Booth and Brennan getting out of his SUV] Brennan: So let me just get this right, I'm the tactless and insensitive one. Booth: Okay, look. The girl lied to a Federal Agent during the investigation in the death of a boy that she said she loves. You know what? These kids, they all lie. That school teaches them that they're special, that they're above the rest of us. Well they're not. Brennan: You're the least objective person I have ever met. Booth: Thank you. Brennan: It's not a compliment. Booth: Aw, C'mon Brennan, you know something is wrong here. Alright, the school, the tapes, now Sheriff Roach. Brennan: All this mess you're uncovering. It smells, yes but doesn't add up to m*rder...not logically. Booth: Maybe if you looked for more then the facts you would be able to see the bigger pic... Brennan: [Interrupting] Maybe if you opened your mind we could find out the actual truth. [The Sheriff pulls up in her car and gets out with a box of tapes. She walks over to Booth and Brennan arguing.] Sheriff: Brought you the tapes. Brennan: How many? Sheriff: {Handing Brennan a box] All of them. What do you think? I'm withholding evidence? Booth: You know, I'm thinking Hanover Prep gets you elected and you look the other way when you see these tapes. Sheriff: Kids having sex. There's no law against that. Booth: Let's hope that's the worse thing that we find. [Cut to Booth's office] Brennan: You're right about the school... serving pudding. Booth: Stirring the pudding. It means... Brennan: [Pointing to screen] Melodee Destry, that's Camden's mother. Wait, Is that...is that Nestor Olivos she's with? Booth: Nope, That's Nestor's roommate, Tucker Pattison. [Cut to Interrogation Room] Booth: How long did the sexual relationship continue? Tucker: A couple of months. I don't know. Mom: Tucker is the underage victim of statutory r*pe. Booth: When did it end? Tucker: That was the last time. Booth: Why Nestor's bed? Why not your own? It was only ten feet away. Tucker: I don't know. Booth: It was because you knew exactly where the camera was pointed. Tucker: Mrs. Destry gave me money, you know, to keep quiet. Nestor said how much you think she would pay to keep her husband from seeing a tape. Nestor set up a drop and got five thousand dollars. He said we should do it again but just before vacation I told him that I was going to tell my parents, even if it meant getting kicked out of Hanover. The next thing I know he k*lled himself. I figured it was my fault. [Cut to the Lab] Hodgins: Tabanid pupil casing show the boy ingested a heavy dose of Ketamine before he died. Kids call it Special K. Booth: So somebody dosed him, right? That explains why he wasn't struggling before the hanging. Brennan: Or wild thought? He took it himself for fun, like most kids do. Zach: I had sex with Naomi in Paleontology. Angela: You mean actually in Paleontology. Zach: No, at her place. I thought it went great but I could be wrong because apparently what I think is wild and kinky is basic and since she never called me back I'm wondering if it's because I lack imagination in the sack. Angela: You know what Zach? I'm thinking this is more of a guy, guy conversation. Zach: Yeah, I was wondering... Hodgins: [Burping] Booth: Dude, minty burp, still burp. Hodgins: Yeah well who took me to Wong Salmonella's? Booth: Alright, you know what? Just go back to Sid. Let him bring you you're meal. Heartburn will disappear. Brennan: Heartburn! Booth: What? Brennan: Hodgins has heartburn because stomach acid is rising into his esophagus. The Ketamine plus choking could have caused Nestor to regurgitate. The rope would hold the gastric juices in the upper throat weakening the hyoid. Digestive juices are basically hydrochloric acid. Zach: [To Booth] Sometime when you're not busy, I wonder if I could ask you a few questions about sexual positions. Booth: If you even try, I will take out my g*n and sh**t you between the eyes. Brennan: These marks here and here that's scaring consistent with hydrochloric acid. Booth: I don't like where you're going with this. Brennan: I need to run a few scenarios through the Angelator. [Cut to Angela's Office] Brennan: Replace the values for the hyoid bone mass with these sliding coefficients. That will replicate bone deterioration as the hyoid is being digested by stomach acid. Angela: I'm applying a timeline and running in fast-forward. This will show it in measure time. Brennan: The body decomposes and the gastric juices trapped by the noose in Nestor's esophagus actually digest the hyoid over time. [Referring to a close up of the hyoid] Wait, there the hyoid cracked. Angela: A hundred and ninety six point three hours just over 8 days. Brennan: [To Booth] This finding is congruent with su1c1de. Booth: I do not accept that. Brennan: It's a fact; you can't not accept a fact. I have to amend my cause of death report. Booth: Then you'll stop my investigation. The school trying to cover up a m*rder and you're helping them. [Cut to the Lab] Angela: Honey, did you ever just believe something, despite the evidence, just know it was true? Brennan: No, I've hoped things. I will always know the difference between hope and fact. You know all that's left of this boy is this table full of bones. Now everyone he has ever known has an agenda, his parents, his school, even the cop who's investigating his death. I'm the only one who cares about the truth of what Nestor's life came to in the end. Good or bad, and I know the truth is more important than anything else. Angela: You know or you hope it's true? Brennan: su1c1de is the most rational, logical explanation. What I believe doesn't matter. What makes me sad doesn't matter. Angela: [Holding a drawing of Nestor] Look at this face. He did not k*ll himself. Brennan: Angela, I need a little more proof then a nice drawing. Angela: I can do that. [Cut to Brennan office] Angela: Okay this is not from the DVD it's a quick snippet that was on Nestor's hard drive. Somebody tried to erase it but Zach and I got some of it back. Brennan: Angela, zoom in on that necklace. Angela: A little sea horse? C'mon, what kind of blackmailer does that? It's sweet. It's a clueless kid in love. Brennan: That's your evidence that he didn't commit su1c1de, A sea horse? Booth: A kid doesn't give a gift because, you know, he's in love, he does it because he wants a little lovin'. Brennan: Rerun that. Angela: That cynicism you affect Booth it's your way of hiding your deeply romantic nature. Brennan: There. Stop. Play again. There! She rolled her eyes for the camera. Booth: What? Angela: I didn't see it either. Brennan: Play it in stop motion. Zoom in. There, Slow motion. Booth: How'd you see that? Angela: Wait, that girl knew that camera was there. She looked right at it. Brennan: Camden isn't a victim. She's in on it. Booth: You don't roll your eyes to yourself. You do it for someone else, not Nestor Olivos. Brennan: What do we do now? Booth: Well this is where a public school education comes in handy. Divide and conquer was the playground motto. [Cut to Interrogation Room] Booth: What would help me Camden is if you told me why Nestor k*lled himself? Brennan: Then we can close the m*rder investigation. Camden: [Seeing Tucker on a TV screen] Why is Tucker here? Booth: Oh, Tucker, he said some things. Camden: What things? Booth: Well what Tucker told us doesn't make you look good. Brennan: I believed him but Agent Booth said it was only fair to hear your side. Booth: If your stories match up I'll be able to drop the m*rder investigation. Brennan: You know, I find it hard to believe that it was your idea for Tucker to seduce your mother. Camden: It wasn't. She h*t on Tucker. Mom: No. Wait. Wait. [To her lawyer] Can they do this? Lawyer: They're fishing. Don't say a word. Brennan: I wasn't fishing? [To Booth] Were you fishing? Booth: No, I wasn't fishing. Camden: Tucker was all 'Stacy's Mom' about it. I just sort of gave him permission. It was funny. Mom: Please stop this. Stop it. Camden: Mom deal with it, okay? You're the one that's the perv, so. When my mom gave Tucker money to keep him quiet we got the idea to blackmail her with the tape. I was mad at her I guess. Then Tucker said it was my turn. Booth: Nestor was rich, lonely, Catholic and he had a thing for you. Camden: And he was cute. People didn't notice because the way he talked but he was really cute. I liked him. We made the tape and showed it to Nestor. It made him really upset. Really upset. Brennan: Because you thr*at to show it to his mother. Camden: Or because I broke his heart? I still can't believe he k*lled himself. I'm really sorry he did that. Lawyer: What Camden did was wrong which she's acknowledged but she can't be held responsible for an unstable boy overreaction. Camden: I said I'm sorry. Booth: Yeah, Camden Destry I'm placing you under arrest for the m*rder of Nestor Olivos. Lawyer: What? She's admitted to blackmail and attempted blackmail that's all. Brennan: Nestor was going to go to the headmaster and expose you so you dosed him with Ketamine and hauled him up into the tree. The DNA traces in the rope will prove that. Booth: Plus, you've already confessed to the motive. Camden: If I cooperate and tell you everything Tucker did, do I get some sort of deal? Booth: That depends on what else you got. [Cut to Brennan' Office] Booth: The Headmaster and Head of Security will both loose their jobs over what happened to Nestor. The Sheriff will resign. The two kids who k*lled your son are both in custody. Ambassador: Thank you. Booth: We're very sorry... for your loss. Brennan: Ambassador Olivos, you told me that all a mother wants is to know that she's raised her child well. That your biggest regret is that you will never know if Nestor would have grown up to be a good man, but he was a good man. [Handing back the picture of Nestor] He died because he was trying to do the right thing. Booth: Very impressive Temperance. You got that one right. [Cut to Wong Foos] Angela: When you're with someone the gymnastics aren't what matter. It's who you are. It's in your intentions and how much you care about the other person. Zach: If you don't want to help me just say so. Angela: Alright, I'm going to let you in on a secret. This is a female secret. Go to Naomi and tell her you don't know anything about lovemaking...sex yeah ...lovemaking you're a blank slate. You'll do anything she wants if she just introduces you to the secrets of love. She'll be more interested in that then if you were the most imaginative lover on the planet Zach: That is totally counter intuitive. Angela: Just do it Z-man. Reap the benefits of my sexual wisdom. Booth: [Walking in with Brennan and seeing the rest of the Squints] Oh no, this isn't going to work. I mean this is my place. Booth: Sid? Sid: As long as they keep it down on the subject of rotten corpses and bodily fluids, I have no beef at all. Hodgins: [To Booth] Okay that is amazing. I had heartburn. I asked Sid to bring me something and now the heartburn is gone. I mean it's gone. Man I love this place. Booth: Okay fine, new rules that counter is mine. That booth is yours everything else around here alright, mine, alright, mine...M-I-N-E, mine. Brennan: I've been thinking about your whole 'something stinks' aptitude. I think you have a subconscious knack for reading body language, stress in the voice, other subtle but discernable indicators. It's not mysterious but it is impressive and in the future, I will try to record it in an appropriate degree of objective worth. Booth: Thank you Temperance. Appreciate that. So, uh, what part of 'this is mine' did you not understand? Do I have to say it in Latin? Brennan: [Places a Jeffersonian ID on the Bar and joins the other Squints] Abset invidia. Booth: [Smiling as he picks up the ID] Nice. End.

{"type": "series", "show": "Bones", "episode": "01x03 - A Boy in the Tree"}

foreverdreaming

"The Man in the Bear" Episode 1x04 Written By: Hart Hanson and Laura Wolner Directed by: Allan Kroeker Transcribed by: Elo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (In a forest at night, Dr. Denise Randall is performing an examination on a d*ad bear, while Ranger Sherman Rivers looks on.) SHERMAN: We already know what k*lled the bear. DENISE: Who's the vet here Sherman. SHERMAN: You are Denise. Who's the park ranger? DENISE: That'd be you Sherman. SHERMAN: That's why I know what k*lled him; scared camper drilled him with the Winchester Magnum .338 DENISE: I get it, you're afraid I'm not showing respect to the bear spirit. SHERMAN: Because I have better things to do than wait around for you to tell me what I already know. DENISE: The law says I have to send in as much information as I can: age, weight, what he last ate ... eww .. yummy, hot dogs, fried beans ... (digs around inside bear, and pulls out a plastic bag) ... beef jerky. SHERMAN: Beef jerky? DENISE: He was in hyperphasia, eating everything he could find before going into hibernation ... oooo ... (stops digging) SHERMAN: What? DENISE: (digging some more) Sherman, this is ... (pulls out the bones of a human hand) Oh God. (exchanges looks with Sherman) (Cut to exterior of Jeffersonian. Inside the Lab Brennan is walking into her office looking at the photo of the hand, Booth follows her into the office.) BRENNAN: Looks human to me ... (walking into her office, Booth bumps into her while going through the door.) BOOTH: Sorry ... BRENNAN: What's the deal? BOOTH: It was found in Eastern Washington State. BRENNAN: Where? (drops files on desk) BOOTH: Inside a bear. BRENNAN: No, I mean .. Inside a bear? BOOTH: An autopsy revealed more bone fragments in the bear's stomache and intestine. BRENNAN: An autopsy on an animal is called a necropsy (shuffles to put files on the coffee table) BOOTH: Yeah, that's pretty crucial we get that straight right off the bat, meanwhile about the d*ad human being BRENNAN: What do you need me for, the bear ate somebody. BOOTH: 26 bone fragments in total, the case bumped to the Seattle field office, they bumped it to me. Check it out (holds out a USB flash drive) BRENNAN: (sitting down at her desk, taking the flash drive) Why they bump it to you? BOOTH: Bones, I mean do you really care for the inner workings of the FBI office BRENNAN: They bumped it to you because you work with me (plugging the flash drive into her computer) BOOTH: (smiling) No, they hoped you could help ID the body. (Cut to Brennan's computer, files from the flash drive are being opened-picture of the hand) BRENNAN: From a hand? BOOTH: Yeah, they have high expectations. BRENNAN: (looking at screen) Definitely human, poseable thumb, probably male from the size .. uh oh ... (picture of bone on screen, Booth walks around the desk to look at screen) BOOTH: What? BRENNAN: Kerf marks. Marks made from a cutting tool. BOOTH: Maybe when they cut open the bear? BRENNAN: No, (looking intently at the screen) it's not a straight edge. Residual cross section stria (points to the screen). BOOTH: Just because you say it in that definitive tone doesn't mean it means anything to me. BRENNAN: These marks where made from a saw, the hand was already separated from the rest of the person when the bear ate it. BOOTH: Somebody was dismembered and fed to a bear. BRENNAN: That's one possibility BOOTH: (makes face) Whoo...k, um ... Thanks Bones. BRENNAN: Glad I could help (pulls flash drive out of the computer and hands it back to Booth) BOOTH: (takes the drive and walks to the other side of the desk) But, you're not done. BRENNAN: (looking at other files, pen in mouth) I'll check out the photographs and x-rays and see if I can confirm sex and age (writing something on a chart) BOOTH: Pack your bags, we're going to Washington state. BRENNAN: (looking up from chart, in disbelief) I'm not going to Washington state (not happy) BOOTH: (sitting down in chair) Again, just because you say it in that definitive tone doesn't mean it means anything to me. (throws and catches the USB drive and gives Brennan a smile) (Cut to Brennan and Goodman walking on the catwalk overlooking the lab, Brennan is not happy). BRENNAN: Why is Booth the one who decides we go to Washington state, he gets the g*n and the authority, he's the one that people like. GOODMAN: (shaking head) Firstly, he didn't decide that you go to Washington state, he made a request. I am the one who decides where you do or do not go. BRENNAN: And secondly? GOODMAN: Secondly, it's time to live a little Temperance, connect with other people. BRENNAN: (in disbelief) Are you suggesting I take this opportunity to have sex with Booth on a field trip? GOODMAN: Good god, where is Dr. Floyd when you need him? BRENNAN: I don't understand what you're saying. GOODMAN: Which is precisely why I am sending you to the Great North woods (stops walking). Come on now, you've partially digested dismembered skeletal remains to examine, that should put a smile on your face. Mosquitoes out there are the size of dogs, pack insect repellant (walks away, leaving Brennan in disbelief). **CREDITS** (Cut to the Pacific Northwest, car driving on a hillside road. Booth and Brennan are sitting inside the car, talking) BOOTH: (driving) You know being cooped up in crappy hotel in the middle of nowhere, with a fifty dollar per diem, is not my idea of a good time either, you know. BRENNAN: (looking over) You only get fifty dollars a day? How can you live on that? BOOTH: OK, What do you mean, what do you get? BRENNAN: I don't have a limit, just give them the receipts. BOOTH: (playing around with his sunglasses) Now, you have to have a limit, everyone has a limit, we work for the government. BRENNAN. Yeaah ... I don't have a limit. BOOTH: But, it's not fair. It's not fair to the tax payers...you're like one of those thousand dollars toilet seats. BRENNAN: I imagine I am treated differently than you b/c I have an indispensable skill. BOOTH: (muttering) Indispensable ... I do not need you. BRENNAN: Oh, so you can determine the origin of the kerf marks as well as the sex and age of the victim? BOOTH: Heh .. (chuckling) .. You know you're a smart ass, you know that? (looking at her) BRENNAN: Objectively I'd say I'm very smart, although it has nothing to do with my ass. BOOTH: You know what? I'll tell you what ... you can take me out to dinner. Put me on your tab. BRENNAN: That doesn't seem ethical. BOOTH: You still want that g*n now, don't you? Hm? BRENNAN: We'll start with breakfast. (Booth chuckles as it cuts to an overhead sh*t of the car driving) BOOTH: You know it's beautiful here, it's feels good to be out of the city. BRENNAN: YEAH, where m*rder feed their victims to bears. (Cut to street in the town, parks car on the side of the road and they both get out.) BOOTH: Small town America (shuts car door), gotta love it. BRENNAN: (walking on the sidewalk as Booth looks around) This is not a small town. Chiantla, Guatemala, 150 people, no running water. That's a small town. BOOTH: I said small town America, not small town Guatemala. And I've been there too, by the way. BRENNAN: Where you going? (following Booth) BOOTH: See the Sheriff. BRENNAN: How are you going to do that? BOOTH: (stops to look back to Brennan) It's an old FBI trick, I'm going to ask somebody who lives here. (turns to walk) BRENNAN: What took you to Guatemala? Eco-tourism? BOOTH: I went down to sh**t somebody through the heart from 1500 feet. (turns and walks away). (Cut inside what appears to be a morgue. Dr. Randall and Sherman are talking to Brennan, who is taking photos of the remains that are on the table. Dr. Rigby is there too.) DENISE: I was pretty sure it was human, but I'm a vet, so I called Andrew-Dr. Rigby-and he thought it was human too. RIGBY: Officially, I'm the coroner here in Aurora, but I'm just a country doctor. I have no training in forensics. BRENNAN: This is approximately 60% of the arm of a male: late teens/early twenties, well muscled. DENISE: That's amazing. BRENNAN: You see these marks here? (pointing at the arm) Below the radial tuberosity. (Dr. Rigby and Randall looks closer) You haven't by any chance performed any amputations lately, have you? RIGBY: A few frost bit toes last winter and a thumb from a nasty Murphy bit accident, why? BRENNAN: These are saw marks. SHERMAN: That's not good, people getting sawed up and eaten up by bears. BRENNAN: (walking over to her computer with her camera) I'm going to send this back to my lab, my people there can give a better estimate on how long ago the bear ingested the arm. DENISE: You got pretty good equipment there, I guess? I'm still on dial-up. BRENNAN: What's the fastest way to ship a human arm? DENISE, SHERMAN and RIGBY: Charlie. (Cut to Brennan walking into Rapid Express, holding a large box.) CHARLIE: Need a hand? BRENNAN: No thanks, I'm trying to get rid of this one (puts box down on counter). These are human remains. CHARLIE: Oh. BRENNAN: I have to ship them to the Jeffersonian Institute in Washington D.C. (writing info on waybill) CHARLIE: Cool, they have Dizzy Gillespie's trumpet there. BRENNAN: Yeah, I know. CHARLIE: Muhammad Ali's boxing gloves. Abraham Lincoln's assassination top hat. BRENNAN: (looking up, smiling) I know, I work there (looks back down to write). CHARLIE: (smiling) You ever sit in Archie Bunker's chair? BRENNAN: I work in a different part of the museum. I'm a forensic anthropologist. CHARLIE: My name is Charlie. BRENNAN: (still writing) Yeah, I know. CHARLIE: (shocked) Wow, what you can tell from like my skull structure? BRENNAN: (smiling) It says it on your shirt Charlie (points to shirt). Where can I find the sheriff? (passes the waybill to Charlie) CHARLIE: He's out past the garage on the right. (Looks down at the name on the waybill) Hey, Temperance Brennan...I'm reading your book. BRENNAN: (turning to leave, but stops) Uh. CHARLIE: It gave me a few ideas if I ever want to k*ll someone and get rid of the body. BRENNAN: Don't forget Charlie, the heroine always catches the bad guy. (turns to leave) CHARLIE: (watching Brennan leave) Sounds good to me. (Cut to Lab, Zack is in front of a computer looking at the images of the bones. Angela is looking on.) ZACK: These are Falstaff (?) kerfs, which suggests a hand saw. The cut marks on the breakaway spurt...here (points to screen)...should give me the number of teeth per inch, but to me it just looks broken. ANGELA: I could work it up to a three dimensional image, see if that helps/ ZACK: Dr. Brennan could do it from this (frustrated) ANGELA: Not when she was lowly grad student, Zack. Upload all the ditigal info Brennan sent you to my mainframe (turns to leave) and lighten up Z-man. (Booth and Sheriff walking down the street, talking) BOOTH: Somebody cut that guy's arm off Sheriff. SHERIFF: Couldn't be a local, somebody missing an arm, that's something you'd notice. BOOTH: How many people live in Aurora? SHERIFF: 326 in town, another couple hundred in the unincorporated surroundings. Maybe 1200 on the Indian reservations. BOOTH: (writing down on a pad) Tourists? SHERIFF: Hikers, campers. It's beautiful country so they don't realize how dangerous it is. On average we lose a couple of people each year, cycle of life hey? BOOTH: Lose anyone recently? SHERIFF: Woman, 29 (points to missing poster taped on window of a store) Ann Noyes from Olympia. Disappeared a couple of weeks ago, her parents said she was an "experienced" hiker. (Booth looks at poster.) (Cut to inside the police station, Booth and the Sheriff are walking in) BOOTH: You must have a few resident crazies? SHERIFF: Juvenile bush drinking, couple of domestics, a bar fight or two? Joy riding. The only felons we have are poachers. (Hands Booth a binder) They sh**t the black bears and sell the gallbladders on the black market. Park rangers handles that stuff. (Lady leads Brennan to the door, knocks). SHERIFF: Can I help you? (waves) BRENNAN: Yeah, thanks, I'm with him (points to Booth). SHERIFF: (to Booth) Suddenly I wish I was FBI. BOOTH: (chuckles) Sheriff Chris Scutter, Dr. Temperance Brenan. SHERIFF: (shakes Brennan's hand) My first forensic anthropologist (gestures to chair), please. BRENNAN: We need to find the rest of the body (puts bag down, sits on chair.) SHERIFF: (walking around the desk) Sherman, Ranger Rivers, traced the bear's route back a week. Said he didn't find anything (sits down on his chair) BOOTH: What is he, some kind of Indian scout? SHERIFF: Sherman is a Flathead Indian, but since the bear was wearing a GPS collar, he didn't have to fully utilize his native powers. BRENNAN: Did he check the scat... BOOTH: (interrupts) What, you think there are more people parts in the bear crap? SHERIFF: We could maybe go out with Sherman tomorrow, take a look? BOOTH: Oh, yeah, now that you've met Bones, you're all about the inter-agency cooperation. SHERIFF: Bones? Now I don't think that's anyway to talk to a lady. BRENNAN: Thank you (getting up). SHERIFF: Do you have dinner plans? (getting up). BOOTH: We're working. (ushering Brennan away, throws the binder back to the Sheriff) Thanks for that. (Cut to break area at the Lab, Zack and Hodgins are talking about the case while drinking coffee etc.) HODGINS: (sitting on sofa, looking at pictures from case) All I'm saying is why cut somebody into pieces. ZACK: (walking over with mug, looking at a photo too) Pack 'em up tighter maybe. Say, in a suitcase (sits down next to Hodgins). HODGINS: How did a bear open up a suitcase (takes photo from Zack). ZACK: I saw a documentary once where a bear got into a car and drove away (looks at another photo). HODGINS: That was not a documentary, it was a cartoon (exchanges look with Zack). (Cut to a delivery woman, TONI, walking over to them carrying the box from Brennan) TONI: Hello, I'm looking for a Zack Addy...got a package of human remains. HODGINS: (getting up, walking towards her as Zack looks on) I can sign for that. Where's Jimmy?" (takes the signing device). TONI: Tahiti...Fiji...who knows? He won the lottery. HODGINS: Is it too much of a line to say 'no, we won the lottery?' (Toni smiles awkwardly) It is, I take it back (shaking head) ... just compared to you, Jimmy...you know ... TONI: The third nostril (laughs, Zack looks on) HODGINS: That whistling sound when he sneezes. (they both laugh) Unfortunately it is too soon to ask you to have coffee (hands back signing device). TONI: It is? HODGINS: Yes...yes...coffee is the third delivery capper. TONI: So what's the first delivery capper? HODGINS: (smiles) Initial contact, me cute, light flirting. TONI: Then I'll catch you in another couple of deliveries (handing box over to Hodgins). HODGINS: OK...bye. (watches her go) ZACK: (comes up behind Hodgins) You bogarted my package. HODDGINS: You panicked and froze my man, thus the package came into play. Also incorrect use of verb bogarted (hands package to Zack and leaves). (Cut back to Aurora, Booth and Brennan are following Sherman in the forest) SHERMAN: (walking on a path) We've been looking for that female hiker since she went missing. But sometimes you never find a trace, they fall in the ravine, the river. So how do you like the Evergreen Lodge? BRENNAN: Very nice, I have a beautiful view of the mountains from my terrace. BOOTH: You have a terrace? BRENNAN: Yeah. BOOTH: I'm sharing a bathroom. SHERMAN: This was where the bear was sh*t (pointing). BOOTH: Where did he get before he died? (walking ahead) SHERMAN: About a hundred yards. BRENNAN: How do you know that's the right way? BOOTH: Not hard to track a wounded bear (walks ahead of Brennan and Sherman). SHERMAN: (Talking to Brennan) Ever hear of the Bone Gathers? Collecting bones so that the d*ad can make the journey to the next world? BRENNAN: Not even sure I believe in the next world. SHERMAN: Doesn't matter what you believe in. You're a Bone Gather, that's a good thing helping the spirits move on. BRENNAN: (smiles) Thank you. That's probably the best job description I'll ever get. (Cut to Booth, standing next to a pile of scat, flies flying around.) BOOTH: Over here. BRENNAN: You find something? (approaching Booth) BOOTH: Some bear scat in the woods. I think he was here and he headed off over there (points ahead). BRENNAN: OK (puts bag down and takes out a pair of gloves ) See if you can find some older samples. (Booth and Sherman step back as Brennan puts on the gloves, opens up her bag, takes out a container and grabs some scat and places it inside the container.) SHERMAN: She ain't the squeamish type, is she? BOOTH: I'm going to go out on the limb here Sherman and guess you don't get a lot of eligible good looking women coming through town. (Cuts to Rapid Express, where Charlie is reading Brennan's book as she enters carrying another box to ship.) CHARLIE: Hey, I just finished chapter seven (puts the book down). BRENNAN: This has to go to my... CHARLIE: (interrupts) Do you do all the stuff the girl in your book does? BRENNAN: I'm slightly uncomfortable discussing that with you (starts writing on the waybill). CHARLIE: No, I'm not talking about the sex...I'm talking about the running, and the sh**ting. I mean, if you do do all that other stuff that's great too for you and...uh...whoever you're doing it with. BRENNAN: I'd like to send this to my lab. CHARLIE: (looking at box) More bones? BRENNAN: No, its bear scat (finishing writing). CHARLIE: I can deal with that. (Brennan's phone rings) BRENNAN: (picks up phone) Brennan. (Cuts to Zack in the lab, talking into the speakerphone.) ZACK: The person who belonged to the arm died approximately a week ago and the bear ate it one to three days after that. BRENNAN: (over the speakerphone) Anything from the saw? ZACK: Angela is entering the date into the holographic display. I've found something else I can't categorize (moving something under a device that magnifies it on a monitor). Can I beam it to you? (Cuts back to the Rapid Express store with Brennan on the phone, and Charlie at the counter) BRENNAN: (hits the speakerphone button) OK, hold on (puts the phone down on the counter and takes off her knapsack). (Cuts back to Zack in the lab, looking at his monitor) BRENNAN: (voice over speakerphone, then cuts back to her) Do you mind if I set this up here (asking Charlie as she takes out her computer and places it on the counter). CHARLIE: Yeah, no problem. BRENNAN: (sets up her computer and router) Give me a second, I'm connecting to the satellite. ZACK: (over speakerphone) Yeah, alright. BRENNAN: (types on computer, window pops up) OK, I'm linked. ZACK: (over speakerphone) I've been focusing on, Dr. Brennan... (keeps talking) CHARLIE: (takes package and puts it to the side, walking around to look at the computer screen) Who's that? BRENNAN: My assistant, Zack. CHARLIE: (hovering over the phone) Hey Zack. ZACK: Who's that? BRENNAN: The overnight guy Charlie...(focusing on the screen) Ok, I'm set up, you can send me the picture (picture loads). CHARLIE: Hey Zack, does your boss have a boyfriend? ZACK: Not currently. Are you extremely good looking? CHARLIE: Yes, I am Zack. BRENNAN: (looking intently at computer) Zack, these are bite marks. ZACK: (cuts to him in the lab) You mean from the bear? BRENNAN: No, black bears have premolars that are small and pegged like. These marks show double cusp pattern. ZACK: (in lab) Pigs are double cusped. CHARLIE: Hey Zack, are you extremely smart? ZACK: (in lab) Yes, I am Charlie. BRENNAN: Pigs have six incisors, these marks were made by four incisors, like a chimp but these teeth form a continuous arch. (Cuts back to Zack in the lab, looking like he's deep in thought) CHARLIE: (over speakerphone) So, what's got a continuous arch? ZACK: Humans. (Cuts back to Rapid Express) BRENNAN: We just don't have a k*ller on our hands, we have a cannibal. (Cuts to a street in Aurora where the Sheriff's SUV is parked. Brennan is sitting in the passenger seat while the Sheriff is eating in the drivers' seat. Booth is standing next to the car, talking through the window.) BRENNAN: Zack will have the Odontologist at the Jeffersonian take a look, but I am right. SHERIFF: The cannibal, you mean a Hannibal Lecter type ... deal (takes a sip from his fountain drink). BRENNAN: (confused) I don't know what that means. BOOTH: You're certain that a human being gnawed on that bone. BRENNAN: It gnawed, removed the flesh. SHERIFF: (looking sick while eating) That's...that's really not good. BOOTH: Are you sure Bones, have you never seen anything like this before? BRENNAN: Of course I've seen this before. I did grad work among the Waori of the Amazon and they have a long history of cannibalism. I've also seen evidence of cannibalism in some twelfth century Native American sites. It's not a big deal. SHERIFF: Have you ever... (points to mouth) BRENNAN: I've never been offered human flesh before. BOOTH: Maybe if you've had? BRENNAN: It's an interesting question (nods heads). I would have to measure my own social inculcation (Sheriff getting sicker) against objective scientific inquiry. BOOTH: K, that's sick. BRENNAN: Maybe we're looking for somebody that needs to be rescued. Maybe the young man died and the missing girl, hungry and lost came upon him needing food she... SHERIFF: (cuts in) Sawed him up and barbequed him... BRENNAN: Well, there was no evidence that the hand was cooked. BOOTH: She does not look like the type of girl who would chew on raw flesh. BRENNAN: You'd be surprised...when survival instincts kick in. BOOTH: If it isn't her, we're dealing with some psycho cannibal k*ller. SHERIFF: This is sick...(stops eating) BRENNAN: (makes realization) Somebody eating raw human flesh is going to be sick (exchanges looks with Booth). (Cuts to Lab where Zack, Hodgins and Angela go over the evidence) ANGELA: (looking at photos) Teeth marks? ZACK: (working with something) Yes, and these drag marks is where the flesh was ripped right off the bone. ANGELA: (grossed out) Ugh, it's like a zombie movie. HODGINS: (pacing) Where is my bear poop? ZACK: Is it the excrement you're anxious to look at, or the courier? HODGINS: (d*ad pans) What do you think? ANGELA: Somebody gnawed on this arm like some kind of man-corn? HODGINS: (coming over to look at photos) According to that Peruvian soccer team that crashed in the Andes, human flesh tastes like frogs' legs. ANGELA: We needed another reason not to eat frog ZACK: I'm going to make a cast of these markings, I won't get a full dental impression but we'll at least get something. (Man enters the room) MAN: Zack, you're needed upstairs. (Zack gets up and follows the man out) HODGINS: (walks over to Angela) Angela, if we were a Peruvian soccer team and crashed into the Andes. Who would you rather eat, me or Zack? ANGELA: (sighs and gives him a look) HODGINS: What? (Cuts to upstairs, where Toni is waiting with a package) ZACK: (clears throat) TONI: I have a package for Zack Addy. ZACK: That's me. TONI: I thought...there was the other guy. ZACK: That's Hodgins, he zoomed you because you're so beautiful. TONI: (smiles) Thanks, that's sweet (hands over the signing device). ZACK: I'm not being sweet, it's just a fact (signing) TONI: (handing package over) How old are you? ZACK: Twenty four. TONI: Twenty four...(reaches over and touches Zack's chin) I could just eat you up. (turns and leaves) (Cut back to Aurora, Brennan and Rigby are walking outside what I assume is the hospital) BRENNAN: Have you diagnosed anyone recently with a prion disease? RIGBY: Prion disease? No. Some Alzheimer's, yes. Some brain damage due to alcoholism and huffing. BRENNAN: Delusions? Eradic behaviour, violent outbursts? RIGBY: The incubation period of prion disease could be years, you're thinking the cannibal might be showing symptoms of mental deterioration? BRENNAN: Dr. Rigby, I never said anything about a cannibal. RIGBY: Well, it's all over town. BRENNAN: Charlie, the overnight guy. What do you think our chances are of keeping this quiet? RIGBY: I'd say absolutely zero (smiles and laughs). (Cut to Lab, where Hodgins and Zack are examining the bear scat) HODGINS: You knew I was waiting to see her again. ZACK: You said you were waiting for your bear poop. I said 'are you excited about the excrement or the courier', and you said 'what do you think'. HODGINS: (upset) And you thought I was actually excited about excrement? ZACK: (smiling) You have to be clear. (Hodgins shifts through the scar) What's that? HODGINS: (picks up something) It's a piece of undigested bone. ZACK: (takes closer look) Metacarpal, I think that goes with my hand. HODGINS: (sifting some more) Part of a tin can, less tin fibers, a kind of sporocarp. (Picks up red piece) Here's something...(looks at it under magnify glass) Hair follicles, sebaceous glands...it's a layer of dermas. ZACK: Pigmentation marks on the microphage. HODGINS: Flap of skin with a tattoo. We need a tattoo expert (looks at Zack) (Cuts to Angela, who is working at her computer, putting the tattoo back together) ANGELA: It's fairly simple, two colours...red and black...some kind of native design. HODGINS: (to Zack) She likes me more than she likes you. ZACK: She said I was sweet. HODGINS: I made her laugh at Jimmy's third nostril. ANGELA: (chuckles) That's pretty good...making a woman laugh at a third nostril. HODGINS: We have a tentative coffee date. ZACK: She said she wanted to eat me up. ANGELA: Zack is definitely ahead on points (working on redesigning the tattoo). Well, there it is. (Cut to Aurora, where Angela is talking via videoconference on Brennan's laptop as Brennan, Booth and the Sheriff look on.) ANGELA: The skin in the scat has a sun on it. SHERIFF: What was that, a haiku? BOOTH: It's a tattoo. ANGELA: Hi Booth. Hi, I'm Angela Montenegro. SHERIFF: (in the video) How ya doing Angela? BRENNAN: Angela, focus please. ANGELA: (in her office) It's a Haida sun motif. BOOTH: Good work, very impressive. (to Sheriff) 18-25 year old man with a Haida sun tattoo on his arm? (Sheriff goes off to check) ANGELA: (via videoconference) Hey Booth, I've got a thing for tattoos, you got any? BRENNAN: (stern voice) Angela. ANGELA: (Booth goes over to help sheriff, Brennan and Angela left in the videoconference) I'm sorry sweetie, but what's up with that town? You getting any from that hot overnight guy? BRENNAN: Ange, we're trying to work. ANGELA: Is that town totally wasted on you sweetie because I take this as a sign from God to loosen up. You know what they say: What happens in Aurora, stays in Aurora. (Brennan closes the videoconference) Hey ... (Cuts back to the police office) SHERIFF: (in front of his computer) I'm running a missing persons check with the new info on the tattoo. (waiting for the picture to load) She seems very friendly, your associate. BRENNAN: (no nonsense tone) She's three thousand miles away. BOOTH: Or send away for a Russian bride. SHERIFF: (chuckles, reads from the computer) Adam Langer, twenty two. Missing ten days from college in Richmond. (Looks at face in the picture) Wait, I know this kid, he used to come up to visit Sherman-wanted to be a Ranger. (Cuts to outside a house, dark and at night. Brennan, Booth and the Sheriff approaching Sherman's house) SHERIFF: Look, I've known Sherman for years, I can't believe he has anything to do with this. (knocks on door) SHERMAN: (opens door) Hey Sheriff. SHERIFF: Hey Sherman, mind if we come in? SHERMAN: You guys here about the cannibal? SHERIFF: We can't talk about official business. How about some tea? SHERMAN: Sure. (goes into other room as Sheriff sits down and reclines) Oh yeah. BOOTH: What did you do that for? SHERIFF: Give you a chance to look around, get a sense of the man. BRENNAN: (looking around, comes to something sitting on a shelf) The raven spirit, in some Native American stories it has a cannibalistic... (Loud thud/noise from the other room) BOOTH: (looks into other room) He went out back...(to Sheriff) Give me your flashlight. SHERIFF: No way you can catch Sherman Rivers in the woods. BOOTH: (leaves the house) Just search the place. (Cuts to outside in the woods, Booth chasing after Sherman in the dark) BOOTH: Sherman, just stop. (Cuts back inside Sherman's house, Brennan and the Sheriff are searching the place) SHERIFF: (looking at the wall) I don't know if a wall of knives is evidence, but it sure is creepy. (Cuts back outside) BOOTH: Hey, hey ... Stop! (points flashlight and g*n at Sherman, who continues to run) (Cuts back inside) BRENNAN: Is there a saw? (grabbing a plastic bag) SHERIFF: (opening cupboards) Yup. BRENNAN: We'll want to take it, see if it matches the cuts on Adam Langer's bone. (picks up apple core from garbage) And see if this matches the teeth marks. (Cuts back outside) BOOTH: (Following Sherman, but he appears to be gone and Booth's flashlight dies) You've got to be kidding me. (Back inside) SHERIFF: (Brennan is trying to break open the lock on the freezer) As Justice of the Peace, I authorized you to open up that locked freezer. BRENNAN: (breaks the lock) Thank you. (Opens up the freezer to see frozen meat) SHERIFF: (looking at freezer) What kind of meat do you think that is? (exchanges looks with Brennan). (Cut to inside their car, Booth is driving while Brennan is talking over her cell phone with Angela, who is at the lab) BRENNAN: I sent a bunch of frozen meat by overnight air and I need to know what it is as soon as possible. ANGELA: Oh, you think it's human? BRENNAN: Maybe, it's a funny colour. ANGELA: So, did you catch the guy? BRENNAN: No, Booth lost him in the woods. BOOTH: Whoa, wait a second, I didn't lose him. BRENNAN: You didn't catch him. ANGELA: So you two have the night free? BRENNAN: Yes, we can't do anything until I get a determination on that meat and Booth has to wait until its light to look for the guy he lost. BOOTH: (upset) I didn't lose him, ok. I...he...tell her that my flashlight died. BRENNAN: (puzzled look on face) She doesn't care. ANGELA: What? BOOTH: Give me the phone (sticks hand out). BRENNAN: (pushing his hand away) It's not safe to drive and talk on the cell phone. ANGELA: Are you two fighting? BOOTH: Professional pride, tell her. Please tell her that. BRENNAN: (to Angela) Booth wants you to know that he lost the guy because his flashlight died. BOOTH: And because he's an Indian and he's a park ranger and he's very very familiar with the territory, tell her that. BRENNAN: Did you hear that? ANGELA: Yeah, something about Indian territory? BRENNAN: (to Booth) Yeah, she says she understands. (To Angela) I need to know about that meat as soon as possible. ANGELA: (over the phone) Yeah, I'll tell Zack. BOOTH: Give me the phone...hold on... (takes phone from Brennan) BRENNAN: (angry) What? BOOTH: Plus you know what? It wasn't even my flashlight ok? It was the Sheriff's flashlight and his batteries they ran out, ok? BRENNAN: (grabbing phone back from Booth) Good night Angela. ANGELA: Hey, you have to take that man for a drink...and have a little fun yourself. BRENNAN: (to Booth) Fun and a drink, where do we find that? (Cut to inside a bar, where Brennan is dancing with Charlie) CHARLIE: So, I was surprised to see you here. You know in your book you don't sleep until you get your man. BRENNAN: Well that's not me, it's just a character. In real life, you have to wait for lab results. CHARLIE: I see, so lucky for me. BRENNAN: (laughs) I don't know, I'm afraid I'm not a very good dancer as apparently I lead. CHARLIE: So, I'll follow. (Cut to Booth walking up to the bar and sits where the Sheriff is) SHERIFF: Hey Booth, want a beer? BARTENDER: What do you need sheriff? SHERIFF: Another beer. (Cut back to Brennan and Charlie dancing) CHARLIE: You know, I climbed with Adam sometimes, so I was kind of freaked out when I found out it was his arm. BRENNAN: You knew Adam Langer? CHARLIE: I taught him how to climb. Man he was strong. (Cut to Denise and Rigby talking at the bar) No matter how much I lift, I could never match him. BRENNAN: (feeling Charlie's upper arm) You have excellent definition in your biceps and triceps. CHARLIE: Well, thanks. And you're waist muscles feel good too. BRENNAN: Transverse abdominals...thank you. CHARLIE: So that meat we sent back to your lab, that wasn't, ah, more of Adam, was it? BRENNAN: I can't discuss... RIGBY: (Cutting in between Brennan and Charlie, and starts dancing with Brennan) Excusez-moi. BRENNAN: Dr. Rigby. RIGBY: Thought I would rescue you, can't imagine you and Charlie have a lot to talk about. BRENNAN: We were managing (Charlie walks over to the bar, upset that Rigby cut in) RIGBY: (Continues dancing with Brennan) Look, um, I guess it looks pretty bad for Sherman, huh? BRENNAN: I can't discuss the investigation with you Dr. Rigby. RIGBY: Look, Sherman is a Flathead. The spiritual beliefs of his tribe don't value cannibalism and they never have. BRENNAN: Anthropology teaches us that beliefs and customs evolve, that's why you can still find cannibalism practiced today. RIGBY: (chuckles) So what, you can enjoy the act of eating another human being? BRENNAN: I can understand it intellectually. RIGBY: Alright, I shouldn't be talking shop, not with such a beautiful woman in my arms. (Spins Brennan) SHERIFF: (Catches her, and cuts in) Hey, it's Sheriff time. (Rigby is upset) You really think you can match the bite marks on Sherman's apple to the bite marks on that kid's arm bone? BRENNAN: I don't really feel comfortable discussing a case on the dance floor. SHERIFF: Well, I'm the sheriff (point to badge), we're colleagues. BOOTH: (cuts in) Mind if I cut in? (To Brennan, dancing) Thought you might need a break. BRENNAN: What happened to your shirt? BOOTH: Well, we're in a bar, it's a look. BRENNAN: Everybody is pumping me. BOOTH: Sorry? (the guys are watching them from the bar) BRENNAN: For information on the case. BOOTH: Bones, they're only pretending to be interested in the case. BRENNAN: Why? BOOTH: They're hitting on you. BRENNAN: (laughing) Are you sure? BOOTH: Yes, I'm sure. You're the hottest thing this town has seen in a long time. Check out the competition. (dips Brennan, and looks at Denise, sitting alone at the bar) Now that, is somebody who wants to eat your heart. (Cut to Lab, Hodgins and Angela) ANGELA: Oooh, very pretty. HODGINS: (looking at specimen under microscope) Lovely. It's a sporocarp called tuber gibbosum after a week in bear poop. ANGELA: Thank you, for ruining my moment. HODGINS: (smiles) It's a mushroom and Oregon white truffle. They're a mycorrhizal species that only grows in symbiosis with Douglas-fir trees. ANGELA: (sits down next to Hodgins) Are Douglas-fir trees very very rare in the woods? HODGINS: No. ANGELA: Then you really haven't found anything useful, have you? HODGINS: (sigh) No. ANGELA: Want to get something to eat? HODGINS: Nooo.... ANGELA: Ah, (realizing) you're expecting a delivery tonight. HODGINS: Zack is. ANGELA: And you're going to zoom him. HODGINS: Like the Indy 500 baby (smiles at Angela, who rolls her eyes). (Cut to Aurora, sunny day outside. Booth, Brennan and the Sheriff are walking around in the woods.) BOOTH: You didn't come down for breakfast Bones. BRENNAN: Wasn't hungry. Sorry you had to pay for your own meal. BOOTH: Called your room, there was no answer. BRENNAN: Why the sudden interest in my morning habits, Booth? BOOTH: Well, I just thought we were going to get something to eat. And, you know...so I waited and my eggs got cold. Cold eggs. (hops over a stream, and crouches down) This is where my flashlight failed. SHERIFF: You mean my flashlight, and how can you be sure? BOOTH: (holds something up) Cause this is where I was standing. SHERIFF: A shirt button? BOOTH: And, I heard him disappear in this direction (points, and continues walking). BRENNAN: Leaving buttons on the trail must be an old fish-chewer trick (follows Booth). SHERIFF: You mean a snake-eater; an old snake-eater trick (follows). (Cut back to the Lab where Hodgins is sitting, leaning his head against his hand looking tired. Zack approaches his table and drops a package loudly next to him.) ZACK: Were you here all night? HODGINS: (tired) Yes. Did I miss Toni? ZACK: Yes, she asked about you (walking around to face Hodgins). HODGINS: No, you torpedo me, didn't you? ZACK: No, I told her the truth-that you were sifting through excrement. HODGINS: (getting up) You want a w*r? Fine, because I'm the warrior. ANGELA: (approaching the both of them) Zack, I got the measurements for your saw from the Angelator. Now all you have to do is find a match...say thank you with gifts. (handing Zack a file and then looks at Hodgins) Did you work all night? HODGINS: (tired) Yes. I shaved the truffle. ANGELA: Is that anything like spanking the monkey? HODGINS: I found boring dust (looking at screen). ANGELA: Is there any other kind? HODGINS: Boring dust is produced by beetles, which means the tree the truffle grew on was infested. ZACK: (looking at his file) That's not going to impress Toni. HODGINS: That's not why I did it. I did it to serve justice and capture and m*rder cannibal. ANGELA: That'll impress the hot courier. HODGINS: (smiling) Now, I'm back in the game. (Back to the woods, Brennan and the Sheriff are following Booth) SHERIFF: No way you catch Sherman in the woods. He's a park ranger and an Indian. BOOTH: (walks into a clearing and looks right) He's right there. SHERIFF: Oh. (Sherman is sitting on a rock a few yards away) He's doing some kind of Indian ritual. BOOTH: Waiting for us. (Brennan's cell phone rings) BRENNAN: Brennan. ZACK: (cuts to Zack and Hodgins in Brennan's office, talking over speakerphone) The meat samples you sent us were all Ursus Americanus. BRENNAN: (cuts back to woods, puzzled) Black bear? SHERMAN: (the three approaches him) I didn't k*ll no one. BOOTH: Why did you run? SHERMAN: You're FBI. Ever hear of Leonard Peltier? Pine Ridge? (standing up) BOOTH: Oh... SHERMAN: Wounded Knee? Indians and FBI's don't mix. BRENNAN: He ran because he's the poacher. SHERIFF: You're the poacher? SHERMAN: (mumbling) Oh shit BRENNAN: Yeah, the meat we found in his freezer was black bear. BOOTH: No wonder you never caught him. SHERMAN: I want a lawyer. HODGINS: (over speakerphone) You should be on the lookout for a patch of woods that is infested with (insert technical term I have no clue on) BRENNAN: Ok, Hodgins says that the bear dug up the arm in a stand of western pine beetle infested Douglas-fir. SHERMAN: (being handcuffed) Say you did catch a poacher. Say he was an Indian who shouldn't have to follow white man's law anyway. BOOTH: Not even a park ranger? SHERMAN: Say he could show you a stand of trees like that. Would you maybe let that Indian go? ZACK: (over the phone) The saw is 300 millimeter with 32 off-set teeth per inch with a wobble factor of one one-hundredth of an inch. BRENNAN: That's a common hack saw, that won't help us much. ZACK: (in her office) Dr. Brennan, I'm just wondering if you're going to be sending us anymore samples. HODGINS: Yeah, even more of the same samples. You know, in case we want to double check the...data. BRENNAN: (confused) Ok, I'll let you know. (hangs up) ZACK: (dial tone over the speakerphone) Do you think she'll send more? HODGINS: God in heaven I hope so. (Cut to the woods, where Sherman in handcuffs is leading them) SHERIFF: The Japanese, right? Pay a fortune for that bear meat and take the gallbladders to fix up their pecker troubles. BOOTH: Would have gotten away with it if you hadn't kept the meat in the freezer. SHERMAN: I'm not admitting nothing. BRENNAN: He couldn't bring himself to waste the meat. SHERMAN: (stops and looks up at the trees) This patch of trees is all infested with beetles. (Booth walks off in a direction) According to the GPS, the bear was here seven days ago. BRENNAN: That fits the timeline for the arm. SHERIFF: What are we looking for? BRENNAN: I'm guessing we're looking for a shallow grave that has been disrupted by a hungry bear. BOOTH: (looking down at something) Or, maybe some kind of satanic stonehenge circle. (Pans out to reveal a circle pattern made of stone. Brennan walks over and gets out her camera to take pictures) SHERIFF: You see this kind of thing all the time, kids come up here get baked and do their own version of the Blair Witch Project (walking over to look) BRENNAN: (confused) I don't know what that means. BOOTH: It's a horror movie Bones. (Brennan takes pictures) Didn't make any sense. SHERIFF: Scary though with the bloody handprints (holds out hand) ANGELA: (dialing on her cell phone) Ange, I'm going to beam you some stills of what looks like a ritualistic Indian site. A medicine wheel of some kind. BOOTH: (to Sherman) This thing legit? SHERMAN: What am I? A shaman? BRENNAN: (on phone) Dr. Goodman is an expert on Native American anthropology, he should be able to tell you what it means. SHERIFF: And the symbols on the inside, Sherman ... you're looking guiltier by the minute. SHERMAN: Aw, shut up Chris, you know better than that. SHERIFF: (arguing with Sherman) Hey, you're a poacher man, and I sure as hell didn't see that coming either. (Brennan notices something and walks over to it) BOOTH: (coming over) Got something? BRENNAN: (putting on gloves) Waxy leaves...means methane gas is leaching from the soil (digs around). BOOTH: You mean like a body? (Brennan pushes aside some grass and reveals human remains) SHERMAN: That's Adam Langer. BRENNAN: (pushes aside more grass) There's a woman here too. BOOTH: Ann Noyes, the hiker. BRENNAN: And, she's missing her heart. (Cut to the Lab, Goodman is looking at the photo Brennan sent with Angela.) GOODMAN: It's a perversion of a Salish medicine wheel. This is the spirit chief Cha-che u-me'-chu [?]. The southern most stone should represent strength; the centre of the wheel should represent life force. (shakes head) But this is upside down and inside out. ANGELA: We're dealing with a cannibal. GOODMAN: I suppose you could interpret this as taking energy away from someone by eating their flesh. Zoom in. (Angela zooms the picture in) Yeah, this is the symbol for strength, the arm. This one is for spirit, the heart. This one for knowledge and this is for courage. ANGELA: So we're looking for maybe a scarecrow, tin man or a lion? GOODMAN: (gives Angela a look) You say two bodies were found. ANGELA: (pulls up another photo and points) Over here, they were dug up by a bear. One showing signs that his arm was eaten by the cannibal, the other missing her heart. GOODMAN: (thinking) There should be two more bodies to complete the ritual. ANGELA: They checked the site, there were only these two. GOODMAN: If I have analyzed this correctly, that means there will be two more victims. (Cut to morgue where Brennan and Rigby are examining the two bodies) RIGBY: Both victims were k*lled by g*n sh*ts to the head. BRENNAN: These satellite patterns at the entry wounds indicate a low caliber hand g*n at close range (talking into her recorder). RIGBY: (takes closer look) That's remarkable. BRENNAN: Not really. (into the recorder) Based on adipocere formation I am estimating the female has been d*ad for about... RIGBY: (cutting in) A week? BRENNAN: (nodding) Very good. RIGBY: Thanks. Well her clothing matches that of Ann Noyes and the male is Adam Langer (Brennan takes a photo of Ann) BRENNAN: My people at the Jeffersonian tell me that the medicine wheel suggests a perversion of an old healing ritual. The cannibal may have eaten the arm for strength and heart for spirit. RIGBY: Now that makes sense, from a certain point of view. Do they think it's an Indian? BRENNAN: (shakes head) No way to tell. RIGBY: I'm not policemen but it doesn't make sense for Sherman Rivers would lead you straight to the evidence that proves he's a m*rder and a cannibal. (Cut to a hallway outside, Booth, the Sheriff and Sherman are talking) SHERMAN: Adam was a good guy. He wanted to be a park ranger...I was a...what do you call it... SHERIFF: His mentor? SHERMAN: That's right, his mentor. Taking him out with me on my rounds, showing him the ropes of the job. BOOTH: Well, maybe Adam found out you were poaching so you made sure he wouldn't talk. SHERMAN: Yeah, so I ate his arm and ate someone's heart for dessert, 'cause that's the type of guy I am. BOOTH: Well you know he fits the description of someone who's missing an arm, why didn't you say anything? SHERMAN: (sighing) Somebody says they're maybe going to come and visit. Maybe they do, maybe they don't. Maybe they go see their climbing buddy instead. SHERIFF: Charlie? BOOTH: The overnight guy? SHERMAN: Maybe sometimes they go visit a girl SHERIFF: What girl? SHERMAN: I'm not comfortable saying. BOOTH: Oh, maybe what you know, with the m*rder and cannibalism, you get passed that discomfort. SHERMAN: Adam had a thing with the vet lady, so did his buddy Charlie. You know how jealous white people can be. SHERIFF: (raises hand) Um, in the interest of full disclosure I got to say that I see Denise from time to time too. (Sherman chuckles) What, you find that funny? BRENNAN: (walking out from the room, holding up her phone) You know the apple we found in Sherman's cabin? BOOTH: You get a mold? BRENNAN: Zack? ZACK: (over the speakerphone) Yeah, the mold from the apple does not match the teeth mark on the bones. BRENNAN: Thanks Zack. (hangs up) SHERMAN: So what does that mean? BRENNAN: It means you aren't the cannibal. SHERMAN: (Sheriff uncuffing him) I already knew that. BOOTH: The point was to convince us. SHERIFF: What do we do now? Start checking everyone's teeth in town? BOOTH: Not everybody. (Cut to inside the bar, Denise-who has been drinking-is talking with Booth and Brennan) DENISE: We consume or we're consumed. We're consumed by greed, by ambition, lust, jealousy... BOOTH: Dr. Randall...if you could just bite... DENISE: (cuts in) Even, just regular love is a form of cannibalism. BRENNAN: Could you just put the dental medium between your teeth? DENISE: I mean the whole perfect idea of love is that two people become one...now that's a kind of consumption. BRENNAN: We're talking about something more literal, Dr. Randall (sh**t Booth a look and mumbles) We need her to bite it. BOOTH: Why didn't you report him missing? DENISE: (takes a drink) Because I would had to admit that he and I were lovers. BRENNAN: Why not admit it? DENISE: Because it would have made another guy angry. BOOTH: What other guy? DENISE: Charlie...and Sheriff Scutter...and Andrew Rigby and maybe a couple of others...I don't...well, there's not a lot to do in a place like Aurora, so whatcha do, you do...a lot. BOOTH: Dr. Randall, can you just bite... DENISE: (cuts in) And if I were your cannibal, would I have pointed out there were human bones in the bear after the autopsy. BRENNAN: An autopsy on an animal is called a necropsy. DENISE: Yeah, there's a reason I get all the guys and you don't...(bites the mouth piece) And let me tell ya, if I ate Adam (placing the piece in Booth's bag), there wouldn't be anything left (takes another drink ad Booth and Brennan exchange glances). (Cut to Lab, Zack and Angela are looking over evidence on the screens) ZACK: Here, and here (pointing)...these look like tooth marks again. ANGELA: OK. ZACK: But they are too regular, they're exactly 2.4 millimeters apart. Teeth aren't that exact...it has to be some kind of machine. ANGELA: She was eaten by a machine? ZACK: I don't know. (Cut back to the bar, Booth and Brennan are leaving) BOOTH: (putting on his jacket) We've got a love triangle...quadrangle...octangle...whatever. Jealousy, always a good motive. BRENNAN: For m*rder Adam Langer, maybe, but Ann Noyes? And the cannibalism? No, we are looking for someone who is clinically insane. BOOTH: And the whole rant thing the vet lady had about people consuming each other, that was whacky. (Brennan's cell phone rings) BRENNAN: Yeah, but kind of true, don't you think? (picks up phone) Hey Angela. ANGELA: (over the phone) Sweetie, Zack wants to beam you something. BRENNAN: OK, hold on a second. (takes off knapsack and starts setting up computer) ANGELA: (in her office with Zack) See if you can tell what it is, but if you're in a public place, you might want to cover your screen. BRENNAN: (outside the bar, computer set up) What am I looking at? ZACK: (over the phone) Indentations on Ann Noyes' sternum. BRENNAN: Magnification? (looking at images on her screen) ZACK: Forty BRENNAN: I can't believe both Dr. Rigby and I missed these. Good job. BOOTH: (looking) What are they? BRENNAN: (to the phone) How far apart are these indentations? ANGELA: 2.4 millimeters. BRENNAN: (to Booth, pointing at screen) Ok, these marks and the splitting of the bones here, were made by a sternum spreader. BOOTH: There's no record of Ann Noyes having heart surgery. (Brennan realizes something, and shuts the computer quickly) (Cut to Booth and Brennan walking down the hallway of the hospital) BRENNAN: Rigby didn't miss it ...moments like this is why I need a g*n. (Booth stops and bends down to unstrap a g*n that is against his ankle) Where else do you keep them? (Takes g*n Booth gives to her). Thank you. BOOTH: That is for self defense, so you don't just go blasting away in there. BRENNAN: What if I have to sh**t? What part of the body should I h*t? BOOTH: The part that isn't me...just stay back. (Booth opens a door and enters. Brennan walks straight past him) BRENNAN: The bodies are gone. BOOTH: What's he going to do, take them into the woods for a late night snack? BRENNAN: If I were him, I would destroy the evidence. (Cut to another room where Rigby is preparing to throw the bodies into an incinerator. Booth and Brennan walk in, g*n drawn) BOOTH: (point g*n) Step away from the incinerator Dr. Rigby. (Brennan hits the button to stop the incinerator) RIGBY: You don't understand, it's a spiritual right to share life force with... BOOTH: (cuts in) Look, you're nuts, k. We get it. We don't need to hear the rambling psycho speech on why you did it. RIGBY: (to Brennan, walking towards them) You're an anthropologist, you know ancient civilizations would sacrifice some in order to preserve the strength... (Brennan takes a bed pan and whacks Rigby in the back, he falls over and is out.) BOOTH: (looks down at a fallen Rigby) What did you do that for? BRENNAN: (holding up the bed pan) Nobody wants to hear that rambling psycho speech. BOOTH: A bed pan? (Brennan gives him a look, and throws it down) (Cuts to the lab, both Hodgins and Zack are waiting for Toni) ZACK: Why do we have to face her together? HODGINS: (adjusting collar) Want this settled or what? ZACK: I definitely like this settle. HODGINS: (sees Angela walking towards them) What are you doing here? ANGELA: You kidding? It's like watching the clash of the horny titans. (Toni walks towards them) TONI: Who would like to sign for this? HODGINS: Who wouldn't want to sign for it? TONI: So the idea is, whoever signs for this... ZACK: Yes, the act of signing is an analog for... HODGINS: (cuts in) She gets it. (Toni looks at the both of them, taking her time and ultimately hands it to Angela.) ANGELA: Oh. (surprised) oh...oh. (chuckles) That is really sweet, thank you. (takes the envelope as Toni turns to leave. She uses the envelope to fan herself) HODGINS: That is so hot (watching Toni leave) ZACK: Why, why is that hot? It'd be hotter if she chosen me. HODGINS: No, this is definitely hotter. (Cuts to Aurora. Booth and Brennan are sitting at the bar eating breakfast) BRENNAN: And to think I didn't want to come here with you. I mean, this was a fascinating case...you don't often find ritual cannibalism in practice so close to home (takes a bit of her cereal). BOOTH: Which I find a plus. BRENNAN: There are always those individuals within a species who are driven to break the most basic taboos. I mean Rigby actually ate human flesh. BOOTH: (trying to eat) Bones, I just got my steak and eggs... BRENNAN: (cuts in) Rigby has a prion disease, which means he's been a cannibal for quite some time...you realize when we go to trial he could use the insanity defense (drinks her OJ). BOOTH: The guy is nuts. BRENNAN: Yes, but is he nuts because he got a brain disease from eating human flesh or was he already nuts the first time he ate flesh or did he just lick his fingers after surgery. BOOTH: (puts down utensils and pushes his plate away) I should just become a vegetarian. BRENNAN: Or as an alternative just don't eat people. (Booth grabs the ketchup and squirts some on his plate) You know, I'm going to come back up here this winter. Charlie says the skiing is great. BOOTH: (mouth full, smiling) Oh, so it's Charlie. BRENNAN: Yeah, the overnight guy. BOOTH: (laughs while eating) Yeah, I know who he is. BRENNAN: I bet he's a great skier...his hips and thighs are perfectly developed for strength and maneuverability... BOOTH: (pushes his plate away) That's good...I'm done. BRENNAN: What? No good? Want some cornflakes? (Spoons some cornflake for Booth) Want some? BOOTH: No. END.

{"type": "series", "show": "Bones", "episode": "01x04 - The Man in the Bear"}

foreverdreaming

"A Boy in a Bush" Episode 1x05 Written By: Greg Ball & Steve Blackman Directed by: Jesus Salvador Trevino Transcribed by: Krystal (krys33) Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Fade in: Auditorium. From a podium on stage, Dr. Brennan is giving a lecture to a large group of anthropology students. Behind her shines a slide showing a variety of what look to be skull fragments.] BRENNAN: As far back as 1938, the director of the F.B.I., J. Edgar Hoover, wrote to the then curator of the Jeffersonian Institution, Professor Daniel Payne, to aid in the evaluation of specimens who were thought to be irrefutably human. This was the result. [She changes the slide, and a drawing of an ape appears. The students laugh.] BRENNAN: Despite this early disagreement, the F.B.I. and the Jeffersonian have forged a mutually beneficial, if somewhat tense, relationship which survives to this day. Thank you. [The students applaud and Goodman steps to the podium.] GOODMAN: Thank you, Dr. Brennan. Are there any questions? [A girl in the audience raises her hand.] OS: GOODMAN: Yes? [She stands.] FEMALE STUDENT: How much money have you made from your book? BRENNAN: I don't really know. I have an accountant and an agent- GOODMAN (cutting her off): That's not really the kind of question we're looking for from an anthropology student. [A boy in the hand is called on.] OS: GOODMAN: Yes? [He stands.] MALE STUDENT: Did you get your agent before or after you wrote the book? [Brennan moves toward the podium to answer, but Goodman speaks first.] GOODMAN: People, Dr. Brennan is an accomplished forensic anthropologist who writes books on the side. [In the audience, Booth stands from among the students.] BOOTH: I have a question regarding role of the F.B.I. in your book: Who do you base the brilliant and insightful Special Agent Andy Lister on? GOODMAN: Oh, for God's sake. BOOTH: Because, you know, I'm pretty sure it was me. BRENNAN: What are you doing here, Booth? [Cut to: Outside the building, Brennan and Booth are walking side-by-side toward the parking lot.] BOOTH: Local police got an anonymous call saying that there were human remains in a field behind a mall in the suburbs. BRENNAN: I did an anthropological profile of the suburb as a grad student. The whole notion of a created community, a modern utopia with its own mores and rules... It's fascinating. BOOTH: Fascinating to who? BRENNAN: To "whom". BOOTH: Whom. (He sees the shiny, silver sports car they've walked up to and laughs) You've got to be kidding. BRENNAN: What? My publishers gave it to me. BOOTH: Gave it to you? BRENNAN: Book sales are pretty good. It's supposed to be a nice car. BOOTH: Gave it to you? BRENNAN: Yeah. BOOTH: Well, why'd you park crooked? BRENNAN: Well, the guy said to always park it like that. BOOTH: He's wrong. It makes you look like an idiot. BRENNAN: How about I drive for once? BOOTH: No, I cannot show up at a crime scene in that. BRENNAN: Why? BOOTH: Because it would detract from the gravity of my F.B.I. presence. Especially if you parked crooked. BRENNAN: Why is the F.B.I. involved in the search for human remains behind a suburban mall? [Booth pulls a paper out of his jacket and hands it to her.] BOOTH: Because this boy is missing. [The paper is a missing person flier with a picture of a young boy on it.] BRENNAN: Oh... A child. BOOTH: Yeah. [Cut to: The field behind Clayton Hills Mall. The parking lot is filled with vehicles, among them squad cars and a coroner's van. Booth, Brennan, and Zack are speaking with a police officer.] POLICE OFFICER: Anonymous call came in a couple hours ago. No sign of him yet. BOOTH: How do you know it wasn't a prank? [The officer starts a recording of the call.] GIRL (on cassette player): You have to come right away! There's, like, a d*ad kid here, all rotted away! It's in the field behind Clayton Hills Mall. You better come! BOOTH: Well, that rings true. BRENNAN: Why anonymous? POLICE OFFICER: Kids come here to party, misbehave. BRENNAN: Adolescents and preadolescents tend to seek out their own space to establish their own society, to counter parental influence. POLICE OFFICER: You mind if I make an observation? BRENNAN: No, of course not. POLICE OFFICER: In your book, the cops come off as very one-dimensional. Why is that? BRENNAN: You mean two-dimensional. ZACK: One-dimensionality exists only in theory as a mathematical value. POLICE OFFICER: Okay. Really looking forward to your next book. [He exits.] BRENNAN: Did you bring the thermal imager? ZACK: I don't think we need it. [Brennan gives him a look.] ZACK: It makes me look like the Great Gazoo. BRENNAN: I don't know what that means, but we definitely need it, Zack. [He sighs and walks off.] [Cut to: A bit later, in the field. Zack is wearing the thermal imager, which looks like a large orange and yellow helmet over his head. We see Booth and Brennan through his point of view, in yellows, greens, and reds based off of thermal heat.] BOOTH: How's it going there, Darth? See anything on Saturn? (off of Brennan's look) Oh, please tell me you've seen at least one Star Wars movie. BRENNAN: When I was seven, and leave Zack alone. [Back to normal view.] ZACK: Can we please hurry up? It's stuffy in here. [They begin to walk.] ZACK: I should be able to see any heat residue released from decomposing bodies. [They happen upon a small area where there obviously used to be a f*re. Some crates and various garbage surround it.] OS: BOOTH: Party central. BRENNAN: Because suburbs are so h*m*, adolescents tend to rebel in predictable and uniform ways. f*re, illicit substances, wayward behavior. BOOTH: Do you think that wayward behavior would include abducting a six-year-old child? BRENNAN: It's pretty extreme. Adolescents are more likely to drink alcohol and listen to culturally inappropriate music at high volume. ZACK: I'm picking something up. [From his POV, we see mostly green as he walks through grass, but then a patch of yellow, signifying some heat, appears.] [Back to normal view, Zack takes the imager off of his head.] ZACK: Oh my God. BOOTH: What? Why'd you stop? ZACK: You can turn on your flashlight. Aim it over there. [He pulls back some high grass and we see the mostly decomposed body of a young child.] [Fade out.] [TITLE CREDITS] [Fade in: The Jeffersonian Medico-Legal Lab. The child's body is laid out on a table on the raised center platform.] BRENNAN: Before proceeding with maceration, any general observations? Zack? ZACK: Epiphyseal fusion puts the age at approximately six to ten years, though the stature suggest younger. BRENNAN: Good. I concur. Cause of death? ZACK: Blunt trauma to the chest. [Brennan walks over to Angela, concerned.] BRENNAN: Are you all right? ANGELA: He's so small. That's all. Go on with your work. I'm okay. [Brennan returns to the table.] HODGINS: The remains were significantly degraded by insect and animal activity, mostly dog and rodent. Despite the condition of the body, he's been d*ad between only thirty-six to forty-eight hours. BRENNAN (gesturing towards the victim's clothes): These were found a few yards from the body. Notice that they are in perfect condition. What does that tell you? ZACK: The victim wasn't wearing them when he was k*lled. BRENNAN: Which suggests he was sexually as*ault. [Angela approaches the table and hands a sheet of paper to Brennan.] ANGELA: I'm done. [Brennan takes the sketch and walks to a computer screen, where the missing flier is displayed, to compare.] BRENNAN: I think we have a match. The clothing matches. It's Charles Gregory Sanders. [Cut to: The Sanders house.] OS: BOOTH: On behalf of the F.B.I., we're extremely sorry for the loss of your son. [Cut to: Inside. Booth is talking with Charles' mother, Margaret Sanders, and one of the Sanders' neighbors, Ellie Nelson.] BOOTH: And I have a few questions, I mean, only if you're up to it. [Margaret nods.] BOOTH: You have two other sons? MARGARET: Foster sons. Though I try not to make the distinction. ELLIE: Shawn and David Cook. They are brothers. I live right next door. BOOTH: Charlie was your own? MARGARET (voice breaking): Yes. Charlie was mine. BOOTH: What about Mr. Sanders? MARGARET: We divorced shortly before Charlie was even born. He works overseas. ELLIE: He doesn't even send child support. BOOTH: You mind if I ask how you afford this nice neighborhood? MARGARET: Child Services wouldn't allow a single mother to foster if she worked. I live off the proceeds of a generous trust fund my parents set up long ago. BOOTH: And the day that Charlie disappeared - all three boys went to the park? ELLIE: It's two blocks away. It's a very safe neighborhood. They walk farther to school. MARGARET: We all keep an eye out for each other around here. People are good neighbors, take an interest. [A door opens in the background.] OS: SKYLER: Mom? MARGARET: In here, Skyler. [Skyler Nelson enters with Shawn and David Cook.] ELLIE: This is my son, Skyler. SKYLER: Dad told me to bring the boys back. We gotta go on a job. DAVID: There's nothing to do here. SHAWN: Our video game's broke. MARGARET: Shawn, David, this is Agent Booth. He's gonna find out what happened to Charlie. DAVID: How're you gonna figure it out? BOOTH: Oh, I'm in the F.B.I. We always figure it out. Boys, I mean, if it's alright with your mother, maybe I could help you out with your video game. [Margaret nods, and the boys head off with Booth following behind them.] [Cut to: Brennan's office. All the squints are gathered there.] GOODMAN: These are invitations to a banquet. [He hands an envelope to Brennan.] BRENNAN: You called a special meeting to invite us to a party? GOODMAN: Don't this of it as an invitation, consider it a summons. It's for donors. [He moves to Hodgins, who stands.] HODGINS: Meet and greet, press the flesh, butt kiss... GOODMAN: I don't like it any more than you do, but these people fund our research, and all they want in return is to rub elbows with a scientist every once in awhile. [He walks toward Angela.] HODGINS: I can't make it. BRENNAN: Yeah, me neither. ANGELA: I have a date that night. GOODMAN (handing her an invitation): You don't even know when it is. [Zack raises his hand.] GOODMAN (passing him an envelope as well): Yes, Mr. Addy? ZACK: What kind of food will there be? GOODMAN: When I said you should think of this invitation as a summons, I understated. It's a subpoena. A grand-jury subpoena. Ignore it at your own peril. BRENNAN: You're not gonna f*re us if we don't go. GOODMAN: No, not f*re you, but I can move your parking spot to Lot M. Enjoy the shuttle ride. ZACK: The shuttle smells like feet. BRENNAN: I know when I'm b*at. I'm in. ANGELA: What the hell, it's a party. ZACK: Do I have to wear a tie? GOODMAN: Formal wear. I've arranged for a limo to pick us up here. HODGINS: Not me. I'm not afraid of parking or feet. ZACK: Wait, you drive me to work. You can't just think of yourself. GOODMAN: Repercussions and consequences, Dr. Hodgins. I'm your boss, and you will go to this banquet. [Hodgins snaps a rubberband that's around his wrist as Goodman exits, and Angela takes notice.] [Cut to: The Sanders house. Booth is helping the kids with their video game.] DAVID (as Booth puts a controller back together): Do you know what you're doing? BOOTH: Yeah. I can fix anything. DAVID: Cool. BOOTH: You guys, uh, you guys have girlfriends? DAVID: I do. SHAWN: Her name's Leila. BOOTH: Leila. Leila. DAVID: I thought you were gonna ask us questions about Charlie. BOOTH: Yeah, so which one of you puny mortals wants to challenge me first? SHAWN: Oh, me! [They start playing, and Shawn eyes Booth a bit suspiciously.] [Cut to: The Jeffersonian, Zack's office.] BRENNAN: You about to clean the bones? ZACK: Yes. I'm warming up the boiler now. BRENNAN: Something wrong? ZACK: These are the smallest remains I've ever worked on. BRENNAN: That's a valid observation, Zack, but it's not helpful to the investigation. ZACK: Sorry, Dr. Brennan. BRENNAN: I was at Waco, Branch Davidian compound. I helped identify children who had been k*lled in the f*re. Seventeen of them. ZACK: So, you're saying I'll get used to it? BRENNAN: No, I'm saying you'll never get used to it. We're primates. Social creatures. It's coded into our DNA to protect our young. Even from each other. ZACK: So, I'm always going to feel terrible? BRENNAN: What helps me is to pull back emotionally. Just... put your heart in a box. ZACK: I am not good with metaphor, Dr. Brennan. BRENNAN: Focus on the details. ZACK: Details. Yeah, I can do that. [They walk over to where the bones are laid out on a table.] ZACK: No trauma to the skull. No compound fractures. Charlie was not beaten to death or dismembered. BRENNAN: It helps not to refer to the victim by name. ZACK: Greenstick fractures on ribs four, five, six, and seven. And the sternum is snapped transversally from the tip to the xiphoid. BRENNAN: Okay, what does that indicate? ZACK: The victim's chest was struck by a heavy, blunt object. BRENNAN: Are you completely certain we've learned everything we can from the body at this stage of decomposition? ZACK: I've been over everything at least three times. BRENNAN: Smell the mouth. [He does so.] BRENNAN: Anything behind the typical smells of decomposition? ZACK: Some kind of chemical. Chloroform. Something used to render the boy unconscious. BRENNAN: Take samples from the mouth, jaw, sinuses, and... what's left of the esophagus. Kids make it harder, Zack. [She exits, and he looks down at the body for a moment.] [Cut to: Outside the Sanders house, Booth exits with Shawn, David, and Margaret.] BOOTH: All right, look, you b*at me bad. DAVID: No wonder you don't have a girlfriend. MARGARET: David! BOOTH: It's okay, Mrs. Sanders. It's alright. No, I do have a girlfriend. SHAWN: Is she pretty? BOOTH: Nah, she's butt ugly. Got a glass eye, snaggly back teeth. So, was Leila with you the day that Charlie disappeared? DAVID: Uh, yeah, actually. We stopped and played some video games at the arcade. BOOTH: That must've been before you and Charlie went to the park. MARGARET: You didn't go to the mall that day, David. [She looks at David, who looks away.] MARGARET: Shawn? DAVID: Don't ask Shawn, mom. BOOTH: You met Leila at the mall, didn't you? You left Charlie with Shawn at the park. DAVID: Well, just for a few minutes, and then they came back to the mall. MARGARET: David! DAVID: Shawn let go of his hand for a second, Charlie was gone like that! [Across the street, Skyler and his father load up a truck to go off on an extermination job.] DAVID: And then we came straight home. BOOTH: Charlie wasn't taken from the park, he was snatched from the mall. We've been looking in the wrong place. OS: MR. NELSON: Come on, son. Let's go. [Cut to: Jeffersonian lab. Hodgins places the victim's jawbone into a plastic box and replaces the lid. Angela approaches.] ANGELA: What's with the rubber band? HODGINS: Methyl oxide vapor in this chamber will bind to whatever compound Charlie breathed in before he was k*lled. [Angela reaches over and snaps the rubber band.] HODGINS: Ouch! ANGELA: It's an anger management technique, right? HODGINS: The key there is management, which is what I'm doing. Managing my anger. [The box fills with vapor.] HODGINS: There'll be a color change. Red for pnictogens and chalcogens, and blue for halogens. ANGELA: I get that you're a little off-kilter. Mad at the government, conspiracy of dunces, all that. Maybe even furious that you've had to mount a little boy's jawbone inside a box to find out what k*lled him. What I don't get is why going to a banquet makes you angry. [The vapor starts to clear, and the bone glows blue in areas.] HODGINS: Halogens it is. I'm gonna scrape off the particles and see if the mass spectrometer can identify what type of halogen. ANGELA: Anger is only fear, turned inwards. [She moves to leave, but stops to snap the rubber band against his wrist one more time. He flinches, and she exits.] [Cut to: Angela's office. Brennan, Angela, and Booth are looking at her computer monitor.] ANGELA: There are twenty surveillance cameras taking stills every two seconds throughout the mall, including access corridors and parking lots. I concentrated on the ones aimed at the public concourse. BOOTH: Okay, ten thousand people a day go through that mall. How are we gonna find one small kid? BRENNAN: Angela designed a mass recognition program to apply body types to skeletal remains. ANGELA: Endomorph, ectomorph, mesomorph, that sort of thing. I modified it to scan two dimensional images. In this case, we're looking for body masses roughly congruent with Charlie, Shawn, and David. [She points at the screen.] ANGELA: There's David. BOOTH: You're actually one of them. ANGELA: One of who? BOOTH: A squint. I mean, you look normal and you act normal, but you're actually one of them. ANGELA: This whole mass recognition program was Brennan's idea. I'm completely normal. Really. BOOTH: Yeah, maybe before you got this job. But now... BRENNAN (pointing at the screen): I see Charlie. BOOTH: Oh. That's him, all right. ANGELA (whispering): Oh, God. BRENNAN: Ange? Are you okay? ANGELA: It's just... these are probably the last pictures of this little... guy alive. Why is he alone? Why isn't anybody with him? (pause) Sorry. Max resolution is X-40 by 480 pixels per square inch. BOOTH: No, wait, he's not alone. Someone's calling him over. Can't you just zoom in? [On the screen, we see Charlie walk over to a person, who's obscured by a banner.] ANGELA: The fewer pixels that make up an image, the more the picture degrades once we zoom in on it. Did that sound too squinty? BRENNAN: Any way to enhance it? ANGELA: Well, I wouldn't bet a date with Colin Farrell on it. BRENNAN: I know him. He's funny. ANGELA: Funny is Will Ferrell, sweetie. Hot is Colin Farrell. BOOTH: Now look, wait. The kid was definitely moving toward someone. He wasn't struggling. He wasn't trying to get away. You know, I want to add the neighborhood kid Skyler Nelson to the list of possible suspects. ANGELA: I have one other angle, but our bad guy is still obstructed in it. [They all look at the screen.] BOOTH: Who the hell are you? [Dissolve to: Jeffersonian hallway. Angela's sitting on a bench. Brennan approaches.] BRENNAN: Are you thinking of leaving the Jeffersonian? ANGELA: I'm not really this person. [Brennan sits down.] BRENNAN: What person? ANGELA: I'm not like you. I'm not driven by the need for justice and all that. I'm a good-time girl. BRENNAN: We have good times. ANGELA: Cracking jokes over m*rder skeletons is not good times. BRENNAN: I know it's harder on you than it is for the rest of us. ANGELA: No it's not. (pause) Why? BRENNAN: Because you look at their faces. We look at everything else. It's more clinical for us. For you - it's personal. When we see a m*rder child- ANGELA: Honey I... I'm, no offense, I'm really not up for one of your 'it takes a village' anthropology lessons. This is the longest I've ever had a job. That's because of you. BRENNAN: If this is about hours, or time to do your own art, then- ANGELA: Just let me work on it, okay? I'm an artist. I used to draw naked guys. Now I draw d*ad guys. BRENNAN: Just don't decide anything without talking to me. ANGELA: Of course I won't. [She leans back and sighs. Brennan leans back as well.] [Cut to: Jeffersonian lab. Booth and Brennan walk down the corridor.] BRENNAN: I'm afraid Angela might quit. BOOTH: I'm amazed she stuck it out this long. BRENNAN: Why? BOOTH: Oh, because she's human. [Brennan gives him look.] BOOTH: I'm sorry, Bones, it's just that, you know, uh... Angela didn't get the same training that the rest of you got on, uh, planet Vulcan. BRENNAN: I don't know what that means. [They enter a room where the skeleton is laid out and Zack is waiting.] BOOTH: She's more sensitive. ZACK: Who's more sensitive? BRENNAN: Angela. BOOTH: She likes puppies and kitties and ducklings, and, you know, Jell-O sh*ts and, you know, dancing on bars. [He makes some music and dances a little.] BRENNAN: I know that. She's my best friend. And Angela's not the only person in the world who likes baby animals. ZACK: I never got the big attraction. BOOTH: I rest my case. She's more sensitive. ZACK: We cross-referenced the length and density of Charlie's leg bones with other children his age. The victim, I mean. [Booth stares at the skeleton for a moment, and is obviously emotionally affected by it. Zack notices.] ZACK: The thing to do is concentrate on the details. [There's a pause.] BOOTH: Let's do that. [He clears his throat.] BRENNAN: We found some abnormalities. They're bowed, and abnormally short. ZACK: Also, the victim's show freezing of the joints at the hip and knee. BOOTH: Are you saying Charlie was crippled? BRENNAN: The victim was disabled, yes. BOOTH: His mother never mentioned that. ZACK: The ribs are broken in two places, which is not typical of blunt-force trauma. BRENNAN: How do you explain that? ZACK: I'd attribute it to his medical condition and the corresponding brittleness of his bones. BRENNAN: I agree. What is that condition? ZACK: It looks like scoliosis - a bend in the spine. [Brennan walks over to the x-rays on the wall.] BRENNAN: I think it's more than that, Zack. There are multiple calcified lesions on the posterior thoracic vertebrae. That, plus Charlie's short stature, and the asymmetric length of his legs... Margaret Sanders may not be Charlie's biological mother. BOOTH: What? BRENNAN (to Zack): Test the bones for X-linked hypophosphatemia and Coffin-Lowry Syndrome. [They start to move away, but Booth stops them.] BOOTH: Whoa, whoa. Okay, hold on. Simmer down, just back up to the part where she's not his mother. ZACK: Dr. Brennan is having me check for hereditary genetic defects which are always passed from mother to child. BRENNAN: If Charlie had one, then Margaret Sanders is not his mother. [Cut to: Interrogation room. Booth and Brennan are questioning Margaret Sanders.] MARGARET: How can you say that? BRENNAN: Charlie suffered from a hereditary genetic disorder called hypophosphatemia. BOOTH: Charlie's real mother would have the same disease. BRENNAN: You do not. MARGARET: Never say I wasn't Charlie's real mother, because I was. BOOTH: Biological mother, then. Mrs. Sanders, you are not Charlie's biological mother. You want to explain that to us? MARGARET: I can't have children. That's why my husband left me. So I took in foster kids. BRENNAN: Like Shawn and David Cook. MARGARET: And Charlie. Though is name was Nathan. I got him as a baby down in Pittsburgh. Ten days old. His mother was arrested on drug charges, and Child Services brought him to me. Three weeks I had him. Then the charges were dropped. BOOTH: You kept him? MARGARET: No. I gave him back. But it nearly k*lled me. I stayed in touch. I bought him things - formula, stroller. I wanted to make sure he was all right. BOOTH: Nathan what, Mrs. Sanders? MARGARET: Nathan Downey. His mother was a drug addict named Janine. Christmas Day I found her d*ad on her kitchen floor, a needle stuck in her arm. And I could hear Charlie, crying upstairs. So I went up. BRENNAN: And you took him home. MARGARET: I looked him in the eyes, and I promised him I would never leave him alone again. And he stopped crying. I expected every day for Child Services to come looking. BRENNAN: He would've ended up back in the system anyway. MARGARET (breaking down, crying): I meant to keep him safe... and love him. And now he's d*ad. [Cut to: Booth's office. Booth enters, Brennan right behind.] BOOTH: I had to arrest her. BRENNAN: The story checked out. The overdose. BOOTH: She confessed to kidnapping. BRENNAN: Margaret Sanders did nothing more than respond to the anthropological imperative. She saw an orphan, and reacted. BOOTH: This is not a National Geographic study, okay? This is the suburbs. BRENNAN: Why would she k*ll the boy? She obviously loved him. BOOTH: There are situations, right? The kid gets sick, he doesn't turn out to be what you wanted. I bet that you could give me a dozen examples of societies that have k*lled their own young. BRENNAN: What about Shawn and David Cook? Where do they go now? BOOTH: Back into the system. BRENNAN: Do you have any idea how bad the foster care system is? BOOTH: Do you? What do you want to do, hmm? Do you want to kidnap them, the way that she kidnapped Charlie? BRENNAN: I want you to let them go home to Margaret Sanders. BOOTH: It's not gonna happen. [Brennan leaves.] [Cut to: Angela's office. Angela and Zack are bent over the computer.] ZACK: Try redigitizing and resizing. ANGELA: I did. The extrapolation protocol got confused by the spread. Hey, you know Hodgins better than anybody else. So why is he so bent out of shape about this banquet? ZACK: What makes you say that? ANGELA: Because every time someone mentions it, he starts snapping that rubber band around his wrist. ZACK: I mean, what makes you think I know Hodgins better than anyone else? ANGELA: You're roommates. ZACK: I live above his garage. ANGELA: But you see a lot of each other. ZACK: Not really. ANGELA: He drives you to work. ZACK: I've never been up to the main house. ANGELA: The main house? ZACK: It's at the opposite end of the driveway on the other side of the tennis courts across from pond. [Booth enters.] BOOTH: Okay, anything on the identity of Charlie's abductor? ANGELA: I can't clear up this image any more than it is. Tell Booth what you told me about living in Hodgins' garage. ZACK: There's a bedroom, living room, kitchen, another bedroom, a den, two bathrooms- BOOTH: Great. Quite a garage. Can we focus on the case? ANGELA: How many cars does he have in that garage? ZACK: Including the antique ones, about twelve. And a boat. ANGELA: Zack has never seen the main house because the tennis courts and the pond block the view. BOOTH: Well, he must be one of those Hodgins. ZACK: Who are 'those' Hodginses? BOOTH: You know, the Cantilever Group Hodgins? ANGELA: Oh my God. ZACK: The same Cantilever Group that generates more G.N.P. than Europe? ANGELA: Get this. They are the single biggest donors to the Jeffersonian Institution. [Booth laughs.] BOOTH: That makes Hodgins your boss. ANGELA: What do you guys even talk about when he drives you to work? ZACK: I mostly sleep. Hodgins mostly yells at the radio. [On the computer screen, the abductor leads the child out of a glass door.] BOOTH: Okay, if you can't see the guy's face, maybe you can grab a reflection. ZACK: That's a workable idea. BOOTH: Well, I'd say thanks, you know, if you didn't say it like it was some kind of a miracle. [Cut to: Brennan's office. She's typing, looking very determined. [Hodgins enters.] HODGINS: Chem lab mass spectrometer identifies the particulates in Charlie Sanders' mouth as fluoride. [He looks at Brennan.] HODGINS: I recognize that look. BRENNAN: What? [He looks at the rolling board of notes.] HODGINS: You're writing another book. When you write, you get this stunned look on your face like you stuck a fork in a toaster. Am I in this one too? BRENNAN: You weren't in the last one. Fluoride? At what concentration? HODGINS: It's too high for toothpaste. BRENNAN: Put together a list of - [She sees he's not listening and reading the notes. She pushes the board away from him a little.] BRENNAN: Put together a list of anything that could conceivably contain fluoride at those levels. HODGINS: All right. Do you have time for this? BRENNAN: They gave me a car. HODGINS: Nice. Who? BRENNAN: My publisher. Now I feel like I have to earn it by writing another book. HODGINS: Fight coercion in all its forms. You don't write the book, I don't go to the banquet. Solidarity. [He leaves, Booth enters.] BOOTH: Angela has a face for the abductor. [She exits quickly. Booth sneaks a peek at the board of notes before following.] [Cut to: Angela's office. Booth, Brennan, and Angela are crowded around the computer.] ANGELA: I looked on both cameras. This one offered up more reflective surfaces. BOOTH: Right at the door. ANGELA: Check this out. BOOTH: The abductor's face. ANGELA: By polarizing the image, the computer can interpret the spaces between the white and the dark gaps and fill in the missing pieces. BOOTH: Wait. That doesn't look like an adult. ANGELA: When I repolarize the image... [The blurry picture becomes clear.] BOOTH: Shawn Cook. BRENNAN: The victim's foster brother. [Cut to: Interrogation room. Shawn Cook draws pictures in some spilled water on the table. Booth is questioning him as a child advocate sits nearby. Brennan and a juvenile prosecutor watch from outside.] BOOTH: Where were you taking Charlie, Shawn? SHAWN: I brought him to the mall to see David. BOOTH: I know you brought him to the mall. But we got a picture of you... leading him out of the mall. [He slides a printed image of the picture from Angela's computer screen in front of Shawn.] BRENNAN: Have you seen much of this kind of thing? PROSECUTOR: I'm a juvenile prosecutor. I wish I could say kids k*lling kids was rare. BOOTH: Where were you taking him, Shawn? SHAWN: When can I talk to Margaret? BOOTH: After you answer my questions. BRENNAN: Can he do that? Lie to a kid? PROSECUTOR: We're after a child k*ller, Dr. Brennan. If the child advocate in there doesn't complain, I sure as hell won't. BRENNAN: Well, what's the point of having a child advocate if he doesn't advocate for the child? PROSECUTOR: I get the impression that you're a little confused as to what side you're on, Dr. Brennan. BOOTH (lifting the hem of his shirt): Shawn, you know what that is? SHAWN: A scar? [Booth tucks his shirt back in.] BOOTH: Yeah. Got it when I was playing soldier with my brother Jared. SHAWN: Did it hurt? BOOTH: Yeah, it hurt. But it was an accident. You got any scars? [Shawn rolls up his sleeve show a few small, round marks on his arm.] SHAWN: My dad did it with a cigarette. BOOTH: He shouldn't have done that. [Shawn slides his sleeve back down.] SHAWN: Margaret didn't do anything like that. I love Margaret. BOOTH: What I need to know is if Charlie had some kind of an accident. [Shawn doesn't answer.] BOOTH: Shawn? ADVOCATE: Maybe we can just take a break. BOOTH: Shawn? PROSECUTOR: He's not being aggressive enough. BRENNAN: Foster kids are powerless. They're treated like garbage. You're in a position to do something about it, and all you have to say is 'He's not being aggressive enough'? PROSECUTOR: Dr. Brennan, you know this boy may very well have beaten a child to death with a rock? [The prosecutor exits.] [Cut to: Lab platform. Hodgins is working, and Angela walks up to him.] ANGELA: How long have we known each other? HODGINS: Do people really ever know each other? ANGELA: How come you never invited me over to your house? HODGINS: Oh, I didn't pick up that kind of vibe off you. ANGELA: I thought we were close. All of us. What else don't I know? Is Zack from another planet? HODGINS: Oh, come on. That one's obvious. ANGELA: You're rich. You single-handedly own the Cantilever Group. Don't deny, I know. HODGINS: Who else knows? ANGELA: Zack, Booth. HODGINS: Don't tell Brennan. ANGELA: Why don't you want us to know that you're actually our boss? HODGINS (harshly): I don't want to be anybody's boss. I never did. Please respect that. [Angela leaves, and Brennan enters.] BRENNAN: What's up with Angela? HODGINS: It's... job pressure. [There's a pause.] HODGINS: Fluoride at lower concentrations is used in toothpaste, instant tea, and is added to our drinking water. Which, I might add, can cause a range of conditions, brain damage- BRENNAN: Which has nothing to do with the case at hand. [Hodgins pauses a moment before continuing.] HODGINS: The concentrations found on our victim might come from wood preservatives, paint thinners, car wax, or various other industrial products. [He hands Brennan a list, and she stick it on her clipboard.] BRENNAN: Okay. Did Angela say anything about quitting her job? HODGINS: No. But we hardly know anything about each other. [Brennan exits.] [Cut to: The room where the skeleton is laid out. Brennan is writing notes as Booth enters.] BOOTH: Bones, I thought you'd like to know that Shawn and David are in emergency care. Pulled some strings, you know, to make sure they- they get to stay together. BRENNAN: That's good, thanks. BOOTH: It's the best I could do. BRENNAN: Yeah, I understand. BOOTH: No, you say you understand, but you don't. Not really. I mean, if you don't like the rule, you ignore it, right? [He steps forward and leans on the table.] BOOTH: I can't have that. And if you want to do this- BRENNAN: Do what? BOOTH: Work on cases, you know, with me. Outside the lab. If you wanna do that, I need to know that you will respect the law. BRENNAN (voice breaking): Tell you what, if I can't respect the law, I can at least respect you. BOOTH (a little surprised): Well- Yeah, that'll work, too. I mean it kind of comes out of nowhere, but- [Brennan notices the pencil he broke when he leaned on the table. It now sits in three pieces.] BRENNAN: Look what you did. BOOTH: It's a pencil. I'll get you a new one. BRENNAN: The victim was k*lled by trauma to the chest, but the ribs are broken in two places, not just one. BOOTH: Uh, because of the, uh, brittle bones. Because of his disease. BRENNAN: Well, that was my assumption, but there's another explanation. [She moves to leave, but he blocks her.] BOOTH: Yeah, whoa. What's the other explanation? BRENNAN: Compression. [She leaves, and he follows.] BOOTH: Like Charlie Sanders was crushed to death? BRENNAN: Yes. Greenstick fractures. Vertebral and sternal. [She holds up the broken pencil.] BRENNAN: See? BOOTH: Hey, Shawn Cook outweighed Charlie Sanders by, what, thirty pounds? How could he have crushed him to death? [They come across Angela as they enter the lab.] BRENNAN: Angela, we need to run some scenarios through the Angelator. [She walks off, and Booth and Angela move to follow. Hodgins enters from behind.] HODGINS: Angela, Booth! [They stop.] HODGINS: Zack has been informed that if he tells anyone who I am, I will kick him out on the street like a stray dog. Sadly, there is nothing I can thr*at you two with. ANGELA: Yeah, that's a shame. HODGINS: What I want out of my life is to come in here and sift through slime and bugs. Unfortunately, my family is one of those who secretly run the world. BOOTH: Paranoia and delusions of grandeur all in one package. [Booth and Angela start to walk away.] HODGINS: You call it paranoia, I call it the family business. Please could you just stop! [They do, and turn back.] HODGINS: The reason that I do not want to go to that banquet is that the other members of the ruling elite will make a big fuss about seeing me. My secret will be out and my life, this life that I love, will be ruined. I'm asking you, please, please just let me be Jack Hodgins who works in the lab. [He exits.] [Cut to: Angela's office. Brennan, Booth, and Angela are around the Angelator where an image of Charlie Sanders is showing.] ANGELA: Charlie was three feet, four inches tall and weighed fifty-eight pounds. BRENNAN: And Shawn? ANGELA: Shawn Cook is 1.4 meters tall and weighs 31 kilograms. BOOTH: His brother David was 5'8", 150 pounds. ANGELA: 1.75 meters, 68 kilograms. BRENNAN: At first, I thought the break to Charlie's sternum was caused by blunt trauma because it only ran along one fault line. But when Booth broke my pencil, I realized there's another way to cause the same type of injury. Compression. ANGELA: Hodgins found no particulates that suggested crushing. BRENNAN: Body weight. There has to be enough weight on the victim to stop the abdomen from moving so no air can get into the lungs. [On the Angelator, a pair of legs appears on top of Charlie's horizontal form, and the bones of both people are shown through their bodies.] BRENNAN: Prolonged pressure caused the sternum to snap in half and the ribs to break. [On the Angelator, the pressure of the body on top of Charlie causes the ribs to snap. Angela is obviously emotionally affected by this visual and turns away slightly. Brennan looks over at her.] ANGELA: Sorry, sorry. I entered real-world variables, taking into account Charlie's size and the amount of pressure... [The visual runs through again, and Angela pauses for a short moment.] ANGELA: ...that was required to break Charlie's sternum in the way that it was broken. BOOTH: What did you end up with? ANGELA: 86.2 kilograms. BOOTH: What's that in American? BRENNAN: 190 pounds. BOOTH: Yeah. ANGELA: Way too much for either of the Cook kids or Margaret Sanders. BOOTH: I'd put the neighborhood kid Skyler at about 160 pounds. BRENNAN: It can't be him either. BOOTH: We should be looking for a full-grown man. BRENNAN: You have to get Shawn to tell you where he took Charlie when they left the mall. BOOTH: He won't talk to me. BRENNAN: Let me do it. BOOTH: Uh, no. You know, people are not your strong point, Bones. And besides, he's not going to care how many facts you put in front of him. BRENNAN: Could you just go with me on this one, Booth? We're trying to catch a k*ller. Let me help. BOOTH: When's the last time you even talked to a kid? BRENNAN: I know what to say. [Cut to: The interrogation room. Booth and the juvenile prosecutor from before are watching from outside as Brennan talks to Shawn as the child advocate observes.] BRENNAN: Do you remember me, Shawn? SHAWN: The museum lady. The one who's so smart. BRENNAN: Yeah, I'm pretty smart. PROSECUTOR: And very modest. BOOTH: Oh, believe me, she is being modest. BRENNAN: Smart enough to know that you didn't k*ll Charlie. You don't have to say anything, Shawn. Just listen. They give you a garbage bag to carry all your stuff, like they're telling you everything you own is garbage. And then you have to go to a new school in clothes that smell like garbage bags. SHAWN: All the regular kids know you're a foster kid. How do you know what it's like? BRENNAN: They bounce you from place to place, and it's never home. Sometimes the foster parents are nice. SHAWN: Like Margaret? BRENNAN: Yeah. And sometimes they separate you from your brother. It must have been nice with Margaret, staying with David. SHAWN (starting to cry): We got bunk beds. At night, I knew David was there. Like he was guarding me. Margaret's nice. BRENNAN: You'd do almost anything to stay with Margaret, right? [Shawn nods.] BRENNAN: The man you took Charlie to, the man who hurt him, he knows that. You didn't know that he'd hurt Charlie, but he did. And then he told you that Margaret would blame you, that she'd hate you. But this man is lying to you, Shawn. I can make sure that you go back to Margaret. SHAWN: How? You work at a museum. BRENNAN (looking pointedly through the one-way mirror at Booth): I have a friend at the FBI. If I ask him to, he will make sure that you and David get to live with Margaret again. ADVOCATE: Dr. Brennan, you can't make promises like that. BRENNAN: Yes, I can. He will do it. My friend will make it happen. BOOTH: Oh, man. BRENNAN: But you have to tell me who hurt Charlie. BOOTH: I'm gonna need your help to keep the promises she made to that boy. PROSECUTOR: Hey, I- I can't promise- BOOTH: Mrs. Johnson, my people and your people are gonna have to make this happen. SHAWN: What if Margaret doesn't want me anymore? Charlie was her real son. BRENNAN: Charlie wasn't her biological son either. Charlie was just like you: someone that Margaret chose to love. I don't think we should let that man take you and David and Charlie away from Margaret, do you? [Shawn shakes his head.] BRENNAN: We should stop him. You and I should stop him. [Shawn sits in silence, crying for a moment, before wrapping Brennan in a hug. He whispers something into her ear.] BOOTH: She did it. She got his name. [Cut to: The street outside the Sanders house. Booth pulls up as Skyler and his father are loading up their vehicle to go off on a job. Starsailor's 'Some of Us' plays in the background as Booth arrests Mr. Nelson.] BOOTH: Edward Nelson, you are under arrest for the sexual as*ault and m*rder of Charlie Sanders. You have the right to an attorney. If you cannot afford one, one will be appointed to you free of charge... [Cut to: Angela's office, the song still playing. She sets the missing poster and her sketch of Charlie side-by-side, and sighs.] [Cut to: Lab platform. The song continues as Hodgins takes the jaw bone he had tested and puts it on a tray Zack holds. He looks away as Zack exits.] [Cut to: The Sanders house, music still playing. Booth leads Edward Nelson to the FBI vehicle in handcuffs as Brennan watching Mrs. Nelson talk to her son. Both Booth and Brennan watching as Skyler hugs his crying mother. Their eyes meet before Booth exits.] [Cut to: The Jeffersonian. Zack, with a shaking hand, places the jawbone in a coffin with the rest of Charlie's skeleton and shuts the lid. Two men in suits somberly take the casket out of the room as Zack watches, emotional.] [Cut to: FBI building. Booth enters with Margaret Sanders.] MARGARET: Boys. [David and Shawn rush up and hug her.] DAVID and SHAWN: Mom! [Booth and Brennan lock eyes over the hugging family.] OS: SHAWN: Are we gonna be a family again? OS: MARGARET: Oh, you betcha. [Cut to: Brennan's office. The song fades out. Booth enters.] BOOTH: We have him cold. The insecticide he was using on the termites matches the fluoride concentration perfectly. Skyler's dad admitted everything. BRENNAN: Don't tell me, he said crushing Charlie to death was a mistake. BOOTH: He never abused Shawn Cook, he just used him to get near Charlie. It played out just like you said. He had Charlie out in that field. Some teenage kids, they come by, so he knelt on Charlie to keep him from crying out. Shawn got scared and ran back to his brother. BRENNAN: Charlie was small and weak. His sternum collapsed. You think he abused any other kids. BOOTH: Yeah, probably his own son. BRENNAN: You report that to Child Services? BOOTH: Mm-hmm. Try to get the kid some help. [He pauses.] BOOTH: Look, I'm sorry. BRENNAN: For what? BOOTH: You have personal experience in the system. [Brennan pauses for a moment.] BRENNAN: I was a foster child until my grandfather got me out. BOOTH: Yeah, when you said 'They take you away from your brother,' I kind of had the feeling you weren't talking about David Cook. BRENNAN: Booth, I'll tell you all about it one day, but tonight I have to get dressed for a party. BOOTH: Oh. Okay, Bones. [He moves to leave.] BRENNAN: By the way, there's a huge ding in my passenger-side door because you told me not to park it at an angle. BOOTH (laughing): What? BRENNAN: Okay, that's just mean. You're mean. BOOTH (still laughing as he exits): Sorry. [Cut to: Lab. Goodman enters, where Angela, Zack, and Hodgins are already standing. With the exception of the latter, they are all dressed in formal attire.] GOODMAN: That is not a tuxedo, Dr. Hodgins. HODGINS: I am not going, Dr. Goodman. GOODMAN: You are going. [He sticks a nametag in Hodgins' lab coat pocket.] GOODMAN: When we arrive, the donor's will all be wearing nametags. [He hands a nametag to Zack.] ZACK: What do we talk about? GOODMAN: Your work, of course. [He moves to Angela.] ANGELA: Zack's work consists of removing flesh from corpses. Hodgins dissects bugs that have been eating people's eyeballs. HODGINS: Leave me out of it. I'm not going. GOODMAN: And how do you see your job? ANGELA: I draw death masks. GOODMAN: Is that really how you see it? ANGELA: Don't you? GOODMAN: You are the best of us, Miss Montenegro. You discern humanity in the wreck of a ruined human body. You give victims back their faces, their identities. You remind us all of why we're here in the first place. Because we treasure human life. [She pauses for a moment before stepping forward and wrapping Dr. Goodman in a hug.] GOODMAN: Oh, for God's sake. [Brennan enters in a formal dress.] BRENNAN: What happened? ZACK: Apparently all Angela needed was to hear her job description in a deep, African-American tone. GOODMAN (scolding): Mr. Addy. [Booth enters.] BOOTH: Dr. Goodman, we need Hodgins in the lab tonight. [He hands an evidence bag of dirt to Hodgins.] BOOTH: FBI needs this analyzed by morning. HODGINS: Uh, I'll get right on it. GOODMAN: Wait a minute, what case file is this? BRENNAN: Am I supposed to know about it? ANGELA: Booth mentioned it to me earlier today. BRENNAN: That's good enough for me. GOODMAN (conceding): Fine. You're off the hook, Dr. Hodgins. Let's not keep the limo waiting. [He leaves, and Angela and Zack exit with him.] HODGINS (to Booth): Thanks. [Hodgins exits as well, and Starsailor's 'Some of Us' starts playing again.] BOOTH: You look nice. Better than nice, you look, uh... very... BRENNAN: Thanks. BOOTH: Bones, how did you know I was gonna keep your promise? BRENNAN: What promise? BOOTH: To get Shawn and David back with Margaret Sanders. BRENNAN: Maybe I was lying. To catch the bad guy. I learned that trick from you. The end justifies the means. [Booth moves to leave.] BRENNAN: Booth. [He stops, turns back.] BRENNAN: I knew you'd back me up. I knew you wouldn't make me a liar. BOOTH: Hmm. How did you know? BRENNAN: Because you want to go to heaven. BOOTH: But you don't believe in heaven. BRENNAN: But you do. [They smile at each other, and part ways.] [Fade to black.]

{"type": "series", "show": "Bones", "episode": "01x05 - A Boy In a Bush"}

foreverdreaming

"The Man in the Wall" Episode 1x06 Written By: Elizabeth Benjamin Directed by: Tawnia McKiernan Transcribed by: Elo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Brennan's office. Angela enters Brennan's office carrying a coat. Brennan is at her desk working intently on her computer). ANGELA: Come on, honey. If we don't leave now, we won't get into the club. BRENNAN: (not looking up from the computer) I'm just finishing up a few emails. ANGELA: Oh what? (comes around to the front of Brennan's desk while digging through her purse) BRENNAN: My publisher wants to schedule a book tour. I'm just confirming dates. ANGELA: That can wait, sweetie. BRENNAN: (getting up from her desk and walking over to the coffee table to pick up a stack of papers to look over) There's a student that needs help identifying the cause of a fracture on a lateral epicondyle. ANGELA: (not amused) TGIF. You heard of that? (sways arms and hips) BRENNAN: Yeah, it's some kind of acronym. But my inbox is full. ANGELA: We know that's not true. BRENNAN: (walking back towards her desk) There's a TV show that needs research. Not that they listen... (shifting through the papers) ANGELA: We're going (takes papers from Brennan's and starts to take off her blue lab coat). BRENNAN: I really shout catalog that skull (turning while Angela is taking off her lab coat). It's in the museum's exhibit on the French Revolution. ANGELA: Yeah, Pepé le Pew is more important that booze and boys (puts down lab coat and hands Brennan her jacket). BRENNAN: I don't think that's his name. (They exit the office.) (Cut to: Basement Club where hip-hop music is playing.) MAN/MC: (to the crowd) All right, everybody. We're gonna keep it crunking here tonight. Tonight the Basement Club brings to you the number one deejay around town, Deejay Rulz! Give it up! (Inside the club, Angela and Brennan are at the bar with drinks.) ANGELA: Feels good, doesn't it? Being with people who are alive? BRENNAN: It's very stimulating, I have to admit. ANGELA: We are so gonna tear it up tonight. BRENNAN: That's slang, right? ANGELA: Right (nods). BRENNAN: (looking down at her clothes) Is my costume all right? ANGELA: Sweetie, it's not a costume. It's a cute outfit. And yes, it looks perfect (takes sip of her martini). BRENNAN: I know, it's very-it's very warm in here. ANGELA: No, because it looks great (takes Brennan by the arm and walks away from the bar). We are so getting checked out! (walking through the crowd) BRENNAN: I love this music. ANGELA: Deejay Rulz, he is so hot. (sh*t of the performer rapping, and the crowd dancing.) BRENNAN: It's so tribal. ANGELA: (dancing) Don't say "tribal", sweetie. BRENNAN: Why? Oh, because of all the black people? (people look over at them) ANGELA: Sweetie, just for tonight, have fun, stop dissecting and take part. BRENNAN: African-Americans aren't the only ones with tribal heritage (dancing). WOMAN #1: (An African club goer cuts in, standoffish) You say we're natives of some tribe? BRENNAN: Anthropologically speaking, we're all members of tribes. WOMAN #2: (approaches) You better shut your mouth. BRENNAN: (trying to explain, as people gather around her) I just meant hip-hop mirrors the direct visceral connection you see in tribal communication. MAN #1: (reacting to Brennan's comment, upset) What? BRENNAN: After the Cartesians split in the 17th century, we separated our mind from our bodies the numinous from the animalistic . WOMAN #1: (hostile) Are you calling me an animal, fool? WOMAN #3: (another woman injects) No, fool. She's using Descartes' philosophy to say she's down with the music. WOMAN #1: (at WOMAN #3) Who you calling a fool, fool? (shoves woman, who falls. Looks back at Brennan, and raises her hand) Get out of my way. MAN IN CROWD: There you go! (Woman tries to shove Brennan, but she reacts quickly and ends up side stepping the attempt and pushes the woman to the ground). ANGELA: (holds up hands to everyone watching while following Brennan away from the crowd) We're going, we're going. (Another man grabs Brennan's arm, upset). MAN #2: You shouldn't have done that, bitch! (Brennan defends herself and ends up kicking the man hard. He crashes into a wall and breaks open the siding.) CROWD: Ooh! (Some form of powder is released into the room, falling over all the people watching. Angela licks some of the powder off her finger.) MAN IN CROWD: That's what I'm talking about right there. ANGELA: Uh oh. (sh*ts of the crowd looking towards the wall with various reactions.) MALE VOICE: Yo, yo, yo. Check this out. FEMALE VOICE: What is it? (Pans through the crowd to the wall where a mummified skeleton is revealed.) MALE VOICE: Look at that fool man. MALE VOICE: The wall. MALE VOICE: What the hell is it? (Brennan turns to Angela with a perplexed expression.) (Cut to another sh*t of the Club. Booth and Tessa are walking down a set of stairs following Special Agent Furst.) FURST: Are you sure she can handle this? BOOTH: No one in our lab knows the first thing about dealing with a mummy. I'd have to call her in anyway. (Booth helps Tessa with the stairs and follows Furst to the crime scene.) FURST: She as*ault two agents who were trying to tape off the body (pointing to Brennan, who is talking to two men, asking them to stay away from the body). BRENNAN: (adamant) They were trying to compromise the remains. FURST: (to Booth) A cloud of meth covered the dance floor. (points to Brennan) I think they've inhaled quite a lot. BOOTH: (smiling) Are you two high? ANGELA: (acting strangely) Only by accident, so it doesn't count. BRENNAN: (to Booth) Why'd you bring Tessa? This doesn't seem like such a great date. TESSA: (arms crossed, straight forward) We were out to dinner when he got your call. Your pupils are the size of saucers. BRENNAN: (rushes over to stop a police officer who is approaching the remains) Wait, get away from the remains! BOOTH: Bones, simmer down. (Two African-American men arrive.) OAKES: How long is this gonna take? BOOTH: (turns towards them) Who the hell wants to know? HALL: (holding a cane) I'm sorry, he works for me. I'm Randall Hall, I run this place. BOOTH: You run this place Mr. Hall? Interesting, you know, cause we know found some drugs on- BRENNAN: (cuts in, repeating Booth's words) Found them, we found 'em. BOOTH: Alright, we found some drugs on the d*ad guy. We're gonna want to know where they came from, why he had them BRENNAN: Why. BOOTH: (gives Brennan a look) Why he had them. Any idea who he is? BRENNAN: A- (gets another look from Booth and turns away). BOOTH: Any ideas? HALL: (smug) The guy barely looks human. What makes you think I'd recognize him? BOOTH: (turns back to Brennan who is looking at the mummy intently) Bones, how does something like this happen? (points at the mummy) BRENNAN: (grabs Booth's arm to stop him from getting too close, twisting his arm) Well, the Egyptians would give the body a cedar oil enema and then rinse it with wine and cover it with salt. But I don't think that's what happened here. BOOTH: Bones, you are totally wasted. (Brennan turns and sees Zack coming down the stairs. She rushes over to him and leads him to the mummy. Zack looks uncomfortable, as he doesn't know why Brennan is acting the way she is.) BRENNAN: Zack! Zack! Zack! Come here! Come here! (puts hands on Zack's shoulders as she pushes him towards the mummy) Isn't this a beautiful specimen of mummification? ZACK: (confused) What's going on? BOOTH: Let's just say your boss inhaled. BRENNAN: See how perfectly dried and preserved the skin is? (pointing at the mummy) You don't find something like this every day. (turns to Tessa) Hey Tessa, have you seen it? ANGELA: (still under the influence) It's so hard to believe that you two would be a couple. You know, cop and lawyer. It's very touching (points back and forth between Booth and Tessa). TESSA: I'm gonna grab a cab (heads back to the stairs). BOOTH: (goes to catch up to Tessa, handing her some money) Oh, no. Oh, ok, hold up. Uh sorry, sorry. I apologize. Here, I'm gonna make it up to you, I promise, ok? Ice cream later? (kisses Tessa) Take care. TESSA: I'll talk to you later (turns and heads back up the stairs). BOOTH: Talk to you later. BRENNAN and ANGELA: (both with funny expressions) Awww! BOOTH: (serious) Can we just stick to the business here? Thank you. (To Hall) I'm gonna need a list of your employees, alright? We'll run it through the system, see if any one of 'em have a drug conviction. (To Brennan) How long before you can ID him? BRENNAN: Well, I'm not at all tired so I'm sure I can stay up all night and work. (to Zack) We have to be careful removing him, he's very dry and brittle. (Zack takes photos as Brennan sweeps some cobwebs out of the way.) BRENNAN: My first modern mummy. Opening Credits (Cut to Medico-Lab. The mummy is lying on one of the tables on the main platform. Brennan, Angela and Hodgins are examining it.) HODGINS: Crystal meth is made from cold medicine, lye and the strike pads from matchbooks (walking over to the table with a stack of papers.) The body was not designed to deal with that kind of as*ault. BRENNAN: (voice strained and tired) So I'm finding out. HODIGNS: Chamomile tea? It's very soothing. BRENNAN: No, I just need your results. HODGINS: How about a stick to pry the monkey off your back? ANGELA: (sitting down by the computer, looking completely drained and out of it) Are you sure you need me here? BRENNAN: Payback for showing me the good life. BOOTH: (approaching them) Ok, so how is my man, the Tut? BRENNAN: In better shape than I am. HODGINS: The meth found in his lungs and nasal passages matches the meth that juiced Angela and the good doctor here (hands Brennan the report). BRENNAN: (grabs the report) Can you please keep it clinical? BOOTH: So, uh, he died of an overdose. BRENNAN: (goes to open the report, but drops some of the pages. Booth bends down to pick them up) Asphyxiation. Meth coated the alveoli in his lungs, making breathing impossible. BOOTH: So, uh, he overdosed with his meth behind the wall. HODGINS: (pointing a small pen light at the mummy) Well, the space was too narrow for him to squeeze through. He got stuck, the bag broke, and when he gasped for air he inhaled and died instantaneously. BRENNAN: The dry air convection behind the wall removed most of the moisture from his body. BOOTH: How long was he, uh, in there? HODGINS: Judging from the acrid mites in his ears, I'd say six weeks. BOOTH: (pointing to the body) Hey, didn't he have hands? (Cut to one of the testing rooms, where the hand is inside a jar with liquid. Brennan and Booth enter the room.) BRENNAN: They're easier to work with dismembered. I've rehydrated them so we can get some fingerprints. (Brennan opens the lid of the jar, and Booth acts squeamish at what she's about to do.) BOOTH: Off that? BRENNAN: Sure. (Brennan picks up the hand from the jar.) BOOTH: Have you ever been to Costa Rica? BRENNAN: I was flown down once. They found a human skull 12,000 years old. (continues to work with the hand, placing her hand under the skin) Why? BOOTH: Finally getting' some vacation time (not watching what she's doing). I was gonna head off on Thursday. I heard Costa Rica was beautiful. BRENNAN: Yes. Fascinating wildlife, lots of parrots (pulling the skin off of the hand). BOOTH: Oh, I don't like parrots, no. People should really, really do all the talking. You know, maybe I should-(reacts to what Brennan is doing) Oh God! What are you doing? BRENNAN: (places her hand inside the removed skin) Aztecs would slay people and then wear their skin as a bodysuit. BOOTH: (off put) I guess you won't be needing mittens for Christmas, huh? (Brennan walks over to a machine and places a finger on the glass. The Machine beeps as it works.) (Cut to a computer screen that shows the fingerprint off the hand. Booth is sitting at the desk as Angela and Brennan approaches him.) BRENNAN: Did the FBI find a match? BOOTH: Yep, his name was Roy Taylor (computer screen shows a drivers license). ANGELA: Roy Taylor? You're kidding! That's Deejay Mount. BRENNAN: I don't know who that is. ANGELA: Mount is one of the best deejays in DC. He used to play at the club. Everyone was wondering what happened to him. His album's really gonna take off after this. (Cut to Brennan's office. She is sitting on her couch working as rap music plays from her computer. Booth enters her office.) BOOTH: I never knew this side of you Bones. BRENNAN: It's Deejay Mount. BOOTH: You're hung over, doesn't this make your head explode? BRENNAN: I grabbed a couple of hours of sleep on my couch and showered in the lab's decontamination room. BOOTH: You really know how to live. BRENNAN: Angela said rap artists sometimes k*ll each other over the music. Jam Master Jay, Tupac, Biggie. BOOTH: Do you even know who you're talking about? BRENNAN: Yeah, I've done my Googling. BOOTH: Yeah. BRENNAN: (stands up) Listen...you can hear the alpha male asserting himself. BOOTH: (making noises and mimicking the rapper) Fill your ass up...with lead...always a nice lyric. BRENNAN: (goes over to her desk) I'm heading back to the club to meet the FBI forensics team. (turns off the music) I'm getting facts. (leaves) (Cut to FBI Building. Inside Booth's office, Hall and Oakes are talking with Booth.) HALL: Deejay Mount, he was starting to break, finally making some money. Someone who's never had anything, it can go to your head. So he gets involved with drugs... BOOTH: You didn't know who he was hanging with or who might've been chasing him? HALL: A dude like Mount, he had a lot of enemies. Other artists, rivalries. Everyone wants to be number one. BOOTH: I mean, you have to know who the rivals are, Mr. Hall. Affects your bottom line. HALL: (at Oakes) Wait for me by the elevator. (Oakes leaves, but exchanges some glances with Booth) Rulz. BOOTH: What rules? HALL? That's his name. He performs at the club. I'm trying to keep my crew together, Agent Booth. But I always had to run interference between those two. BOOTH: Why? HALL: Ask Rulz. (Hall gets up and leaves, leaving Booth to think.) (Cut to the club, Zack and Brennan are working where the body was found. Zack is holding a cable connected to a wire inside the wall while Brennan watches the images on a screen.) ZACK: Was it fun coming to the club? BRENNAN: Yeah, before the drugs and the d*ad body. Tilt-tilt down. ZACK: Seems so primitive. Being in a crowd of strangers, gyrating to music. BRENNAN: (looking at Zack) You've never danced? ZACK: I've been told I look like a marionette in a windstorm. BRENNAN: You would've fit right in last night. ZACK: Really? BRENNAN: (looking at the screen) Footprints...in the dirt, and the termite shavings. Someone was on the other side of him. ZACK: Light. This leads to the outside. BRENNAN: We need to get inside that wall. FBI FORENSICS MAN: Or take it down. BRENNAN: One last look? FURST: Take 'em in, show 'em around. (Cut to Booth's office. An older African-American man enters carrying a box.) TAYLOR: (knocks on frame) Agent Booth? BOOTH: (turning) Yeah? TAYLOR: I'm Roy Taylor's father. Maybe you know him as Deejay Mount. BOOTH: Mr. Taylor, please come in. TAYLOR: Thank you for seeing me. BOOTH: Please sit. TAYLOR: (sits) You're the one looking onto my son's m*rder? BOOTH: Investigating his death, yes, sir. I'm...sorry for your loss. TAYLOR: (looking down at the box then back up at Booth) I have some information you need. BOOTH: About your son's death? TAYLOR: No, sir. (places box on desk) About his life. I've been reading in the newspaper how my son was part of the meth scene, how he was k*lled by drugs behind a wall like that. (opens box and takes out a framed graduation photo) What my son did was graduate third in his class from high school. He would've graduated first except he-he worked a full time job. (takes out medals and trophy) Track-and-field medals, baseball. Roy never drank, and he never did drugs. Do you understand me, sir? BOOTH: Mr. Taylor- TAYLOR: (cuts him off) How they are portraying my boy in the newspapers is wrong. If his mother was live, it would k*ll her. I taught him a relationship with Jesus. Do you understand, sir? A personal relationship with Jesus. BOOTH: With all due respect, sir, sometimes when kids grow up, they change, they move away from what they were taught. TAYLOR: (holds up a hand print ceramic) Five years old, he made this. And a lady who...who reads palms...she looked at it and she said...she said my boy was going to be a great man, a good man. (breaking up) She read no evil in that boy's hand. BOOTH: (takes the hand print) I can see that now, sir. TAYLOR: (emotional) Some iniquity k*lled my boy. You know that word, Agent Booth? It's from the Bible. BOOTH: "Deliver me from the workers of iniquity and save me from bloody men." (hands handprint back to Taylor) TAYLOR: You know your psalms, sir. I can trust that you will find out what happened to my boy? BOOTH: Yes, sir. TAYLOR: Good (puts things back into the box). Then I'm glad I came by. (Cut back to the club. The FBI Forensics guy is leading Brennan and Zack into the space behind the wall.) FORENSICS GUY: Can we conform to as much forensic protocol as possible? ZACK: We're better at this than you think. (Noises) FORENSICS GUY: You know what those are? BRENNAN: Rats. ZACK: You trying to scare us with rats? We've been to places where the rats eat the laces right out of our boots. FORENSICS GUY: Take it easy there, Willard. (Crouches along with their flashlights.) ZACK: (shining his light on the ground) There are the footprints. There are marks on the wall, it's scraped. BRENNAN: (trails light against the wall where there is blood) Blood smear, dried. I see something, can I retrieve? FORENSICS GUY: Yes (hands her a bag). (Brennan leans down and picks up a small charm.) (Cut to lab, where the charm is being examined by Brennan. Booth is with her.) BOOTH: Apparently there's a rivalry between Mount and this guy, uh, Rulz. BRENNAN: We saw him perform at the club last night. Did you talk to him? BOOTH: Oh, no. I don't have enough yet. I go in too soon, he could run. ANGELA (approaches, looking at what Brennan is examining) Wow, that's a beautiful piece. Zirconium or diamond? BRENNAN: I'm more focused on the dried blood and flesh at the moment. ANGELA: Do you buy Tessa jewelry? BOOTH: I really don't want to talk about that right now. ANGELA: Too much of a commitment. I just thought because you two were going away- BOOTH: (cuts her before she can finish) Do you have anything yet? BRENNAN: Given the rate of air convection and the degree of dehydration of the flesh, I'd say they were there at the same time. ANGELA: It must hurt like hell to get that thing ripped out of your belly button. BRENNAN: (looking up at Angela) I thought it was an earring. ANGELA: Look at the size of the stud. I had one of these before they became totally Miami divorcée. HODGINS: (approaches, holding a jar with something inside and places it on the table) Good news. I was able to pull some particulates. BOOTH: Uh, are those, uh- HODGINS: Eyeballs? Yeah. Two types of foreign material in the eyes. Low density polyethylene residue and methamphetamine crystals. ANGELA: Polyethylene? HODGINS: It came from the plastic bag holding the meth. BRENNAN: (to a lab worker) This can be cleaned now. (Walks over to the body and begins examining something) ANGELA: Yeah, that's a real diamond. (to Booth) Hey, why don't you get a belly button ring? That's not too much of a commitment. Booth: Yeah, that's great. BRENNAN: The inside of the lips was damaged by the teeth, this was not an accidental inhalation. The meth was pushed against his face with force. Someone was trying to smother him. HODGINS: Which would explain how the particulates got into the eye. ANGELA: So he didn't OD. He was m*rder. BOOTH: So we just have to find out who owns this belly button ring. (A lab tech is cleaning the belly button ring and reveals an engraving on it.) ANGELA: Look at this, "Luv Rulz". BRENNAN: Well, at least we know who to ask. (Cut to a an office/studio/loft. Hip hop music is playing.) BOOTH: This way (knocks on door). Hello! (walks in with Brennan behind him) RULZ: Yeah, it's open. BOOTH: Yeah, it's open. FBI Special Agent Booth. RULZ: What, is the FBI recruiting from America's Top Model now? BRENNAN: I'm a forensic anthropologist at the Jeffersonian. BOOTH: She works for the FBI. RULZ: Yeah, I could live with that. BOOTH: Yeah, Dr. Brennan also discovered that Roy Taylor was m*rder. RULZ: (preoccupied working his music) So? BOOTH: So m*rder is whacked see, 'cause those are the rules, Rulz. RULZ: Well, maybe he had it coming to him (standoffish). BOOTH: Oh, so you and Roy Taylor don't get along. RULZ: That sucker ran me down. Tried to slam me in one of his tracks and ain't nobody do that. BOOTH: And what happens when they do? RULZ: I take a piece of 'em. I got in his face one night at the Basement and I told him to disappear, and I ain't seen him since cause he knew to follow the Rulz (laughs). BOOTH: (chuckles) And, un, maybe your, uh, girlfriend made sure that your, uh, your problem just went away (shows Rulz the ring). RULZ: That ain't my woman no more. I kicked her sorry ass out months ago. BOOTH: What is her sorry-ass name? RULZ: Eve Warren. BOOTH: What was she doing with Mount? RULZ: Take a guess. I guess it was just his turn. BOOTH: She kept your ring. RULZ: It's a diamond, man. Why she gonna get rid of that? BOOTH: Any idea where she is now? RULZ: Probably ripping somebody else off. That girl don't care about nobody but herself. You know she got a kid? Don't care about her neither. Let her brother shoulder that. Bitch. BRENNAN: (looking over Rulz's shoulder) What happened to your hand? RULZ: I got sh*t through the wrist a few years ago. BRENNAN: Shattered the lower radius and the pisiform. RULZ: Yeah. I got some nerve damage too. BRENNAN:It's impressive RULZ: I got sh*t in the back and through the leg too, you wanna see the scars? (stands up) BOOTH: Thanks anyway. Let us know if you hear from Eve. RULZ: That's all I got for y'all. Come on, get back to work. Let's h*t it (turns back to music). BOOTH: You let us know if you hear from her. (Brennan watches them intently.) BOOTH: Bones! (snaps fingers, points to door) BRENNAN: I like this music. (Cut to inside Booth's SUV.) BOOTH: Ok, how about this? Deejay Mount trusted Eve because they were sleeping together. So she meets him in the wall, takes the drugs, kills him for Rulz, then he takes off. BRENNAN: (not impressed) Hey, you should write fiction. BOOTH: What? Reasonable. BRENNAN: It's not based on evidence, it's conjecture. BOOTH: Look, I'm positing a scenario. We've been through this before. BRENNAN: Yeah, and it always seems to be a waste of time. Now, finding a marker on a bone- BOOTH: No-you know, I think I need a vacation. I think you do too. BRENNAN: Well, I'm not the one who's snippy. BOOTH: Snippy? (chuckles) What are you, like 70? BRENNAN: See what I mean? I think you should find a nice relaxing place to go on that vacation. (Booth groans) Somewhere where you can get a massage, maybe do some yoga. BOOTH: I don't do yoga. Push-ups, sit-ups, pull-ups. That's what I do. BRENNAN: Yeah, that's more cardiovascular. Yoga deals more with- BOOTH: (holds hand up) Why exactly are we talking about this? BRENNAN: Because you're tense. BOOTH: Because we're talking. (Switches on radio, rap music starts playing.) BOOTH: You switched my music. (Cut to the skeleton room at the lab. Zack is looking at the bones when Brennan walks in.) BRENNAN: Roy Taylor? ZACK: Yes. BRENNAN: Anything pop out at your now that the bones are clean? ZACK: Some damage to the facet joint and foramen on C-4 on the right side of the neck. BRENNAN: That suggests his head was forced that way. ZACK: One other thing. I was looking at the skull through the microscope. I came across a slight depression, barely discernible (walks over to the computer to show Brennan). BRENNAN: A slight indentation? ZACK: Could it be congenital or a bone anomaly? BRENNAN: Probably (picks up skull). Do you ever go on vacation? ZACK: I take my vacation when you take your vacation. BRENNAN: What do you do? ZACK: Go back home to Michigan, see the family. I have three brothers and four sisters. BRENNAN: Do you enjoy that? ZACK: God, no. I made the mistake of telling them I work with corpses and skeletons-they think I'm a freak. BRENNAN: Then why do you go? ZACK: It's my family. They love me. BRENNAN: (puzzled. Hands skull to Zack) Take a closer look at the anomaly under the scanning microscope. See what made that mark. (Cut to a dance studio where a hip-hop dance class is being held.) GEORGE: Work it out! Work it out! That's right, good, good, good! (Booth and Brennan walk into the class.) GEORGE: Yeah, let's work! Come on! (sees the two of them) What do you want? BOOTH: (shows badge) Special Agent Booth, FBI. This is my associate Dr. Brennan. BRENNAN: (watching the class) What do you call this? GEORGE: The Krump. The kids, they come here, they dance. They don't g*ngb*ng. So what do you want? You didn't come here for a dance lesson. (Walks into his office where a toddler is playing.) GEORGE: Hey, Maya. How you doing, baby? (Picks up the kid and takes her outside) Come on now, we're gonna go outside and you're gonna play with the rest of the kids, ok? There you go. (Maya runs off) BOOTH: I'd like to ask you a few questions about your sister Eve. GEORGE: (sighs) What's she done now? BOOTH: When was the last time you saw her? GEORGE: About six weeks ago when she dropped of Maya. GIRL: (carrying Maya and playing with her outside) Ok, that's fine. BOOTH: Dropped her off and left? GEORGE: Told me she needed me to watch her for a couple days, left me some money. BOOTH: Do you, um, happen to have a, I don't know, recent photo that we could take? GEORGE: (picks up a frame off his desk and takes the photo out) Evie said she had cleaned herself up. (scoffs) She was turning her life around, and I believed her. (hands photo to Booth) She never came back. That little girl out there, that's her daughter. She's like a daughter to me too. BOOTH: Didn't it bother you that Eve never came back? I mean, didn't you go look for her? GEORGE: I learned to let her go. I mean, Eve, she's had a lot of problems. Drugs, hanging out with the wrong people. I mean, if I track her down and she takes Maybe before she's ready-I'm not letting nothing happen to that little girl. BOOTH: Did you know Roy Taylor? GEORGE: Met him. Deejay Mount, I like his stuff. He's pure, I play it for the kids. BOOTH: We have reason to believe that she was with him the night he was m*rder. GEORGE: m*rder? BOOTH: Uh-hmm. GEORGE: You can't find Evie? BOOTH: No. GEORGE: Oh, man. She told me she loved him and that she and Mount were gonna take Maya away out of DC, give her a better life, the one we never had. BOOTH: You said she left you some cash. GEORGE: Yeah, for Maya. BOOTH: I'll buy what you have, two dollars to one. GEORGE: (upset) Sure, whatever, man. (sh*t of Maya laughing) (Cut to Jeffersonian. Hodgins is working on the platform, looking onto a microscope.) HODGINS: You may want the stooges at the FBI who are experts due to your so-called drug w*r, to run a comparison. But I'd say the methamphetamine on these bills matches the meth found with Deejay Mount behind the wall. BOOTH: Yeah, my guess is that Eve was with Mount the time that he was m*rder. How about this, huh? (slaps Hodgins on the back) Deejay Mount rejects Eve because of her questionable past. So, uh, hey she gets mad, she wants to leave with some money, so-(Hodgins gives him a look) What? HODGINS: Yeah, I don't really think much about that kind of stuff. I'm more about bugs and minerals, sorry. BOOTH: Come on, Hodgins. Hey, you're a smart guy. You're a smart guy, look up from your microscope, huh? These are real people we're trying to figure out here (gets blank stare from Hodgins). Ok. HODGINS: Maybe she was just using Mount, setting him up to get his drugs and money. BOOTH: Very nice, Hodgins. HODGINS: Yeah? BOOTH: Yeah. HODGINS: (gets excited) Real question is, where does she go next? BOOTH: (points to Hodgins) You're on f*re man. HODGINS: After she left her brother's place because that is where she met her untimely end. BOOTH: You know what? I'm gonna turn you into an investigator yet. HODGINS: (shakes head) No, no, no. Bugs and slime, dude. That is where I'm happy. (Hodgins turns back to his work, but has a smile on his face.) (Cut do Angela's office. Angela is working on her computer with Brennan looking on.) BRENNAN: The damage to his C-4 vertebrae was the result of his head being twisted so far to the right. ANGELA: He was moving this way, toward Eve. (screen shows a simulation of the scenario) BOOTH: My bet is he was chasing her (enters the room). BRENNAN: And that's based on- BOOTH: The money and meth. She left that corridor carrying money saturated in the same meth that k*lled Mount. She was moviong fast. ANGELA: She didn't even stop when her belly ring got ripped out. BOOTH: Money's a pretty good reason to get chased. Only question is, why wasn't he facing her? ANGELA: It got tight back there. Fifteen centimeters. Eve ripped out her belly button ring here (computer shows what is happening) and then left a smear of blood until the corridor widened, here. BRENNAN: Oh, god (exhales forcefully.) ANGELA: What? BRENNAN: That just...makes me a little sick. ANGELA: You pick d*ad bodies out of mass graves and yanking out a belly button ring makes you sick? BOOTH: Ok, ok, ok. Moving on. I've sh*t a lot of people in my time and I gotta admit, that whole belly button thing makes me nauseous too. BRENNAN: Thank you. ANGELA: At this point, (turns back to screen) Mount must've looked behind him but kept going. Then the passageway narrowed, so he couldn't turn his head back toward Eve. BRENNAN: Then there's no way she could've shoved the meth into his face. Eve didn't k*ll him. BOOTH: A third person surprised him, that why he turned his head-to look. BRENNAN: Mount's body prevented this third person from getting to Eve, so she escaped. BOOTH: But he got to Mount, shoved the meth in his face, and he k*lled him. Ah, but the real question is, who the hell is this third person? (Cut to FBI Building. Inside an interrogation room, Booth is talking to Oakes.) OAKES: Why the hell you pick me up, man? BOOTH: I think you know why I brought you in. OAKES: Yeah, right. BOOTH: I waited for you to contact me, explain your situation, but you didn't do that. That's not polite. What are you? DEA? Metro cop? OAKES: I'm Special Agent Ronald Oakes. BOOTH: One of us. OAKES: My orders were not to break deep cover for anybody. Out of deep regard for my FBI brother, I gave you the nod. BOOTH: (chuckles) That's bull. I made you, now you're making excuses. OAKES: You got any keys for these cuffs? BOOTH: Fine. Your way. (gets up and walks around to uncuff Oakes) You know, I need more than a nod, man. You know, I'm conducting a m*rder investigation. Now, I need to know what you know. OAKES: I'm 15 months on the task force investigating the links between the urban music business and g*ng activity. BOOTH: That's why you got next to Randall Hall. OAKES: Randall Hall is a clean alias. You ran him, right? BOOTH: Yeah. OAKES: Came back clean? BOOTH: Mm-hmm. OAKES: Exactly. His real name is Terrence Baskin. Now, we know that he's pushing meth through that club, but we can't get enough to touch him. Our informants disappear. They either get bought off, or they get k*lled. BOOTH: What about this m*rder? OAKES: The night that Deejay Mount disappeared, Hall got ripped off for a mountain of meth and a ton of cash. BOOTH: Deejay Mount ripped off Hall? OAKES: No, it doesn't scan. Mount was into Jesus, not chalk. BOOTH: Hall k*lled Deejay Mount? OAKES: Nah. Hall's people do that type of stuff for him. So if anybody asked, why did you have me arrested? BOOTH: w*apon beef. OAKES: (chuckles) So I don't get my g*n back. BOOTH: No (chuckles), no. OAKES: We meet up again, if you get an excuse, h*t me. BOOTH: Oh...that...you can count on it. (Cut to the Club. Booth and Brennan are questioning Hall. Oakes is sitting at a table reading a newspaper.) HALL: I've been investigated for year. Why you think they never got me on anything? BOOTH: Because you're so smart? HALL: Because Terrance Baskin is my past. I am 100% clean now. This is my life now, this and my record label. Not crystal meth, not g*ng banging. BRENNAN: Yet much of the iconic quality of urban music lies in the perceived or actual rivalry between the principal artists. HALL: (sits down on a stool, with a grin) Where did you find her? BOOTH: Museum. BRENNAN: Was the rivalry between mount and Mr. Rulz strong enough to lead to m*rder? HALL: Sure, they were both capable. Add in the fact that Mount was sleeping with Rulz's girlfriend, Eve. Yeah, in fact- BOOTH: Yeah? HALL: Rulz built himself a studio around that time. Poured cement for the pad a day after they disappeared. BRENNAN: So? HALL: I'm saying...Mount's d*ad, Eve's gone missing. You might want to consider that. (Turns to Oakes) Let's go. BRENNAN: (to Booth) What do you think? BOOTH: Oh, I think-I, uh, think we need to find a way to find a body buried under a slab of cement. BRENNAN: Can't you get a warrant? BOOTH: A look around the premises maybe, but no way to tear it up. BRENNAN: Let me make a phone call. (Cut to a parking lot where Tootie, a big mastiff-type dog is being unloaded from the back of a truck with her handler Maggie.) BRENNAN: Tootie has traveled the world finding d*ad bodies. BOOTH: Does Tootie always drool like that? (Tootie whines and Brennan sh**t him a look) What, I'm gonna hurt her-(looks closely) his feelings? MAGGIE: Tootie is the best cadaver dog in the world, Agent Booth. BRENNAN: It's true. If you were a d*ad body, you'd want Tootie looking for you. (Cut to the trio entering Rulz's studio.) BOOTH: How can it smell anything buried under a building? BRENNAN: He can. Once I saw Tootie find a d*ad body wrapped in plastic under concrete, after four years. MAGGIE: (with Tootie) Tootie can smell decaying blood on a tooth six feet underground. I mean, so what? He drools a little. What's up with that? (to Booth) You know, your eyes are kinda close together, but I don't comment. BOOTH: (holds up hands in mock gesture) I apologize. MAGGIE: (to Brennan) Is he sincere? BRENNAN: Yeah. MAGGIE: All right then, we accept. (Booth wipes off some drool from his pant leg. Tootie starts to whine and lies down.) MAGGIE: Good boy, Tootie. Tootie found something. BOOTH: Maybe he's just lazy. BRENNAN: Lying down is his indicator. Tootie found it, there's a body under here (Brennan draws around Tootie to mark the location). You should get a warrant to bring in a jackhammer for the floor. (stands up) I'd start digging here.' (Cut to Jeffersonian. Brennan, Zack and Hodgins are working on the platform around the new remains) ZACK: (holding up x-rays of teeth) Dental records confirm that this is Eve Warren. HODGINS: Insect activity confirm she died around the same time Deejay Mount did. BOOTH: Where did Booth go? I gotta give him the news. HODGINS: His girlfriend brought him a change of shirt. ZACK: They're up in the lounge. BRENNAN: Wha...Zack, clean the bones. ZACK: We've already got cause of death and identity. What am I looking for? BRENNAN: It might be grasping but that odd mark we found on Mount's skull? See if you can find anything like it on Eve's remains. (Cut to the catwalk, Angela is talking with Tessa and Booth) ANGELA: Jamaica? God, that's incredible. TESSA: Umm, it's a bed and breakfast. There are these coral cliffs BOOTH: (changing his shirt) Snorkeling, kayaking. ANGELA: Oh, you two are so ready for the pre-shacking up test vacation. BOOTH: What do you mean? ANGELA: You have keys to each other's places. You've done the weekend away a couple times. Yeah, it's time for the ten-day vacation. You know, Jamaica's like a dry run for living together only with rum punch and steel drums (leaves with a smile). TESSA: (hesitantly) Yeah, see you later. Living together? Silly. BOOTH: Thanks for bringing me a shirt (hands her the old one). TESSA: Yeah, ok. I'll talk to you later. BOOTH: Yeah. (kisses Tessa quickly) BRENNAN: (approaches them) Hi, Tessa. TESSA: Yeah, ok. Bye. (She leaves the two of them in the lounge.) BRENNAN: It's Eve Warren. BOOTH: Eve Warren. Ok, cause of death? BRENNAN: Same as Mount. BOOTH: Meth overdose. BRENNAN: Pushed in the face, but there's more. I don't think that Rulz k*lled her. BOOTH: She was buried under his studio. BRENNAN: But her wrist was broken. (Cut to the Angelator room. Brennan, Booth and Angela are around it.) BRENNAN: Bone damage indicates that Eve was taken from behind and smashed into a wall. (scenario is shown in the Angelator) ANGELA: Her skull shows damage to both the infraorbital and supraorbital margins and the zygomatic process. BOOTH: Zygo-zu-what--you said she was k*lled by crystal meth. BRENNAN: She was. She would've been hurt and stunned by the blow but not k*lled, certainly not immediately. ANGELA: A bag of crystal meth was placed over her face, actually ground into her wounds, into the airway. BOOTH: Wait, Rulz couldn't have smashed her into a wall? BRENNAN: Her radius was separated from the scaphoid and trapezium. ANGELA: Her right wrist was twisted hard behind her back. There's damage to both the elbow and the shoulder as well. For that to happen, Eve's attacker would've had to twist her arm up with his right hand while jamming the crystal meth into her face with the other. BRENNAN: Both with a great deal of force. BOOTH: Ah, but Rulz had been sh*t twice in the right hand. I got it, he had nerve damage. BRENNAN: There is no way he had the strength to k*ll Eve Warren. BOOTH: Yeah. (Cut to FBI Building. Booth and Brennan are interrogating Rulz.) BRENNAN: You did not m*rder Eve Warren. RULZ: This is a weird kind of interrogation, huh? Cops telling me what I didn't do. BOOTH: Well, then do me a favor. Tell me Bones is wrong and confess to a m*rder. RULZ: Hell, no, man. What do you think, I'm some type of idiot? BOOTH: Do me a favor, deny it. RULZ: See, you got tricks. You're gonna twist all my words around, so I'd better not say anything at all. BRENNAN: But you didn't k*ll Eve Warren. RULZ: So you say. The Rulz says say nothing. BOOTH: He wants us to hold him. BRENNAN: Why? BOOTH: Why? Because every time some rapper gets m*rder, his business goes straight through the roof. RULZ: You know, why should Deejay Mount get the bump, huh? Maybe it's my turn. (Brennan watches their interaction with confusion and dismay.) BOOTH: I'll tell you what. I'll make you a better deal. You tell us what we need to know and I'll have those charges laid against you. Put you in the remand center? RULZ: For how long? BOOTH: Oh, that depends on what you tell us. BRENNAN: Wait, wait. You're negotiating to put this guy in jail? BOOTH: To sweeten the pot, I'll charge you with Mount's death too. But you hire one of those moron lawyers and you'll be thrown in lockup for what, maybe a month? RULZ: (nods, smiling) Sweet, all right. BRENNAN: (dismayed) Where am I, in Backwards World? BOOTH: What do you got? RULZ: Look, I could tell y'all why Mount got k*lled, but y'all have to figure out the rest on your own. BRENNAN: Uh, we have to figure it out just from motive? (sits down) BOOTH: Ok, look, Bones, this is, you know, sort of my thing. (Brennan relents) RULZ: You know, Mount was gonna jump. BRENNAN: You mean commit su1c1de? RULZ: (bewildered) Where did you find her? BOOTH: Museum. RULZ: I mean labels, jump labels. BOOTH: (chuckling) Wait, you're saying that Deejay mount was gonna leave Basement Records. RULZ: Look, all he needed was the money to buy himself back. That's why he got himself k*lled. Now, if Hall even finds out that I told y'all that much, I'm gonna end up some dried-out mummy in a wall. BRENNAN: But what about Eve? RULZ: Man, Eve couldn't k*ll nobody. You know, sex 'em to death maybe, but that's about it. There's one more thing. The next day, Hall built me a new studio. He took it out of my money too. (Booth and Brennan exchange a look.) RULZ: So, you gonna put me in jail? BOOTH: Well, you know, hey, it's the least we can do, hmm? (Brennan is still perplexed at the situation and Rulz chuckles.) (Cut to lab. A picture of Mount and Eve is on the computer as Booth and Brennan walk up the stairs to the platform.) BOOTH: How about this? Hall's got motive to k*ll Mount. Why? Because he's jumping labels, and he's running away with some girl who's stealing Hall's meth and money. BRENNAN: (putting on surgical gloves) I'm starting to see how this whole motive thing works. BOOTH: Thank you. BRENNAN: It's still murky psychological guesswork though. ZACK: Dr. Brennan, I found a mark on Eve Warren. Here, on the manubrium (sits down at a computer terminal to bring up the image). BRENNAN: Compare it to the mark on Mount. BOOTH: Ok, Eve tells Mount that she wants to start a new life, so she rips off the dope and the cash thinking she can build a new future with him. BRENNAN: That's a story, Booth. You need to find something real. BOOTH: But why? It feels real to me. I mean, Eve is a woman in love who is trying to escape a world that's just crushing her. Hhmm? (Brennan looks at a photo of Eve and Mount) All right, Mount finds out how much trouble the woman he's in love with is in so he gives up his own life to protect her. That's not enough. They were hoping for a better life, and they wound up d*ad. (Brennan looks emotional from Booth's story. Zack pulls up both images on his screen.) ZACK: Looks like a match. BRENNAN: (walking over to the computer) Thanks, good job. BOOTH: What the hell's that? BRENNAN: I'm not sure, it's a bone dimple. But they both have it, so it can't be genetic. Something external caused it, but I'm not sure what. BOOTH: Randall Hall, he's behind this. Randall Hall, ok? He k*lled these two people. We know it, he did it. We just can't touch him, and there's no evidence linking him to the drugs, the cash or either body except for a couple of damn bone dimples. BRENNAN: I'll keep looking at the remains, maybe find the evidence we need. BOOTH: I can't let it stand. BRENNAN: What? BOOTH: (upset) You know what? I'm gonna spread the pain, all right? That's my new motto (turns to leave). BRENNAN: Wait, I can help spread pain. Wait! (Cut to Hall's club. Booth and Brennan are talking with him. Oakes is there, too.) BOOTH: (sitting on a couch, flipping through a magazine) We know you did it. HALL: What? BOOTH: k*lled Mount in that wall so that he wouldn't leave your label. BRENNAN: You k*lled Eve Warren. BOOTH: k*lled her and buried her under Rulz's studio. Meantime, this is gonna have to remain an active crime scene. HALL: It's harassment, I'll sue. BOOTH: I'm gonna harass you every chance I get. HALL: (jabs his cane against Booth's chest) I'm not somebody you want to mess with. (Brennan focuses in on his cane.) BOOTH: Did you just poke me? (chuckles, stands up) Did he just poke me with his little stick? HALL: (agitated) This is my place. If I want to poke someone, I do it. Come on. (Hall sticks out his cane again and Booth grabs it, pushing him down. Oakes pulls a g*n out on Booth, but he quickly disarms him and knocks him down, too. Brennan takes the g*n, pointing it at Oakes as Booth holds the cane in front of Hall.) BOOTH: All right, how easily do you think I scare? (starts the motion to break the cane.) BRENNAN: Hey, Booth! Don't break the cane. Arrest him and confiscate the cane as evidence. I need the cane. BOOTH: Arrest him for what? He's the guy who pointed a g*n at a federal agent (indicating Oakes, who is starting to get up.) BRENNAN: Uttering thr*at or smelling bad or anything. It's the cane we want. BOOTH: Fine, here (hands cane to Brennan and takes out his cuffs). Randall Hall, I'm placing you under arrest, all right? For the as*ault of a federal agent. HALL: This'll never go to court. BOOTH: Let's go find out. (Booth leads Hall out while Brennan hands Booth the g*n.) BOOTH: (turning back to look at Oakes) The next time I take your g*n away from you, I'll sh**t you with it. OAKES: Well, then, I better not let you get my g*n again. BOOTH: Come on, lets go. (Cut to Jeffersonian. Hodgins is helping Zack put on a vest while Angela and Brennan look on.) ANGELA: Get this, I called Tessa to tell her a couple places she should check out in Jamaica. She's not going. BRENNAN: What happened? ANGELA: Well, she said something came up at work, but I know the truth. HODGINS: (holding the cane as Zack is standing with the vest on, holding something against his chest) How many times you want me to poke Zack? BRENNAN: Just once, but as hard as you can. ZACK: As hard as he can? Why don't I h*t him as hard as I can? HODGINS: Because you have arms like noodles, while I'm vigorous and burly. BRENNAN: (turns back to Angela as Hodgins pokes Zack) What truth? ZACK: (grunts) Is that all you got, burly boy? (Hodgins gives him a look, and takes the thing Zack was holding.) ANGELA: They got freaked out by stage six. BRENNAN: What's...what's stage six? ANGELA: One, spend the night. Two, spend the weekend. Three, exchange keys. Four, sexy weekend getaway. Five, extended vacation, inevitably followed by six-move in together. BRENNAN: I'm an anthropologist. I know the stages of everything, you made those up. ANGELA: I did not. BRENNAN: Yes, you did. ANGELA: They got to stage five, and they balked. BRENNAN: Not Booth, Booth did not balk. ANGELA: Sweetie, it's always the guy. BRENNAN: (shakes head) Booth is not a balker. HODGINS: (looking at them from the computer terminal) Hey, the mark on Mount and the mark on Eve, they're the same. BRENNAN: He can't resist hitting them with that stupid cane. The end of the cane, it's a fit for both marks. (points to the screen) Hall is the k*ller. Send the cane, the photos and the medium to the FBI, let them confirm the match. HODGINS: What? Let them have all the glory? ZACK: My chest hurts. BRENNAN: Yeah, all the glory. (She turns to leave, as Hodgins shakes his head.) (Cut to Wong Foo's. Booth is sitting at the bar with a red tropical drink with a paper umbrella sticking out of it. The TV is on showing the news.) TV REPORTER: Here's what we know so far. Evidence linking rap producer Randall Hall with the death of rising hip-hop star Deejay Mount led to charges being filed today by the district attorney. (Brennan appears in the background) Information coming to us slowly at this point but as soon as details- (Booth switches off the TV.) BRENNAN: (walking over to Booth at the bar and sitting down next to him) Getting yourself in the mood? BOOTH: (playing with the umbrella and eating the pineapple slice) Trying. You know, this really isn't gonna be the type of vacation I was hoping for. BRENNAN: Oh? BOOTH: Tessa's not going. Something came up at work (takes a sip of his drink). BRENNAN: That's too bad. I'm sorry. Hey, I like going on vacations by myself. BOOTH: Really? BRENNAN: Sure, nothing wrong with being alone. BOOTH: No, I mean, you like to go on vacation? BRENNAN: Yeah, I go places all the time. BOOTH: Do you ever just, you know, sit on the beach...pretend there's no such thing as skeletons? BRENNAN: Is that in any way fun? BOOTH: When was the last time you got away? BRENNAN: Got away from what? BOOTH: (chuckles) Oh, Bones, you know, because what usually happens to me...I think about not coming back (starts to get up). BRENNAN: Seriously? BOOTH: (putting on his jacket) Yeah, you know, you go with someone you joke about not going back to your real life...the two of you laugh. But when you're alone, the world is full of possibilities BRENNAN: See you next week. (Booth smiles and turns to leave. Brennan is left alone at the bar.) FIN

{"type": "series", "show": "Bones", "episode": "01x06 - The Man in the Wall"}

foreverdreaming

"A Man on Death Row" Episode 1x07 Written By: Noah Hawley Directed by: David Jones Transcribed by: eloisatoabelard Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (INT: FBI Building, conference room) (BOOTH and BRENNAN are sitting at a table) BOOTH: Name? BRENNAN: You know my name. BOOTH: Bones, you are making an official request to the FBI to be allowed to carry a concealed w*apon. I have to follow protocol. BRENNAN: It's ridiculous. BOOTH: Fine, then we're done here. Do you wanna get some coffee...? BRENNAN: My name is Dr Temperance Brennan. BOOTH: Reason for wanting a g*n? BRENNAN: To sh**t people. BOOTH: Not a good response. BRENNAN: It's the truth. BOOTH: You know, I'm writing "self defence in the performance of my duties pursuing suspected felons as contracted out to the FBI." BRENNAN: So I can sh**t them. BOOTH: Ever been charged with a felony? BRENNAN: Charged, or convicted? BOOTH: Charged. BRENNAN: You know I have. BOOTH: I have to ask the questions. BRENNAN: Bureaucratic nonsense. BOOTH: Nevertheless, name of the arresting officer? BRENNAN: You... Special Agent Seeley Booth. Do you need me to spell that for you? BOOTH: I can sound that out. BRENNAN: So when do I get the g*n? BOOTH: You can't have a g*n. BRENNAN: Why not? BOOTH: Because you were charged with a felony. BRENNAN: Write down that you were wrong to charge me. BOOTH: Oh, there's no space for that. BRENNAN: Why'd we go through all of this if you were never going to give me a g*n? BOOTH: You have a constitutional right to apply for a w*apon. I would never deny your constitutional right. BRENNAN: But I need a g*n! BOOTH: Rules are rules. BRENNAN: Tell them that I sh*t a m*rder who was going to light me on f*re. BOOTH: Which is why you weren't convicted. But you did sh**t an unarmed man. I... I can't ignore that. I swore an oath to protect society from people who sh**t people. BRENNAN: It was only his leg, and he's in jail for the rest of his life, how much is he gonna use it anyway? BOOTH: You have the right to an appeal. BRENNAN: To whom? (off Booth's look) Cullen? I'm pretty sure he doesn't like me. BOOTH: Yeah, I'm pretty sure you're right. (INT: FBI Building, outer office) BOOTH: Bones, you don't need a g*n. If anyone needs sh**ting, I'll do it. BRENNAN: What if you're injured or d*ad, and someone still needs sh**ting? Well, I'm not hoping it'll happen, I'm just stating a possibility. BOOTH: Come on, you know what, Bones? You're a professor; you're not an FBI agent. Use your mutant powers... just talk people to death. (BOOTH sees AMY MORTON standing in his office) AMY: Am I interrupting? BOOTH: I told them not to let you in this building. I gave them your picture. AMY: Which is why I wore the tiny skirt. BOOTH: Very cute. AMY: Amy Morton. BRENNAN: Temperance Brennan. AMY: You work with Booth? BRENNAN: Yes, I'm a forensic anthropologist. AMY: I'm a defence lawyer. I tend to work against Booth. BOOTH: If it's all the same, I'd prefer you two didn't bond in any way. BRENNAN: Hey, I want to get back to the lab. You said I could fill out some g*n reapplication forms. BOOTH: Yeah. Send it back by courier. No hurry. BRENNAN: (to Amy) Nice to meet you. BOOTH: What do you want, Amy? AMY: You remember Howard Epps? BOOTH: Not likely to forget him. AMY: He's scheduled to be ex*cuted tomorrow night. My job is to keep that from happening. BOOTH: Huh, best of luck. AMY: Howard Epps deserves five minutes of consideration from the man who put him on death row. BOOTH: I arrested Howard Epps, okay? It was the jury who sentenced him to die. AMY: They found a pubic hair on the victim at the crime scene. It didn't belong to my client. They never figured out whose it was. BOOTH: Blame the judge who disallowed it as evidence, and the judge who disallowed it on appeal. AMY: Epps was not well-represented at either trial. BOOTH: How long have you been on the case? AMY: Almost a week. BOOTH: Less than a week, huh? Two judges, two juries, two prosecutors that find Epps guilty, but yet it's me you come after. AMY: I'm asking, are you absolutely positive that Howard Epps k*lled that girl? BOOTH: Yeah. I am absolutely positive. AMY: You know in your heart the judges should have allowed the juries to hear that that victim was with another man that night. You know it. BOOTH: Epps still would have been convicted. AMY: Not if I'd been his lawyer. BOOTH: You weren't. AMY: I am now. When was the last time you looked him in the face? Cause you're a lot smarter than you were seven years ago. A lot less angry. You might want to check out the evidence again. (INT: Prison, visitation room) (BOOTH sits down across from HOWARD EPPS) BOOTH: I'd ask how you were doing, Howard, but I guess we both know the answer. EPPS: Agent Booth. Did you come to apologise? BOOTH: I'm not the one who b*at a 17-year-old girl to death. Your attorney wants me to look you in the face. EPPS: Why? BOOTH: She thinks you're innocent. EPPS: She's right about that. I didn't k*ll anybody. Unlike you, the sn*per. The girl who got m*rder was smart, she was pretty, she was from a good family. Someone has to die for that, and I'm all they've got. BOOTH: Okay. I looked you in the face. EPPS: I read it can be hell. They say it's like going to sleep, but you're on f*re. And you're paralysed so you can't scream. I mean, that's all you've got sometimes, you know? The scream. (INT: Jeffersonian, Medicolegal lab) (HODGINS and ZACK are racing beetles) HODGINS: What if they get mixed up? ZACK: I can tell them apart. That's Jeff, and that's Ollie. I win. HODGINS: What do you... what? That one was mine. ZACK: You had Jeff, I had Ollie. Ollie won. You owe me a buck. HODGINS: You want in on the action, Angela? ANGELA: No, thank you. I'm going to go have sex. HODGINS: Have a good time. ANGELA: Okay. (She walks over to BRENNAN) Sure you don't want to come? Troy can call a friend. BRENNAN: I've been waiting months for these. It's a partial skeleton from southern France. The Institute... ANGELA: You know, the whole point of the week is the weekend. This is not the cabaret, my friend. Life is the cabaret. Come to the cabaret. It's like describing the moon to a mole. HODGINS: I demand another beetle, alright? Jeff's got a groin pull. ZACK: Arthropods do not possess groins. Pay up. (BOOTH walks in) BOOTH: Mmm, Angela. Looking good. ANGELA: And don't I know it. BOOTH: Okay, our tax dollars hard at work. HODGINS: Yeah, what's break time at the FBI? Book burning? (BOOTH places a beaker over one of the beetles) HODGINS: No! BOOTH: Hey Bones, what are you doing this weekend? BRENNAN: I have plans. BOOTH: Come on, I'm serious. BRENNAN: Between your girlfriend the corporate lawyer and the defence lawyer on the side, your weekend must be completely booked. What is your thing with lawyers? BOOTH: Look, seven years ago, a 17-year-old girl, April Wright, was found beaten to death in a federal park. Amy's just trying to stop the guy who did it from being ex*cuted. BRENNAN: So I guess we're not pursuing your lawyer obsession? BOOTH: No, Amy doesn't think he did it. BRENNAN: And what does this have to do with you? BOOTH: Oh, well, if Amy's client is deep-sixed and she doesn't turn over every stone... BRENNAN: And you're one of her stones. Do you think he did it? BOOTH: Yes. BRENNAN: What's her reasoning? BOOTH: There was a pubic hair that wasn't accounted for. BRENNAN: Pubic hair? Sounds like a job for the FBI crime lab. BOOTH: It's a weekend deal. Off the books. But if you have plans... BRENNAN: Wait. This is a personal favour you're asking? BOOTH: Not for me, for Amy. BRENNAN: Well, your personal favour would be for Amy, but mine would be for you, strictly speaking. BOOTH: Please do me a favour. Please? BRENNAN: Any remains withheld from burial? BOOTH: Not after the last appeal. BRENNAN: I'd need X-rays from the ME and the coroner. Originals, the copies are useless. Bone scrapings, lab results, tox screens. BOOTH: All the evidence will be here within an hour. BRENNAN: I'll ask the others, but I won't order them. They might have plans. BOOTH: It's Friday night, and they're racing beetles. BRENNAN: How much time do we have? BOOTH: Howard Epps will be ex*cuted in 30 hours and 23 minutes. (CREDITS) (INT: Jeffersonian, Medicolegal lab) BRENNAN: Let's start. Zack, pull up the first X-ray. Stress fractures on both tibias. BOOTH: What does that mean? ZACK: Pre-existing the as*ault, probably an old injury from dance or running. BOOTH: She was a cheerleader. HODGINS: The Chinese used to execute people by cutting small pieces of flesh off their bodies. Called it the death of 1000 cuts. BRENNAN: Compound fractures of the trapezium, scaphoid and the base of the radius. BOOTH: What's that mean? ZACK: When she was being beaten to death with a blunt instrument, she threw her arm up to defend herself. BOOTH: Well that's consistent with the defensive wounds in the autopsy report. HODGINS: In medieval Scotland, they'd tie a convict's arms and legs to two bent saplings. When they released the saplings, the trees sprang apart and the convicted felon was torn in half. Should I grab particulates from this? BOOTH: That's clean. It's a phone number we found on the girl - belonged to an old woman in a nursing home with no connection to anyone involved. BRENNAN: Extensive damage to the skull, smashed six to eight times with a narrow cylindrical object. BOOTH: The tyre iron was missing from April Wright's car. HODGINS: Autopsy showed she'd had sex shortly before her death. BOOTH: Consensual. No as*ault. ZACK: The hair they found was never matched to anyone? BOOTH: No, the prosecution got it excluded from evidence both in trial and on appeal. BRENNAN: That's the basis of your lawyer's last-ditch attempt to stop the execution? BOOTH: Yeah, and whatever else you guys can find. BRENNAN: There are particles lodged between the left triquetral and the capitate. ZACK: The ME concluded that they were bone fragments dislodged by the tyre iron. BRENNAN: No, these radiographic shadows are too opaque for bone. BOOTH: What's that mean? ZACK: The prosecution's theory of the crime does not include foreign matter in the bone. BRENNAN: Let's see if these shadows are bone fragments or something else. BOOTH: Like what? BRENNAN: Let's pretend we're objective scientists and not indulge in conjecture. Zack, get a driver to take you over to Greenbelt Park. I want you to take pictures of the area where the body was found. Ground covering, paved areas. BOOTH: Why does he need a driver? ZACK: I can't drive. BOOTH: You're a genius who can't drive? ZACK: If you knew what I know about structural design, you wouldn't drive either. BRENNAN: Take the file. Get photos of the surrounding areas so that we can contextualize the materials we found. BOOTH: (answering cell phone) Booth. Yeah. Yes, I'll be right there. (to BRENNAN) That was April Wright's father. BRENNAN: A m*rder victim's dad called you? BOOTH: His wife's a wreck. They heard that Amy's angling for a last minute reprieve. HODGINS: Why did he call you? BRENNAN: Because Booth was the agent that arrested Howard Epps in the first place. BOOTH: You know, I'm pretty sure that that evidence is not in the file. BRENNAN: Earlier you said "it's a phone number that we found on the girl." HODGINS: Wait. You're trying to save someone you arrested for m*rder? BOOTH: Alright, you know, I think he did it. I think this scumbag bashed April Wright to death with a tyre iron. BRENNAN: We've found some anomalies in the prosecution's case. Do you want us to stop now before these anomalies become meaningful? BOOTH: No. Stay on it. I gotta get going. (EXT: Greenbelt Park) (ZACK takes pictures of the crime scene) (INT: Jeffersonian, Medicolegal lab) ANGELA: You guys are pathetic. It's Friday night. HODGINS: There's nothing pathetic about pro bono work on a death penalty case. ANGELA: Everybody, this is Troy. TROY: Hey, how you doing? ANGELA: Could you just wait here one second? TROY: Yeah. ANGELA: (to BRENNAN) Why did you call me in? Look at this guy. He's cuter than a monkey with a puppy. BRENNAN: Uh-huh. I really, really need you to do texture analysis on seven year old X-rays. ANGELA: But I am on a date. With Troy. He's a man. Wave. What's the big steaming gigantic rush? BRENNAN: A man is scheduled to die in 26 hours. I think he'd like the results of our findings before then. ANGELA: Good one. (to TROY) Troy, sweetie. I've got a few things to do around here. Do you mind just hanging out for a little while? TROY: Um, sure, no problem. Let me just call the restaurant and tell them we'll be late. What do you think, half an hour? ANGELA: You'd better make it an hour, minimum. TROY: Okay. HODGINS: (answering phone) Hodgins. ZACK: (on phone) Most recondite codes have a complex numerical cipher. HODGINS: (on phone) That's a fun factoid, Zack. Thank you. ZACK: (on phone) 12402510221. That's the number they found on the victim. HODGINS: (on phone) Yeah, you're the one with the photographic memory. I'm the one that's good with the ladies. ZACK: (on phone) It's not a phone number. (hangs up) (TROY wanders over to HODGINS' desk) TROY: Hey. So, uh, what exactly do they do here? I thought Angela was an artist. HODGINS: She is. We do mostly forensic identification and reconstruction of discorporated remains. My specialty's entomology and particulates. You ever seen maggots? I just got these in. ANGELA: Do not talk to him. Wait in the lounge, baby. It's up those stairs right over there. Don't talk to anybody. TROY: Okay. (INT: Jeffersonian, lab platform) HODGINS: What'd you find? BRENNAN: A shard of bone. How'd they miss that? HODGINS: They're not as good as we are. 40x magnification. Well, that's not bone. It's inorganic. Mineral, possibly quartz. ZACK: I was out taking the pictures you needed and there was a sign and numbers on the ground, and I thought 'why assume a quasi-randomly generated...' HODGINS: Zack. When you talk that fast, human beings can't hear you. ZACK: The number they found on the girl. 12402510221. Everyone assumed it was a phone number. But what if, instead of spacing the numbers like a phone number, you space them like this? I was in the park taking pictures, and I saw that the parking space was numbered. To get to picnic area 10, you go through gate 25. BRENNAN: Seems more than a coincidence. HODGINS: 1240, what do those represent? ZACK: The time. 12:40. It's when she was gonna meet whoever she was meeting. HODGINS: It fits with the timeline. He's weird, but he's smart. BRENNAN: April Wright was setting up a date. ZACK: Probably with the guy who left the pubic hair on her. BRENNAN: Good job, Zack. HODGINS: I got something. It's not quite so idiot savant, but it's aggregate gravel. BRENNAN: What if the rest of the shadows on the X-rays were also gravel? ZACK: There was no gravel where her body was found. It was all grass. BRENNAN: Then she was k*lled someplace else. We have to exhume our victim's body. (INT: Wright house, entryway / living room) MR WRIGHT: It's very stressful waiting for this all to be over, and now we hear Epps' lawyers are trying for a reprieve. BOOTH: I heard. DAVID: He got himself a young lawyer from the Innocence Project. They don't consider the families of the victims. MR WRIGHT: You remember our lawyer, David Ross. Agent Booth is the investigator who caught Epps. MRS WRIGHT: Is this ever going to be over? BOOTH: I understand how difficult this is, Mrs Wright. MRS WRIGHT: Epps k*lled my daughter. You believe that, don't you, Agent Booth? BOOTH: Yes ma'am. I haven't changed my mind. MRS WRIGHT: He deserves to die for what he did. MR WRIGHT: The jury thought so, the judge thought so. All these appeals... BOOTH: It's part of the process, that's all. DAVID: Each effort to stop his execution is more and more desperate. This one's not gonna work either. It's the third time they've launched an appeal, and it's gonna be the third time they fail. MRS WRIGHT: It's the last picture we have of April. MR WRIGHT: She wanted to be a lawyer. David was her role model. He gave her a job at his firm on the weekends. DAVID: She was a good worker. BOOTH: She was a beautiful girl. Excuse me. (answering cell phone) Booth. BRENNAN: (on phone) It's me, I'm with Amy. BOOTH: (on phone) I don't like the sound of that. AMY: We're going to see the judge. I'm going to try to get an exhumation order. BOOTH: (on phone) What? Why? BRENNAN: (on phone) We found evidence April may not have been k*lled where they found her body. You want details? BOOTH: (on phone) Um, it's not a good time. AMY: We need to look at April's remains. BRENNAN: (on phone) Zack decoded the phone number. BOOTH: (on phone) Who decodes phone numbers? BRENNAN: (on phone) It's not a phone number. April met someone in Greenbelt Park the night she was m*rder. BOOTH: (on phone) So she met someone in the park. What does that prove? MR WRIGHT: Is this about April? BOOTH: (on phone) Let me get right back to you. (hangs up) MRS WRIGHT: What's happening now? BOOTH: Apparently some new evidence has surfaced. MRS WRIGHT: What kind of evidence? DAVID: Why don't you give me a few minutes with Agent Booth? Let me evaluate these new developments. MR WRIGHT: Let's get some coffee. DAVID: So this new evidence. Is this something they can bear to hear? BOOTH: Well, it concerns the person April had sexual relations with the night she was m*rder. DAVID: The judge ruled that irrelevant. BOOTH: It's always hung there as a question. It's always the basis of the appeal. If we could just ID the guy, this whole issue would just disappear. DAVID: It was sex in a car. It was probably another teenager. Some kid too scared to come forward. BOOTH: Nobody said anything about sex being in the car. DAVID: It was a parking lot. I assume the sex act took place inside a car. BOOTH: When April worked for your law firm on the weekends, what did she do, the filing? DAVID: That's right. BOOTH: Who was with her in the office? DAVID: Why do you ask? BOOTH: Well, a 17 year old girl. I'm sure you just wouldn't leave her in there all by herself. What? You can't remember? I'm sure the security logs will be able to tell us something. Refresh my memory, Mr Ross. Where were you the night that April was k*lled? Say around 12:30? DAVID: Now's the time that I ask for my lawyer, and say nothing. (INT: Car) AMY: So, are you seeing each other? BRENNAN: Who? AMY: You and Booth. BRENNAN: No. No, we're working together. AMY: Cause I'm picking up a bit of a sex vibe. BRENNAN: No, that's tension. He has a girlfriend. AMY: Tall, blonde, beautiful? BRENNAN: A lawyer. AMY: Figures. Should've jumped him when I had the chance. BRENNAN: You're really interested in Booth? AMY: You aren't? BRENNAN: No. AMY: Well then why are you helping him? BRENNAN: Because he asked me. He said please. AMY: Come on. You think he's hot. BRENNAN: No. Not at all. This is a very interesting case. AMY: Booth did say you had some kind of mania for the truth. BRENNAN: Mania? As in maniac? AMY: I'm not sure he meant it as a bad thing. Which obviously is how you're taking it. (INT: FBI building, interrogation room) CULLEN: You want to start, or shall I? BOOTH: I'm sorry sir, I... CULLEN: I'll start. I'm thinking of suspending you for freelancing on a death penalty case we cleared seven years ago. BOOTH: My intention was just to tie up a few loose ends. CULLEN: Do you disapprove of the death penalty on a principle...? BOOTH: No sir. I have no problem with the death penalty. CULLEN: Because I hear that you're working for a particularly attractive, idealist... BOOTH: Not true! I mean yes, she's young, she's an idealist, but I'm not working for her. No. Like I said, there was a loose end, and I arrested Howard Epps. I provided the evidence which led to the death sentence. CULLEN: That's your job. BOOTH: I need to be sure, that's all. This guy was her godfather. I believe he had sex with a 17-year-old girl the same night she was m*rder. A fact that the jury never heard, by the way. He's married. He's partners in a law firm. The guy's got everything to lose. CULLEN: If you want to question him, fine. Is that the end of your involvement, Agent Booth? BOOTH: Not exactly. They're moving to exhume the victim's body, sir. CULLEN: On whose recommendation? BOOTH: The young idealist lawyer... and Dr Brennan. CULLEN: Got the squints involved. Well, if she sh**t anybody this time, I sure the hell hope it's you. (INT: Judge Cohen's house, living room) COHEN: These are not the robes I like to wear to work, Ms Morton. BRENNAN: Sir, if you could maybe tie your dressing gown? COHEN: It's one in the morning. Deal with it. So you found a piece of bone the size of a toothpick. BRENNAN: Yes. A shard from her left triquetral with gravel embedded in it. COHEN: Describe the implications. BRENNAN: The jury was told that these shadows here and here were bits of bone shattered during the att*ck. AMY: Through advanced digital X-ray techniques, Dr Brennan's team of scientists have found that the density of these fragments is not the same as the surrounding bone. COHEN: What are they? BRENNAN: The only way I can tell is by actually looking at them. COHEN: You want to exhume April Wright? AMY: Yes please. COHEN: Because of some shadows on an X-ray? BRENNAN: I don't see another alternative. COHEN: Dr Brennan, if those shadows turned out to be pieces of bone, I'd be extremely angry. BRENNAN: Thank you, Judge Cohen. COHEN: For making a veiled thr*at? BRENNAN: I thought you were thr*at me because you'd decided to sign the exhumation order. (INT: Jeffersonian, Angela's office) EPPS: (in interview on TV) I did not k*ll April Wright. There are good people out there... you know, people who believe me. People who know I did not k*ll that girl because they saw the evidence. AMY: I honestly think he's innocent. Don't you? BRENNAN: I don't like to form any conclusions before all the evidence is in. ANGELA: April Wright's body just arrived. BRENNAN: (to Amy) You might be more comfortable staying here. (INT: Jeffersonian, lab platform) AMY: I... I can't. TROY: (from lounge) Oh, god! ANGELA: Don't look, sweetie. TROY: You're not an artist. You're a freak. You people are all freaks (he leaves). ANGELA: Uh, this job is so hard to describe online. ZACK: The left triquetral. BRENNAN: It's a match. For the record, do you concur? ZACK: I concur. BRENNAN: We've got several pieces of foreign material lodged in the bone. HODGINS: It's the same stuff we found in the shard. ANGELA: Which is consistent with the arm being dragged through gravel after the att*ck. BOOTH: I got a warrant to search the house of the guy April Wright had sex with the night she was m*rder. BRENNAN: What'd you find? BOOTH: Underwear. Can you run a comparison on the hair? (HODGINS and ZACK play scissors-paper-rock for it; ZACK loses) BOOTH: Is that April Wright? BRENNAN: Looks like she wasn't k*lled where she was found. BOOTH: Then where was she m*rder? BRENNAN: We've got microscopic particles beaten into the skull. Were these ever ID'd? HODGINS: According to the autopsy report, no. ZACK: It's a visual match. BRENNAN: (to Angela) Will you backstop him on that? BOOTH: Where's Amy? AMY: I'm here. I can't... BOOTH: It's okay. Things can get pretty, you know, disgusting around here. ANGELA: I concur with Zack. We have a visual match on the pubic hair. BOOTH: Is a visual match enough to stop the execution? AMY: We need DNA to be sure. BRENNAN: Amy's right. This evidence isn't enough to stop the execution. AMY: And you've got nothing else. Nothing at all? BRENNAN: I don't know what else we can do. AMY: (to Booth) If you tell the judge you've changed your mind, that Howard Epps is not guilty... BRENNAN: Have you changed your mind? BOOTH: No. I have doubts that the guy should be ex*cuted, but... let's go see the judge. (INT: Prison, Epps' cell) (EPPS sits, waiting.) (INT: Judge Cohen's house, kitchen) COHEN: At my age, a man needs a good night's sleep. Lack of sleep clouds judgement. AMY: If you stay the execution, Judge, I promise you'll sleep like a baby. COHEN: Mr Carlyle, what does the prosecution think? CARLYLE: This is a waste of the state's time, Your Honour. Ms Morton is recycling old evidence, presenting it in a different way in a last ditch attempt to keep Howard Epps from being ex*cuted. She's an ideologue. AMY: That's true. But it doesn't mean I'm not right. This case doesn't add up. COHEN: You, brilliant scientist lady. Talk to me about this bone shard. BRENNAN: It indicates the body was dragged to the location where it was later discovered. That, plus the gravel... COHEN: Common gravel, I'm not convinced. What about the hair? BRENNAN: It's a visual match. That narrows the statistical probability to... COHEN: DNA? AMY: Ten days. We'll have it in ten days. COHEN: What about this man that the FBI's taken into custody? David Ross? Has he confessed to sleeping with her? AMY: No. CARLYLE: Even if the DNA says David Ross slept with the girl, it doesn't prove he k*lled her. COHEN: Let's stick with new facts, Ms Morton. AMY: Your Honour, at least give us time to find David Ross' car. There could be evidence of m*rder... COHEN: Could be? I can't stop an execution because there "could be" evidence. AMY: Judge Cohen, I have the arresting officer right here. The primary investigator. COHEN: Agent Booth. Have you suddenly decided that Howard Epps is not guilty? BOOTH: No. AMY: Booth! BOOTH: I think there are doubts, and when it comes to an execution, there shouldn't be any doubts. CARLYLE: He doesn't have doubts, he has cold feet. BOOTH: You think I won't pop you one just because we're standing in the judge's kitchen? COHEN: You see? You lose sleep, you get cranky. Judgement suffers. It's not enough. AMY: Your Honour, you can't dismiss this so easily. COHEN: Easily? I allowed you to exhume that girl's remains. Do you think I did that easily? We all feel the weight of a capital case, Ms Morton, but the law is clear. Unless there is proof of grievous incompetence by counsel, or a denial of legitimate and definitive factual certainties, my hands are tied. (INT: Car) AMY: I'll go out to the prison and tell Epps. BRENNAN: I'll take another look at the skull, see if we didn't miss something. BOOTH: Bones... BRENNAN: The particulates in the skull still haven't been analysed yet. AMY: This is so barbaric. When are they gonna put a stop to the damn death penalty? BRENNAN: I believe in the death penalty. AMY: What? BRENNAN: There are certain people that shouldn't be in this world. The people who hacked hundreds of innocent children to death in Rwanda, beheaded them at their desks at school. The people who did that? They should be ex*cuted. AMY: So why do you care about Epps? BRENNAN: Because the facts have to add up. Drop me at the lab, please. (INT: Prison, Epps' cell) EPPS: Last meal. I can't decide. What's the last taste that I want? AMY: Howard, I am so sorry. BOOTH: Dr Brennan is still working on a few ideas. EPPS: You see the truth. You know I'm innocent, right? BOOTH: I know there's a chance you're not guilty. EPPS: Well that's good enough for me. BOOTH: A chance, I said. Alright? A chance. (INT: Jeffersonian, Medicolegal lab) HODGINS: These are slivers of metal found on the skull. ZACK: Probably from the tyre iron. BRENNAN: Is that blood? HODGINS: It's silt. I'm breaking it down. It contains traces of two chemicals. ZACK: Anthracene and fluoranthene. ANGELA: I've scanned in all the X-rays and built a 3-D model. Troy would have liked that. Bastard. BRENNAN: I've found some more material in the fractures along the sagittal suture. HODGINS: It's pollen. (INT: Jeffersonian, Angelator) HODGINS: The pollen is from Spartina alterniflora, more commonly known as smooth cord grass. AMY: I'm sorry, what does pollen tell us about April Wright's m*rder? BRENNAN: Angela? (the Angelator changes pictures) The m*rder w*apon collected pollen from the surrounding flora. When she was struck, pollen from the m*rder w*apon was deposited in April's skull. HODGINS: Spartina alterniflora is only found along Chesapeake Bay. ZACK: The pollen and silt both showed traces of complex chemicals. BOOTH: What does that mean? BRENNAN: April Wright was k*lled in a marsh near a chemical plant. AMY: (answering cell phone) Amy Morton. Thanks. (to everyone) They've moved Howard Epps to the imminent room. ANGELA: What's that? BOOTH: It's where he has his last meal and says goodbye to his family. We need the location of that marsh. (INT: FBI Building, interrogation room) BOOTH: Look, the hair that we found proves that you had sex with April Wright. You're going to be charged with statutory r*pe. LAWYER: But not by you. Statutory r*pe is not a federal crime. So I'm left to assume that you're here to get my client to confess to m*rder. BOOTH: It adds up. It tracks. ROSS: I didn't k*ll April. BOOTH: You met April in the park, but she was k*lled somewhere else... near a chemical plant? ROSS: I don't know anything about that. BOOTH: You had sex with her. She thr*at to tell her family. You couldn't let that happen. ROSS: No. BOOTH: You'd lose your business, your professional standing. ROSS: No. LAWYER: Do not engage with him, David. BOOTH: You had motive, you had means, you had opportunity. ROSS: I didn't k*ll her. BOOTH: Then why aren't you helping us? ROSS: What? BOOTH: By not admitting that you were there that night, by not confessing that you were with her, you're clouding the issue. ROSS: So what? Epps will still be in jail for the rest of his life. LAWYER: We are not discussing the events of that night, Agent Booth. BOOTH: You are the only person who can tell us what happened that night. Do you care at all about what happened to her? ROSS: Okay, look, I went there that night just to talk, okay? That's all. LAWYER: This interview is over. ROSS: No, I... just to talk. I'm not proud of what happened, alright? I could tell you exactly why it happened, but I'm not proud of it. I shouldn't have let myself get pulled in. I didn't know it was her first time, I didn't know she'd get so upset. She ran off. BOOTH: Are you telling me you left her in that park? ROSS: No, I looked for her. I waited for her for over two hours. Finally I figured she called somebody to come get her. BOOTH: Was her car still there when you left? ROSS: Yes, it was. BOOTH: What time was that? ROSS: I guess after 2AM. BOOTH: Did you see anyone else? ROSS: Yeah, there was traffic, there was some traffic. It was all teenagers. After 1AM, there was nothing. Look, maybe it is my fault that he got to her. You know, maybe I should got to jail for that. (INT: FBI Building, conference room) CULLEN: He admits to having sex with her? BOOTH: Yes sir. CULLEN: Did he k*ll her? BOOTH: Well he's either telling the truth, or he's setting up his defence. CULLEN: So April Wright met David Ross for a sexual liaison. He took her to a second, unknown location, b*at her to death, and deposited the body back at the park. That's sketchy. BRENNAN: Which is why we have to find the m*rder w*apon. CULLEN: Find a tyre iron in a marsh after seven years? That's a long sh*t. BRENNAN: That's why we need metal detectors and GPR. BOOTH: And a dozen or so agents, sir. CULLEN: And if you find this tyre iron, you can positively identify it as the m*rder w*apon? BRENNAN: It's possible we can match the traces we found in April's skull. CULLEN: Possible? No. Howard Epps' lawyer should present this argument to the judge and let him decide. BOOTH: Sir, without the m*rder w*apon, he will not stay the execution. CULLEN: Way out on a limb here, Booth. BRENNAN: He's just trying to find the truth. Why should he be penalised for...? CULLEN: Take the equipment and the men you need. BOOTH: Thank you sir. CULLEN: She can't have a g*n. BOOTH: No g*n. Absolutely not. No g*n. Thank you, sir. (INT: Car) BRENNAN: (on cell phone) We have GPR, and more agents will meet us out there. We'll have a total of four devices so we'll be able to cover a lot of ground. (INT: Jeffersonian, Medicolegal lab) ANGELA: I'm plugging in all the data from the area to get the location with the closest match. HODGINS: Given the chemicals in the soil and the pollen, I'd say we're looking for a spot near the Rock Hall processing plant. BRENNAN: (on speakerphone) We'll have video relay when we get to the bay, and I need pictures of the type of grass we're looking for. HODGINS: Okay. (EXT: Chesapeake Bay) BRENNAN: There are four areas that have Spartina alterniflora. HODGINS: (through computer video relay) It's a muddy area. Knee-high grass. Okay, go back one screen. BOOTH: It's just off that service road. (Agents are searching the area with metal detectors) AGENT: We got it. We got it. AGENT #2: Let me know what you pull up. AGENT: We've got the tyre iron. AGENT #3: Over here! There's something else here. BOOTH: Here. I got something. It's more than a tyre iron. Is that what I think it is? BRENNAN: I need a shov... BOOTH: Bones. I need a shovel! She's digging here. AGENT #4: Right away, sir. AGENT #5: Ma'am (hands her a shovel). Agent Booth. BRENNAN: (digging) Are you gonna help? BOOTH: Well I would, but this is a $1200 suit. BRENNAN: Are you kidding me? I haven't slept in 48 hours and you're worried about your suit? Get over here. BOOTH: Fine. Can I get a shovel? Thanks. BRENNAN: Dig gently. Small layers at a time. What would you usually be doing? BOOTH: What? BRENNAN: If it were a normal weekend. BOOTH: You want to discuss this now? BRENNAN: Compared to you with your multiple sex partners... BOOTH: You know, that's none of your business, okay? I'm not having sex with Amy, and I have never ever cheated on any woman that I've ever been with. Never! BRENNAN: I just asked what you'd normally be doing. BOOTH: I'd be at a movie, dancing... being with somebody that I care about. You? (BRENNAN and BOOTH both uncover skulls where they're digging) BOOTH: Okay, what the hell's going on here? BRENNAN: (observing skeletons laid out on the ground) Female, approximately 17 to 25 years old, blunt trauma to the skull. Also female, same approximate age, same type of injury. BOOTH: This doesn't fit with Ross. If he k*lled April, it was a panic m*rder - personal, not serial. BRENNAN: Both these victims have been d*ad for at least five years. BOOTH: Maybe more than seven? BRENNAN: Yes. BOOTH: Epps. It was Epps. He snatched April from the park after she ran from Ross, and brought her here to his k*lling grounds. BRENNAN: Why did he take her back to the park? BOOTH: He watched them have sex; he saw them argue. Epps knew suspicions would fall on Ross, and he took her back. BRENNAN: And stole her car. BOOTH: We got played. BRENNAN: What? How? BOOTH: Either way, Epps wins. We find Ross, the execution is stopped. We find these bodies... BRENNAN: The execution is stayed until these m*rder are investigated. BOOTH: If I don't make this call, he's gonna be d*ad in half an hour. BRENNAN: But these women, they deserve to be heard. It's what we do, Booth. The rest... BOOTH: Lawyers. BRENNAN. Lawyers. BOOTH: (on cell phone) Amy, it's Booth. I think we got you your stay of execution, but you're not gonna like it much. (INT: Prison, visitation room) EPPS: Thank you. All I can say is thank you. BOOTH: What's that, Howie? Practising to get jury sympathy? EPPS: I did not k*ll anyone. (sits down across from BRENNAN) Thank you. I mean it. BRENNAN: We found the tyre iron. You'll be found guilty of these m*rder. EPPS: Well, I need a good lawyer. These m*rder investigations take a long time. Then there's the appeals. And since I should have been d*ad half an hour ago, it's all gravy from now on. AMY: We gave him everything he wanted. EPPS: Who knows if there'll even be a death penalty then? I mean, that's your dream, isn't it? We want the same things from life. (AMY leaves the room) EPPS: And I owe you too. I read your book. When I read you were working with Booth here, I knew you were just what I needed. (EPPS reaches for BRENNAN'S hand; she slams his wrist down on the table, breaking it.) BRENNAN: You gonna arrest me for as*ault? BOOTH: From what I saw, purely self defence. BRENNAN: Maybe I shouldn't carry a g*n after all. BOOTH: Hell, you can have mine. (INT: Sid's) SID: What's the matter with you two? BOOTH: Bad day at work. SID: Well that's what you get for working on weekends. You ever hear about taking some time off, having a little fun? BRENNAN: Why, what'd you do? SID: I'd be breaking about six different laws if I just told you how I manoeuvred on my Saturday nights. But I will bring you some food. BRENNAN: I'm not hungry. BOOTH: No use arguing with Sid, Bones. BRENNAN: Are you in trouble with your boss? BOOTH: I'm sorry for wrecking your weekend for nothing. BRENNAN: No, not for nothing. BOOTH: Come on, you know what I mean. You know, all that running around, it didn't change anything. Epps was guilty. He was always guilty. BRENNAN: There was doubt. We had an obligation to respect that doubt. We all share in the death of every human being. BOOTH: Very poetic. BRENNAN: No, very literal. We all share DNA. When I look at a bone, it's not some artefact that I can separate from myself. It's a part of a person who got here the same way I did. It should never be easy to take someone's life. I don't care who it is. What? What? BOOTH: You know, you've been practising your Nobel prize speech just a little too much. SID: Scallops in Szechwan sauce, duck fried rice. WAITRESS: Here you go. SID: Apple pie, hot cup of joe. To simple pleasures, my friends. Simple pleasures. (They toast) (CREDITS)

{"type": "series", "show": "Bones", "episode": "01x07 - A Man on Death Row"}

foreverdreaming

"The Girl in the Fridge" Episode 1x08 Written By: Dana Coen Directed by: Sanford Bookstaver Transcribed by: ForensicGater Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Brennan and Angela are standing around a skeleton on the table in the Bone Room. Brennan is examining a skull.) ANGELA: So I spent the night at Todd's. You remember Todd, right? The bass player with the big hands. Big nimble hands. BRENNAN: Angela, I'm trying to piece together a skull. ANGELA: You're doing a great job. So I wake up this morning and he's sitting there, right? No clothes on, just his bass. Singing to me in this low, low voice. He's creepy. BRENNAN: Angela, is this conversation really appropriate here? ANGELA: Sorry, but I'm into alive people. Anyway, Todd has a friend. BRENNAN: I thought you said he was creepy. ANGELA: Todd, not the friend. (Zack rushes in.) ZACK: Good news. BRENNAN: I hope this is work-related. ZACK: The Anthropology Journal is publishing our piece on the evolution of the coronal suture. BRENNAN: Worthy interruption. (Brennan sets down the skull as Zack holds out his fist. Brennan looks confused.) ZACK: You're supposed to bump my fist with yours. BRENNAN: Why? ZACK: I'm told it's a widely acknowledged gesture of mutual success. (Defeated, Zack puts down his fist. Angela is amused.) ANGELA: I love it when you two impersonate earthlings. (Hodgins walks in carrying a box.) HODGINS: Okay, now this is weird. There's some guy in the lounge who asked me to give you this. (Hodgins hands the box across the table to Brennan.) ANGELA: Is he alive? Because this is an excellent start to a relationship. HODGINS: I didn't put a mirror underneath his nose or anything. He said you'd know who he was when you opened it. (Brennan opens the package and pulls out a mini-dustbuster. She pauses, looking at the "gift", then shoves the box at Zack and runs out of the room.) ANGELA: Okay, a guy who gets her to stop working? This I have to see. (Angela follows after Brennan. Hodgins and Zack follow behind her.) (Cut to Brennan walking on the floor of the lab. She stops and looks up. There is a man leaning on the railing of the upper level. The man has his back to the camera.) MICHAEL: You left it at my place. BRENNAN: Three years ago. MICHAEL: Hmm. First time I've been in Washington. I thought I should return it in person. BRENNAN: Why didn't you tell me you were coming? (The camera pans up to Michael leaning on the railing.) MICHAEL: What if you didn't take my call? You're a big important author now. BRENNAN: You can come down here, you know. MICHAEL: You could come up. (Brennan pauses, considering.) BRENNAN: Halfway. MICHAEL: As always. (The Squints walk up a distance behind Brennan and stop to watch. Michael comes down the stairs while Brennan walks toward him.) BRENNAN: I hope you don't have any expectations. MICHAEL: Do you? BRENNAN: Civility? MICHAEL: I can handle that. (Brennan is smiling, obviously happy to see him.) BRENNAN: So why are you here? MICHAEL: George Washington University wants to talk to me about heading their Anthropology Department. BRENNAN: They'd be lucky to get you. MICHAEL: I assumed they tried you first. BRENNAN: I already had a job. (Camera pans to the Squints watching Brennan and Michael.) HODGINS: This is like watching cars mate. (Camera pans between the Squints and Brennan and Michael.) ANGELA: It's gotta be Michael. Stires, her forensic anthropology professor from Northwestern. They were--- HODGINS: Very, very close? ANGELA: Mm. ZACK: Dr. Brennan is my forensic anthropology professor. Does that mean--- ANGELA and HODGINS: No. (Camera pans back to Brennan and Michael.) BRENNAN: It seems like we should have dinner tonight, catch up? MICHAEL: Sounds reasonable. (Booth yells off camera.) BOOTH: Hey Bones! Whoa! (Booth is walking behind a rusted refrigerator that's being hauled by an FBI technician.) Okay. Put it here. Easy. (Camera pans to the Squints who are walking up to the fridge.) BOOTH: Bones, I got a present for ya. Straight out of an illegal ravine on a dump in Fairfax. (Brennan and Michael walk up to the fridge.) BOOTH: You see, our forensic people confirmed it was human matter. So, rather than open it myself and risk being trashed by you for contaminating the evidence, I decided to bring the whole refrigerator to you. (Booth smiles charmingly. Camera pans over to the Squints.) HODGINS: What we need is a toaster oven. (Booth clears his throat.) BOOTH: Bones? (Brennan walks up to the fridge and sniffs around the door.) BRENNAN: The body's going to be mostly decomposed. ANGELA: Which is my cue to leave. (Angela walks away.) MICHAEL: This is where it gets fun. (Brennan steps back.) BRENNAN: All right, you can open it. BOOTH: All right. (Booth pries open the fridge door with a crow bar. Inside is the partially liquified remains of a decomposing skeleton. Booth steps back as Brennan moves closer.) BOOTH: Whoo, okay. Uh, he or she? BRENNAN: She. MICHAEL: Late teens, early 20s. BRENNAN: I'm guessing she's been in the refrigerator for a year. (Looking at Hodgins.) Is there enough insect activity to help us be more precise? HODGINS: There's always enough insect activity. BRENNAN: Remove and clean the bones, Zack. Michael, you can pick me up at 7:30. I'll give you my address. (Brennan stands up and walks away.) MICHAEL: Beautiful lab. (Michael walks away, following her.) BRENNAN: Thanks. (Booth watches them.) BOOTH: Old friend? HODGINS: Old teacher. BOOTH: Yeah. (He sighs, a bit grossed out.) They're actually going to, uh, eat dinner after seeing this? Well, I hope it's not soup. ZACK: If she was his student and I'm her student, then it follows--- HODGINS: Ain't gonna happen, Zack-o, not in this universe. (Hodgins closes the door to the refrigerator.) (Cut to Brennan sitting at her desk, looking at a file. Angela walks in carrying her sketchbook.) ANGELA: Here's a sketch of the victim. Her skull was intact so it made it easy to work with. (Angela hands Brennan the sketch. She looks at it and then holds up the file she was previously looking at.) BRENNAN: I just got her dental records. Name, Maggie Schilling. Nineteen. ANGELA: Then I guess you don't need this. BRENNAN: She was a dancer. Bone markers in her metatarsals. ANGELA: God, to go from the freedom of dance to being crammed into a refrigerator. (She sighs.) I hope she was already d*ad when they shut the door. (Brennan looks down. Angela sits down.) ANGELA: He's hotter than you said. BRENNAN: Michael? ANGELA: Any other ex-lovers come knocking on your door today? BRENNAN: The "ex" in ex-lover is not a variable. It's a constant, like the speed of light. ANGELA: Save your dirty talk for the hunky professor. BRENNAN: I can assure you, our relationship is purely platonic. What we share is a love of science. Neither of us has the time or inclination for emotional complications. ANGELA: Sounds very reasonable. (Doesn't sound convinced.) BRENNAN: Yes. I have to get this data together for Booth. ANGELA: Sure. (She gets up to leave.) Have a good dinner tonight. ( Cut to Booth's office. Maggie's information is up on Booth's computer screen.) BOOTH: Maggie Schilling went missing 11 months ago. (He holds up a photo.) Her parents got a ransom note demanding a million dollars. Negotiations, they dragged on for, oh, a couple of weeks. Then suddenly all contact stopped. The assumption was that the kidnappers k*lled her. (Brennan is looking at her file.) BRENNAN: No visual physical trauma. BOOTH: Cause of death? (Brennan closes the file.) BRENNAN: Not yet, but there are stress fractures on both wrists and we have some people running chemical analysis and toxicity screens on the effluent in the refrigerator. BOOTH: Okay. You'll call me later? (Brennan smiles.) BRENNAN: I'm not working tonight. I have a dinner. (Booth looks amused.) BOOTH: What? Wow. I just assumed that the two of you would be eating off an autopsy table. BRENNAN: Not tonight. BOOTH: I was being---. Tomorrow's fine. Call me tomorrow. (Brennan leaves.) (Cut to Brennan's bed. Her and Michael are kissing. Neither has clothes on.) BRENNAN: We missed our reservation. MICHAEL: Ah, well. That's the price we pay for scientific exploration and discovery. (Michael sits up.) BRENNAN: You realize this is just recreational, Michael. MICHAEL: Of course. I'm just impressed that we can just pick up where we left off like no time has passed. BRENNAN: Well, time is an imposed construct. MICHAEL: Well, it's nice to know we can rely on physics. (Brennan laughs and moves closer to Michael. He puts his arm around her.) BRENNAN: You really think you'll move here? MICHAEL: Depends on the offer. BRENNAN: Maybe I could get you a position at the Jeffersonian. MICHAEL: Working for my old student. (He laughs.) BRENNAN: Would that be a problem? MICHAEL: Well, we're better when we're not vying for dominance in the same arena. BRENNAN: I can't help it if I'm usually right. MICHAEL: Does that mean you've closed the case on that girl in the fridge? (Brennan's mood visibly changes.) BRENNAN: I found some stress fractures on the wrist, not much else. But I will. MICHAEL: Same old confident Brennan. BRENNAN: I'm sorry, is school in session? (They kiss.) MICHAEL: Old habits die hard. (They're silent for a moment.) BRENNAN: She did fight, Michael. They kept her tied up like an animal... but she fought. That's how she got those stress fractures because she was bound and struggling. I just--- (She sighs and lays her head down on his chest.) I keep seeing her face. (Michael wraps his arms around her.) BRENNAN: You know how it is. (Michael kisses her hair.) CREDITS. (Cut to the Squints working on the platform.) HODGINS: Using a refrigerator to hide a body. It's kinda perfect, isn't it? ZACK: Good way to remove a victim without being detected. Rubber gaskets seal in the odor. ANGELA: (Sarcastic.) Maybe the company should use that in their ads. ZACK: Mm-hmm. ANGELA: She's late. She's never late. HODGINS: You worried about her? ANGELA: I'm happy for her. ZACK: Why? HODGINS: Remember that time you were late? ZACK: Oh. Yeah. (Brennan walks up the platform stairs, Michael behind her.) BRENNAN: Good morning, all. (Brennan steps up to the table. Hodgins and Zack move toward the stairs as Michael comes up, blocking him. The guys stare at Michael.) ANGELA: You can take the day off. You deserve one day. BRENNAN: Michael wanted to look at our equipment. ANGELA: I'm gonna let that one go. (Hodgins and Zack continue to stare down Michael.) ANGELA: The guys wanted to meet him anyway. BRENNAN: They could learn a lot from him. HODGINS: You were Brennan's professor? (It's obvious what Hodgins is implying.) MICHAEL: She was 23. An adult. HODGINS: That's what Clinton said. ZACK: You run through a lot of students? MICHAEL: That was a long time ago and Tempe was very advanced. More colleague than student. (Zack looks over at Brennan who is working with the skeleton.) ZACK: I'm a pretty advanced student. MICHAEL: No offense, but I'm not interested. (Michael pushes between Hodgins and Zack.) ZACK: No, uh, I meant me and her. HODGINS: Oh, burn. (He laughs and hits Zack on the arm.) (Zack and Hodgins go back to the table.) BRENNAN: What have you found? ZACK: X-rays reveal low bone density and the parathyroid hormone levels are also low. (Zack passes Brennan an envelope containing x-rays. She takes them out and looks at them.) ZACK: There is a medical condition called hyperparathyroidism. BRENNAN: Symptoms include muscle weakness, brittle bones. Yeah, I know. MICHAEL: You may be premature with your struggle theory. BRENNAN: (A little offended.) I doubt that. MICHAEL: You mean you don't want to be doubted. (Angela and Hodgins exchange looks.) BRENNAN: I can take it. MICHAEL: The wrist fractures could've resulted from her medical condition. BRENNAN: Unlikely. However--- MICHAEL: Or been an unrelated cause of nontraumatic fissures. (The Squints all notice the tension.) BRENNAN: Nontraumatic? Look at these. MICHAEL: It's something to consider. The last thing you want to do is jump to conclusions without evidence. I mean, I know how much you want to find out who did this. HODGINS: This seems like an appropriate moment to discuss human goop. (Brennan looks annoyed with Michael.) HODGINS: Chemical analysis of the liver and kidney tissues reveal significant evidence of the narcotic hydromorphone. BRENNAN: Hydromorphone? MICHAEL: Also known as hospital heroin. BRENNAN: In what kind of concentration? HODGINS: Given her probable size and weight, it's fatal. ANGELA: Where did you go to dinner last night? BRENNAN: We wound up staying in. We need to know if that amount was accrued over time or delivered in one large dose. ANGELA: You didn't come back to the lab, did you? MICHAEL: I made frittata. (Hodgins looks annoyed.) ANGELA: Oh, wow. He cooks too. Can we share him? BRENNAN: We also need to know if the hydromorphone was administered intravenously or orally. MICHAEL: I should get going. I'm meeting with the board at the university. Call you after my appointment. It was nice meeting you all. (Michael leaves. The Squints all stand on the other side of the table and look at Brennan.) BRENNAN: What? Is it so odd for everyone to see me with a man? (The Squints all nod.) BRENNAN: (To Hodgins.) Print out the levels of hydromorphone you found in her system. (She turns to Zack.) I want you to find the overload point that would cause the stress fractures in her wrist and examine the left ilium. There seems to be some kind of degeneration on the edge. (Brennan walks away. The Squints look at each other.) (Cut to exterior sh*t of the Schilling house.) MRS. SCHILLING: I know it sounds terrible, but I hoped that she had just run away. That way I could believe she was still alive. MR. SCHILLING: She started turning against us in high school. Did a lot of drugs. We tried to help her. Sent her to rehab, therapy. BOOTH: Kids have a lot to contend with these days. MRS. SCHILLING: We didn't help her, not really. We had nannies to raise her because we were so busy and we sent her to shrinks when she had problems instead of talking to her. BOOTH: You can't blame yourself. BRENNAN: Environment plays a huge role in development. (Everyone is silent. Booth clears his throat.) BRENNAN: I'd like some pictures of Maggie so I can compare them with her remains. Pictures of her dancing would be most helpful or swimming. (Mrs. Schilling picks up a scrapbook and begins to look for pictures.) MRS. SCHILLING: How do you know she danced and swam? BRENNAN: Some things can't be erased from the body. BOOTH: I'm sorry, but I need to ask you about your daughter's drug problems. Do you know what she was using? MR. SCHILLING: Alcohol, ecstasy, marijuana. BOOTH: What about the narcotic hydromorphone? Hospital heroin? MRS. SCHILLING: Doesn't sound familiar. BRENNAN: She had a thyroid condition. Was anything prescribed for that? MR. SCHILLING: Her endocrinologist might know. (Mrs. Schilling hands Brennan some pictures. Brennan looks through them.) MRS. SCHILLING: We have to find who did this to Maggie. We have to do this for her. (Cut to the office of Nicholas Skinner, M.D., Maggie's endocrinologist.) DR. SKINNER: Maggie's condition didn't respond to medication. I was trying to get her to agree to surgery when she disappeared. BRENNAN: What types of medication are we talking about? DR. SKINNER: Furosemide, pamidronate. I tried various calcitonins. BOOTH: What about hydromorphone? (Dr. Skinner shakes his head.) DR. SKINNER: There are no pain issues associated with hyperparathyroidism but I knew Maggie had a drug problem. She was definitely interested in getting some opiates from me. She bribed my office manager for samples. BOOTH: I'm gonna need your office manager's home address. DR. SKINNER: Ex-office manager. She's gonna be what you call a disgruntled employee. (Cut to the Costello home. Mary and Scott are standing in the living room while Booth and Brennan look around.) MARY: I didn't give Maggie those samples. She boosted them herself. Barragan just blamed me so he's have an excuse to f*re me. BOOTH: Why did he f*re you? MARY: Because he's a horn-dog. I tried to keep things professional. You know what I mean? BRENNAN: Dr. Barragan said that you were closer to Maggie Schilling than any other patient. MARY: Did you meet her parents? BRENNAN: Yes. MARY: Then you know the poor girl was pretty much on her own. We took her in. BRENNAN: He said that you went out together, that you took her to clubs. SCOTT: We just felt sorry for her, you know? (Booth walks into the kitchen and looks around.) SCOTT: She was lonely so we showed her a good time, right? (Booth approaches the refrigerator.) MARY: One weekend we took her on a road trip. SCOTT: Yeah, the three of us ended up in Atlantic City. Totally crazy--- BRENNAN: Atlantic City doesn't seem an appropriate--- (Booth pushes against the refrigerator.) MARY: It's not like we planned it--- (There are marks on the floor of the kitchen from an old refrigerator.) MARY: Pills, vodka, weed. SCOTT: Mary wanted Maggie to go to meetings. You know? A.A. (Booth walks back into the living room.) BOOTH: That's very kind of you. Let's talk about your new refrigerator. MARY: (Scoffing.) Why? BOOTH: Mainly I'd like to know what happened to your old one, huh? (Mary looks concerned.) (FBI agents are milling around, carrying out boxes, taking pictures. Booth joins Brennan in the living room.) BOOTH: Well, the fridge we found Maggie in is a match with the marks on the Costellos" floor. BRENNAN: They're sadomasochistic fetishists. BOOTH: Yeah. (Booth picks up a box.) Turned the basement into a fun room. (Brennan reaches into the box.) BRENNAN: Seeking sexual gratification through the manipulation of power. (She pulls out a spiked collar and gives it an odd look.) Probably the oldest of fetishes, master-sl*ve. It's all about dominance. (She drops the collar back into the box.) BOOTH: Well, this only comes up when the bloom comes off the rose, if you know what I mean. BRENNAN: I don't know what you mean. BOOTH: You know, when the regular stuff--- when it gets old, you need to spice it up, it's over. When sex is good, you don't need any help. BRENNAN: Oh, that's for sure. (She grins.) BOOTH: I'm sorry? BRENNAN: I was agreeing. BOOTH: Yeah? Well, don't. Okay? It kinda freaks me out. BRENNAN: I was just saying that I myself feel no inclination toward either pain or dominance when it comes to sex. BOOTH: Are you sure? BRENNAN: Yeah, I'm sure. BOOTH: Because you can be very bossy. (Booth turns away. Brennan hits his arm with a whip. Booth pulls out a pair of pink fuzzy handcuffs from a box and holds them up.) BOOTH: Look at him, huh? Whoo! Look at him. All smiley. (Officers are leading Mary and Scott out in handcuffs.) BOOTH: I bet he just loves these things. (Booth turns toward Brennan. Brennan takes the handcuffs from him.) BRENNAN: These could explain the stress fractures. (She opens the handcuffs.) Her bones were brittle from the disease. Struggling would cause the cracks we saw. (Cut to an interrogation room. Mary and her lawyer, Mr. Meredith, are sitting, Booth and Brennan are standing.) BRENNAN: The handcuffs are consistent with the injuries to Maggie Schilling's wrists. MARY: Maybe she wanted to be cuffed. Did you ever think about that? BOOTH: Here's what I was thinking. Female, dominant, strapped for cash, meets wealthy teenager on the outs with her parents. Convinces her submissive husband to hold her for ransom. MEREDITH: Any proof or is this story time? BOOTH: You feed her pills to keep her quiet, and negotiations--- they drag on. So she dies of an overdose before an exchange can be made. You seal her up in a refrigerator, dump her in a ravine, and you and your honey go back to playing "Tie Me Up" in the basement. (Mary shakes her head.) MEREDITH: Maggie Schilling was legally an adult. We don't deny she was in the house, even cuffed. We don't deny there was a perfectly legal sexual relationship which, by its nature, got rough, but Maggie was a willing participant. MARY: And enthusiastic. MEREDITH: You have no evidence my clients k*lled her. BOOTH: It's weird for you, huh? Being the one that's all locked up. (Mary leans forward on the table and gets in Booth's personal space.) MARY: The way you come at me... are you thr*at or do I turn you on? BOOTH: Now, I'm the one who's hating psychology. (Booth and Brennan share a look.) MEREDITH: If you don't have anything but those cuffs, my clients will be out of here in 24 hours. (Mary smirks while Booth and Brennan look concerned.) (Cut to Brennan and Michael walking through the lab.) BRENNAN: I figured it out. I was right about how she got those fractures. MICHAEL: I just don't have the time, Tempe. I have an appointment. BRENNAN: I thought you'd want to see. The university can wait a few minutes. MICHAEL: It's not with them. It's with someone they want me to meet. And if we start debating evidence, I'll definitely be late. BRENNAN: Trust me, there's nothing to debate. I can prove that Maggie Schilling was bound in fur-covered handcuffs. We found strands of matching fur embedded in her wrists and the scaphoid and the lunate. MICHAEL: But you can't prove that she was involuntarily restrained. BRENNAN: Oh, yes, I can. MICHAEL: It's not a competition. BRENNAN: No, The Olympics are a competition. Ours is a struggle to the death. MICHAEL: Want to bet dinner? (Michael holds out his hand. Brennan considers it.) BRENNAN: Yes. If we make it to a restaurant. (Brennan shakes his hand. Michael laughs.) MICHAEL: Bet's on. You got 10 minutes. BRENNAN: Okay. (Cut to the platform. Maggie's remains are spread out on a table. Booth and Michael are standing beside each other.) BRENNAN: Pull up the frontal and lateral view of the victim's lower fibulas. BOOTH: You trained her well, Doc. MICHAEL: She's brilliant. Little cocky, though. Booth: (Laughs.) Yeah. Tell me about it. (Brennan and Zack are working on the computer.) ZACK: Here's the left. BOOTH: Pretty good partner though. ZACK: Here's the right. BOOTH: What you see is what you get. That's a rare quality. That's just between us, isn't it? BRENNAN: Michael? (Zack swivels his chair around to face the other men.) ZACK: Dr. Brennan found marks on the medial malleoli, both left and right. BRENNAN: Her legs were bound. ZACK: Mirror erosion patterns from the bones rubbing together over time. BOOTH: If this were the result of sex games, then the legs, they wouldn't be bound together. (Michael looks back at Booth.) BOOTH: Well, come on, you know? Looking for a little nooky, the last thing you'd tie together are the legs. (Michael looks back to Brennan and shrugs.) MICHAEL: I'm not convinced. Brittle bones from her thyroid condition. The damage could've happened in a very short time. (Brennan walks over to the table and points at the bones.) BRENNAN: We also found evidence of inflammation on her right humerus and ilium. ZACK: The bone abnormalities indicated pathosis from lying in one position for a long time. BRENNAN: The only reasonable explanation is long-term bondage. MICHAEL: Decreased bone density could've caused the inflammation. This isn't definitive. (Brennan and Booth, in the background, look annoyed.) MICHAEL: I hear there's a nice little French place near here I'd like to try. BRENNAN: I still have five minutes. (Brennan walks off the platform and Michael follows her.) (Cut to Angela's office. Michael, Brennan, Booth, and Angela are standing around The Angelator which is showing a girl lying on her side. Michael is amazed.) MICHAEL: My department's still working with Polaroids. BRENNAN: So what do you think? MICHAEL: Very impressive. Especially to the nonprofessional. ANGELA: You want science? Give me the estimated time of captivity. BRENNAN: Approximately three weeks. (Angela makes a few adjustments. The girl turns into a skeleton and certain areas are highlighted.) ANGELA: Okay, here are your affected areas. Now during an advanced time simulation--- (The two highlighted areas, one near the hips and the other near the ribs and arms, are brought into focus. The bones begin to deteriorate. Booth steps up behind Brennan.) BOOTH: You're winning, right? (Brennan nods. Michael doesn't look happy.) MICHAEL: Can I see your findings? (Brennan hands him some papers and he flips through them. Angela shuts down The Angelator.) MICHAEL: This appears to be indisputable. BRENNAN: The narcotic found in her system was not the result of recreational drug abuse. ANGELA: The inflammation would've been very painful and the pain would've increased over time. BRENNAN: They kept upping the dose of hydromorphone until they gave her too much and she died. Those people bound and k*lled that girl. MICHAEL: (He sighs.) I yield. French restaurant? BRENNAN: I'm more in the mood for Italian. I need to put together the evidence packet for Booth to deliver to the U.S. Attorney. MICHAEL: I'll meet you are your place. (Michael hands back Brennan her papers and walks off, obviously not happy. Brennan smiles and Booth holds out his fist.) BOOTH: Good work. (Brennan just looks at him.) (Cut to Angela and Brennan in the lounge.) ANGELA: Do you really think he can handle your success? BRENNAN: Because of today? No, we've always been competitive. ANGELA: I know, but he's a man and his student, a woman, has surpassed him. BRENNAN: Michael is extremely secure, Ange. ANGELA: Honey, when you stuck it to him today, he was upset. BRENNAN: It was a healthy debate between scientists. You don't know Michael. ANGELA: I know men. And I know what happens when two people start sleeping together. (Brennan is starting to get defensive.) BRENNAN: It's not like that. We're friends, colleagues, that's all. ANGELA: Colleagues with benefits. BRENNAN: I don't know what that means, but Michael and I are not involved. I'm sorry if that's difficult for you to understand but what we have isn't traditional. ANGELA: Don't talk to me about traditional. Okay? I've dated circus people. You and Michael, you have something, and that's okay. That's good, even. Just be honest about it. BOOTH: Bones? (Booth walks up to the lounge.) BOOTH: The judge is holding them without bail. The U.S. Attorney is thinking about sending you flowers. BRENNAN: The facts are facts. (Booth looks uncomfortable.) BOOTH: Uh, Bones, I have to ask. How much have you been sharing with, uh, the professor? BRENNAN: None of your business. BOOTH: I mean, on the case. BRENNAN: Oh. I bounce everything off him. Why? BOOTH: Well, you gotta keep him out of it from now on. BRENNAN: Out of it? Why? BOOTH: Well, you know that appointment he had today? BRENNAN: Yeah. (Booth looks really uncomfortable.) BOOTH: He met with the Costello's lawyer. Michael is their expert witness. (Brennan is shocked.) BOOTH: It's his job to tear apart the case that you've built. (Angela sighs.) (Cut to a fancy restaurant. Brennan and Michael are arguing.) BRENNAN: How could I not be upset? Basically, you were spying on me. MICHAEL: Spying? It's a criminal proceeding. You're required by law to disclose all your findings to the defense anyway. BRENNAN: I'm only required to provide you with the raw facts we intend to enter into evidence, not the process by which I arrived at those facts. MICHAEL: I apologize. That's a nuance that escaped me. BRENNAN: Why didn't you just tell me, Michael? MICHAEL: Because the defense isn't required to tell the prosecution anything. In fact, it's grounds for a mistrial. Look, I've never done this before. You're the teacher in this situation. I'm the student. BRENNAN: A little competitive. MICHAEL: Part of the job at the university is to be an expert witness and yes, I would like to do that job at least as well as you, but if you feel I've overstepped some boundary here, I'll back out of the case. (Brennan pauses, considering it.) BRENNAN: No. But if you stay on, you have to move back to the hotel. MICHAEL: Really? BRENNAN: Yes. (Michael laughs.) MICHAEL: Well, would I have to do it tonight or should I order another bottle of wine? (Brennan again pauses, weighing the options.) BRENNAN: I suppose tomorrow would be soon enough. MICHAEL: I apologize, Tempe. (They kiss.) (Cut to the lab. Michael is examining the bones while everyone watches.) BOOTH: He still at it? (Angela looks bored.) ANGELA: Yep. And it is fascinating. BOOTH: Keep an eye on him. GOODMAN: That's not going to be a problem. (Goodman nods to Hodgins and Zack. Zack is videotaping Michael. They nod back.) (Michael continues to examine the bones as Brennan watches him.) (Booth gives Hodgins and Zack a thumbs-up. They return the gesture.) ANGELA: Did you just give Zack and Hodgins a sign of encouragement? BOOTH: Yeah, you know, that's the first time I've been able to look at them with imagining Moe knocking their heads together. (Angela and Goodman are amused.) GOODMAN: Agent Booth, you're accessing your inner squint. (Booth looks somewhat concerned.) MICHAEL: Tempe, you listed an evulsion fracture on the right femur. It looks minor. Do you consider this evidence? BOOTH: Dr. Brennan's conclusions belong to the prosecution. MICHAEL: I have no interest in destroying your case, Agent Booth. I'm just trying to get a sense of-- GOODMAN: Of her interpretations of data, to which you are not privy, Dr. Stires. BRENNAN: I understand the game the doctor is trying to play and I'm perfectly capable of dealing with him myself. I'm sure he's just thrown by findings he would have missed. GOODMAN: This is not about you and Dr. Stires. This is about the Jeffersonian's reputation as a source of expert witnesses. MICHAEL: Okay, I'm--- I'm on my own. Oh, in the interest of fairness, I am willing to share my thoughts with you. (Michael hands her the papers he'd been taking notes on.) MICHAEL: I red-penciled a few things. BRENNAN: You corrected my findings? MICHAEL: Consider it an opposing opinion. (Brennan's not happy.) BRENNAN: My findings are based on facts, Michael, not opinions. GOODMAN: You seem to have finished your allotted time with the remains, Dr. Stires. I'd like my people to get back to work. MICHAEL: Thank you. (Michael smiles at Brennan and she smiles tightly back, obviously displeased.) (Cut to Booth and Brennan walking through the lab to her office.) BOOTH: Bones, you okay? BRENNAN: Why wouldn't I be? BOOTH: Because the nutty professor's grading your paper. What'd he give you anyway, huh? I was always happy with a B. BRENNAN: I never got a B and I never will. (Brennan continues walking to her office. Booth stops.) BOOTH: That's my girl. (Cut to Booth's office.) BOOTH: This is the U.S. Attorney Levitt, jury consultant Joy Deaver. Dr. Temperance Brennan. LEVITT: Nice to meet you. (They all shake hands.) LEVITT: I looked over your findings and I think we're in good shape. BRENNAN: Thank you. I--- DEAVER: But juries don't like you. BRENNAN: Excuse me? DEAVER: I've seen you testify before, Dr. Brennan. You come off cold and aloof. I want to make sure--- BRENNAN: Cold and aloof? DEAVER: Try not interrupting. It makes you sound arrogant. Also, don't front-load your testimony with technical crap. BOOTH: This really is not the best approach. BRENNAN: I'm a technical witness. I have testified in over 30 trials. DEAVER: But most of the experts you've come up against are as dry and boring as you are. Now I don't know if you've seen their expert--- BOOTH: She's seen him, Miss Deaver. DEAVER: Well, then you understand my concern. Professor Stires is open, charming, great-looking. Jury's gonna love him. I love him. (Brennan can't believe what Deaver is saying.) BRENNAN: This isn't a personality contest. It's about data that we present to the jury. DEAVER: You're kidding, right? BRENNAN: No. DEAVER: The women on the jury aren't going to be listening to a work that comes out of his mouth. They're going to be undressing him. I don't want the men on the jury to be putting more clothes on you. Wear something blue. It suggests truth. Make eye contact with the jury and lose the clunky necklace. BRENNAN: Mary and Scott Costello m*rder Maggie Schilling. The forensics data I've compiled proves that. That should be enough. DEAVER: But it isn't enough. BOOTH: Okay, that's--- that's great. We'll, uh, take that under consideration. Thanks. (Levitt and Deaver leave. Brennan isn't happy.) BRENNAN: Why didn't she say anything about you? You can be very irritating sometimes. BOOTH: Bones, she's an expert, just like you. She has an obvious personality disorder, but she wants to help. Just try? BRENNAN: Okay, sure. BOOTH: Good. BRENNAN: I can do it. (Cut to the United States District Court for the District of Columbia. The Costello's are sitting with their lawyer. Stires is sitting behind them. Brennan is sitting behind the prosecution. They smile at each other. Maggie's parents are behind Brennan, the Squints behind them. Levitt begins his opening argument.) LEVITT: We will show that Mary Costello lured Maggie Schilling into her home with the promise of drugs. (The camera pans to show Meredith.) MEREDITH: She was not held against her will. She was, in fact, orchestrating the plot to extort money from her own parents from whom she was estranged. (Back to Levitt.) LEVITT: They bound her for weeks, the pain growing and to keep her quiet, they pumped her full of drugs. MEREDITH: Her death was the result of a self-administered overdose. LEVITT: After k*lling their c*ptive and ruining their chances of collecting a ransom, the Costello's stuff Miss Schilling's body into the refrigerator. MEREDITH: Knowing they could be accused of kidnapping and m*rder, my clients panicked and disposed of her body. While their behavior might be ill-advised, they are neither kidnappers nor m*rder. (The camera pans to the jury as Booth testifies.) BOOTH: Pharmaceutical samples of hydromorphone were found in the Costello's belongings. The lot numbers match those that were in Dr. Barragan's office. (The camera pans to the Costello's.) BOOTH: When I went to the Costello's kitchen, I saw the marks from the old refrigerator on the floor. It was like these marks, they screamed at me, "These people, they did it." MEREDITH: Objection. JUDGE: Sustained. Just the facts, Agent Booth. (Booth doesn't really look sorry.) BOOTH: I'm sorry. It's just that the receipt for the new refrigerator was dated two days after the negotiations broke off with the kidnappers. I mean, you figure it out. (Meredith stands to make an objection.) BOOTH: I know. I'm sorry. (The camera pans back to the Costello's as Meredith begins his cross-examination.) MEREDITH: Any evidence Maggie Schilling wasn't a willing participant in sexual activity involving those cuffs and other paraphernalia? BOOTH: Well, winding up in the fridge kinda tells me that she really wasn't that into it. (The jury laughs.) MEREDITH: Your Honor? BOOTH: No direct evidence. MEREDITH: Any evidence my clients forced Miss Schilling to take that narcotic? BOOTH: I'll leave those answers for the experts. (The camera pans to Bones as Booth nods at her, then pans back to the stand as Hodgins testifies.) HODGINS: Sciarids, also known as dark-winged fungus knats, went through several life cycles. Also present were Acaridae and Anoetidae, but the most interesting find was not a bug at all, but was common bread mold. All this data led to the same conclusion: Maggie Schilling was in that refrigerator between 10 and 12 months. (The camera pans back to Zack watching as Angela testifies.) ANGELA: Even though we already had medical records and dental records from which to identify Maggie Schilling, I was also asked to do a sketch based on the architecture of her skull. That's sort of what I do. (Angela holds up the sketch of Maggie for the jury members to see.) ANGELA: Turned out pretty accurate, if I do say so myself. (The camera pans to the jury members, then to Maggie's parents.) ANGELA: She was a pretty girl. That's why I drew her smiling. (The camera pans to Booth and the jury consultant, then back to Angela.) ANGELA: It--- it just seemed right. (The camera pans to Bones.) ANGELA: I'm really sorry for what happened to her, and I hope my work helps you. (The camera pans to Booth as Brennan testifies. He looks concerned.) BRENNAN: The gelatinous puddle was decomposed tissue from which our labs extracted and analyzed liver and kidney samples by mass spectrometer. (The jury looks restless and bored.) BRENNAN: The hydromorphone level in her liver was 8.4 and 6.6 in her kidney. Death occurs at 7.7 and 5.2, respectively. (Booth looks even more concerned and Deaver looks unhappy.) LEVITT: And the reason they would be giving the victim this narcotic? BRENNAN: Short-term periosteal reaction on the right proximal lateral humerus was consistent with a bound individual. (The camera pans to Michael. He knows what's happening with Brennan's speech.) LEVITT: So to rephrase--- BRENNAN: And the placement of wrist restraints coupled with her hyperparathyroidism would account for the stress fractures on the distal anterior surface of both the radii and the ulni. LEVITT: Her bones broke because she was struggling to free herself. BRENNAN: Yeah, I believe I just said that. (The jury looks relieved at the prospect of Brennan's testimony being over.) LEVITT: Thank you, Doctor. That'll be all for now. I'd like to more for a recess with the right to recall the witness, Your Honor. (The judge looks less-than-thrilled.) JUDGE: Okay. We'll meet back here in 30 minutes. (The judge bangs her gravel.) DEAVER: She can't connect. Those K*llers are gonna walk. (Cut to Booth and Brennan walking outside the courtroom.) BRENNAN: It was well-reasoned. BOOTH: Yeah, it was... very scientific. (Deaver and Levitt walk up to them.) DEAVER: You didn't listen to a thing I said. You were like Klaatu the robot up there. Would it have k*lled you to speak English? BRENNAN: I wore blue. I looked at the jury. BOOTH: You know, for a people person, you're a little rude. BRENNAN: Well, at what point did the facts stop working for you? DEAVER: I have no problem with the facts as long as the jury can understand them. BRENNAN: Well, you're underestimating their intelligence. DEAVER: You're overestimating their ability to stay awake. When these S&M perverts walk on this, it'll be on your head. (Deaver and Levitt walk away. Brennan turns to Booth, angry.) BRENNAN: Can you believe that? (Booth doesn't say anything.) BRENNAN: What? You agree with her? BOOTH: Well, not entirely. BRENNAN: "Not entirely." So that means partly. Well, I was perfectly clear. Didn't you think I was clear? BOOTH: Sometimes. And, um... sometimes you were... a little hard to follow. BRENNAN: What are you talking about? When? BOOTH: When you were talking. Listen, Bones, I know you care about this case, but I think you should let them see that. BRENNAN: So, I should perform? BOOTH: Just a little bit, yeah. I mean, do you see how I portrayed myself as a no-nonsense, tough-guy cop? BRENNAN: You are a no-nonsense, tough-guy cop. BOOTH: Exactly! And I think that it wouldn't hurt if the jury saw who you really are. BRENNAN: Well, I don't know who you think that is, Booth, because this is who I really am. Just this. (Booth groans as Brennan walks away, running into Michael.) BRENNAN: God. Sorry. MICHAEL: I'm okay. Are you? (Brennan sighs.) BRENNAN: Sure. (She pauses.) Well, truthfully, this whole thing is pretty awkward. Don't you think? MICHAEL: We're just doing our job. You'll be fine. BRENNAN: It's just, they have this jury consultant. They want to turn this into a melodrama. They don't understand what a scientist is. MICHAEL: Tempe, we're not allowed to talk about the case. BRENNAN: I know, I'm just saying--- MICHAEL: My guy's gonna freak if he sees us talking. BRENNAN: Sure. Sorry. (Michael walks away.) (Cut to the courtroom. Michael is testifying.) MICHAEL: In my opinion, the high levels of hydromorphone are more consistent with recreational use than for pain relief. MEREDITH: Could you explain? MICHAEL: Well, I might not use all the technical language, but I'll try to make myself understood. (The jury looks relieved and laughs.) LEVITT: Objection, Your Honor. The witness is impugning another witness. JUDGE: Sustained. Continue. MICHAEL: I'm sorry. I, um, I don't do this professionally. People who need to relieve physical pain will stop after the pain disappears. It doesn't take more than an average dose to accomplish that. Drug users are trying to bury emotional pain, which means they'll medicate until they feel nothing. (The jury seems to be understanding everything he's saying.) MICHAEL: This is why they have a tendency to overdose like Maggie Schilling. (Brennan leans forward toward Levitt.) BRENNAN: That's not accurate. Sometimes intense chronic pain does not respond to medication. LEVITT: I'll bring it up in cross-examination. MEREDITH: What about Dr. Brennan's claim that her pain was somehow connected to the victim being bound for a length of time? MICHAEL: Well, the Costello's have already stipulated to the fact that they bound Miss Schilling as part of their rather unorthodox sexual life, and Dr. Brennan agrees that Miss Schilling had hyperpara--- well, if I can simplify, a thyroid condition that could weaken her bones. No need to look for bondage scenarios. (Brennan leans toward Booth.) BRENNAN: That's ridiculous. He's ignoring all the facts. MICHAEL: With respect to my former student, Dr. Brennan, with findings like these, I don't know why she became a forensic anthropologist. She seems to have ignored all but her preconceived notions about the case. (Brennan is hurt.) LEVITT: Objection. JUDGE: Sustained. MICHAEL: I apologize. MEREDITH: Do you disagree with Dr. Brennan's data? MICHAEL: Well, sometimes doctors can use data to confuse a very simple situation. I mean, I'm a doctor and I could hardly follow her. (The jury laughs.) MICHAEL: This case is about people. Not incomprehensible technical jargon. I don't think that these people should be convicted of m*rder just because Dr. Brennan sounds smart. LEVITT: Your Honor, really? JUDGE: The jury will disregard Professor Stires's personal view of Dr. Brennan. Court will adjourn until 9:00 a.m. tomorrow. (The judge bangs her gravel and people start to move around.) BOOTH: Don't worry about a thing, okay? (Brennan still looks worried and hurt.) (Cut to Booth, Brennan, Levitt, and Deaver outside the courtroom.) BRENNAN: He wasn't acting as an objective expert. He was making up a story. LEVITT: The judge chastised him in front on the jury. That'll work for us. DEAVER: The hell it will. The jury loved Stires. He looks like a regular guy who's not allowed to speak the truth because the stupid rules get in the way. BRENNAN: The rules of jurisprudence aren't stupid. DEAVER: Dr. Brennan, you need to learn the difference between reality and perception. A trial is all about perception. BRENNAN: Wow. You're the reason civilization is declining. DEAVER: Talk to her. BOOTH: I kind of agree with her. (Deaver gives Booth an annoyed look and walks off.) BRENNAN: Thanks. BOOTH: I really don't agree with you, I just--- I don't like her. (Brennan turns to Levitt.) BRENNAN: Put me back on the stand. I can rebut everything that Michael said. BOOTH: She can do this. LEVITT: I'll think about it. (Levitt sighs and walks away.) BRENNAN: I've never been in this position before, Booth. I need to get back up there. BOOTH: All right. Just let me talk to him. (Booth follows after Levitt.) (Cut to Brennan sitting on her couch. Goodman walks in.) GOODMAN: Trial going badly? (Brennan's studying the casefile.) GOODMAN: You don't usually cram at the last minute. BRENNAN: The jury likes Michael better than they like me. Apparently, that's a problem. Are they stupid? (Goodman takes a seat across from her.) GOODMAN: Compared to you, yes, they are stupid. However, compared to you, most of the world is a little stupid. (Brennan doesn't seem to find much comfort in that.) GOODMAN: You have many skills, Temperance. Not one of them includes communicating with the average person on the street which is exactly what juries are made of. BRENNAN: I'm a better forensic anthropologist that Michael Stires. GOODMAN: Which is why two years ago I hired you instead of him. BRENNAN: Michael applied for this job? GOODMAN: Yes. BRENNAN: His credentials are better than mine. GOODMAN: Yes. But you are the more rational, reasoned, empirical scientist. And you care. And if he tries to convince you otherwise, tell him to go to hell. (Goodman leaves.) (Cut to The hallway outside the courtroom. Brennan is studying the casefile. Michael walks up to her.) MICHAEL: Is it safe to approach, Dr. Brennan? BRENNAN: Don't charm, Michael. MICHAEL: I think you're taking this too personally. BRENNAN: You think I should be more rational? MICHAEL: Yes. BRENNAN: Go to hell. MICHAEL: Look. You're not the only one with a jury consultant. The difference is I listened to mine. He told me to create reasonable doubt. That's what I did. BRENNAN: This one isn't about winning a pasta dinner or showing up your former student. It's about putting two people away who m*rder a 19-year-old girl. MICHAEL: Tempe, you can't personalize the work. BRENNAN: Do you remember in Central America standing in a mass grave being guarded by soldiers? We knew that they were probably the same soldiers who had k*lled the people we were digging up. I was just a student. I was scared. I turned to you and I asked, "What do we do?" MICHAEL: That was a different place and a radically different context. BRENNAN: You said, "We tell the truth. We do not flinch." You flinched, Michael. (Brennan walks away.) (Cut to Booth, Levitt, and Deaver talking in the courtroom.) LEVITT: I can't ask her that. The whole line of questioning isn't relevant. BOOTH: He brought it up during his testimony, so, legally, you can reintroduce it. LEVITT: I don't see how it's gonna change anything. BOOTH: Trust me, it will. (Brennan walks in.) BRENNAN: Am I testifying? (Levitt looks at Booth.) (The camera cuts to a poster showing various pictures.) BRENNAN: Only a prolonged struggle, not sexual activity, would cause the tearing on the medial head of the gastrocnemius muscle on the distal portion of the bone and--- LEVITT: So in lay terms? BRENNAN: The muscle avulsed. LEVITT: She pulled a muscle. BRENNAN: Because she was immobilized. LEVITT: Tied up. BRENNAN: Yes. These conditions have to be contextualized. The inflammation--- (Brennan's voice fades out as the jury grows more and more bored and restless.) (Levitt looks to Booth. Booth nods.) LEVITT: Dr. Brennan, why did you become a forensic anthropologist? BRENNAN: I beg your pardon? LEVITT: There must be some reason you chose this field out of the hundreds of other careers someone of your intelligence could've chosen. Was there some emotional reason perhaps? MEREDITH: Objection. Relevance, Your Honor? BRENNAN: I don't see how this pertains to the case. LEVITT: Dr. Brennan is cold, distant, and alienating, Your Honor. BRENNAN: Hey! LEVITT: I need the jury to understand why she's so cold. So that they might be willing to accept her testimony. MEREDITH: Her personality issues are not relevant to this case. LEVITT: They opened up this line of questioning, Your Honor. When Dr. Stires was on the stand, he wondered why Dr. Brennan became a forensic anthropologist. So the defense must've thought it had some relevance then. JUDGE: Sorry, Mr. Meredith. You did raise the issue. Overruled. You may continue, Mr. Levitt. LEVITT: Dr. Brennan, your parents disappeared when you were 15 and no one's ever found out what happened to them. Isn't that correct? (Brennan looks at Booth. He looks right back.) JUDGE: Please. Answer the question, Dr. Brennan. (She hesitates.) BRENNAN: That's correct. LEVITT: It must be very painful. Is it fair to say that you've been trying to solve the mystery of their loss your whole life? BRENNAN: Do I want answers? Yes. As how that has affected my behavior, which, I assume, is what you're trolling for, I don't put much stock in psychology. LEVITT: Is that why you wrap yourself up in techno-speak, so you don't have to feel how these victims remind you of your own parents? BRENNAN: How I feel doesn't matter. My job doesn't depend on it. LEVITT: But it's informed by it. Or are you as cold and unfeeling as you seem? (Brennan doesn't know how to answer. The camera pans to Booth, to the jury, to Maggie's parents, to Brennan, to Angela, to Levitt, then finally back to Brennan.) BRENNAN: I see a face on every skull. I can look at their bones and tell you how they walked, where they hurt. Maggie Schilling is real to me. The pain she suffered was real. Her hip was being eaten away by infection from lying on her side. Sure, like Dr. Stires said, the disease could contribute to that if you take it out of context, but you can't break Maggie Schilling down into little pieces. (The camera pans out to the jury, then back to Brennan.) BRENNAN: She was a whole person who fought to free herself. Her wrists were broken from struggling against the handcuffs. The bones in her ankles were ground together because her feet were tied. And her side, her hip, and her shoulder were being eaten away by infection. (The camera pans out to Maggie's parents, then back.) BRENNAN: And the more she struggled, the more pain she was in. So they gave her those drugs to keep her quiet. They gave her so much, it k*lled her. These facts can't be ignored or dismissed because you think I'm (Brennan laughs dryly) boring or obnoxious, because I don't matter. What I feel doesn't matter. Only she matters. Only Maggie. (Brennan looks at Michael, who looks down.) (Cut to Brennan quickly leaving the courtroom, Michael chasing after her.) MICHAEL: Tempe. Tempe! Tempe, I'm sorry. What can I do? (Brennan looks at him for a few moments, then turns and begins to walk away. Booth catches up to them and follows her.) BOOTH: Bones! The Costello's are trying to cop a plea to a charge that won't mean the death penalty. They know they're going down. BRENNAN: You had no right. There are things that are private. BOOTH: Yeah. Maybe you're right, but you know what? This was my case too. All right? So nothing personal? (She just stares at him as he walks away.) (Cut to Brennan in her office. She's looking at a picture of her and Michael when Angela walks in.) ANGELA: Guilty on all counts. BRENNAN: Yeah. ANGELA: So he owes you another dinner, huh? BRENNAN: No. I won't be seeing him anymore. ANGELA: Sorry. BRENNAN: I was foolish to be so open with him. It was irrational. You know how you get when you're tired. ANGELA: Yeah. You wanna go out? Grab a drink? BRENNAN: Um, I think I just want to work. ANGELA: Okay. (Angela leaves as Booth walks in.) BOOTH: Hey, Bones. BRENNAN: What is it? I'm not feeling very forgiving. BOOTH: Yeah, I know, but, uh, we have a case. (Brennan looks at him for a bit, then grabs her stuff.) (Cut to Booth and Brennan on the Washington Memorial. Brennan's examining a burnt corpse.) BRENNAN: Victim is an adult male, 35 to 40 years old. From the pattern of the burning, I'd say an accelerant was used. Could you hand me my bag? BOOTH: Yeah, sure. Listen, do you want my coat or something? It's cold up here. BRENNAN: If I did, I'd ask for it. BOOTH: Yeah. Sorry. And, um, I'm sorry. BRENNAN: You had something to accomplish. You found a logical way of getting what you needed. Probably would've done the same thing. (Booth begins to smile as he hands Brennan a tool.) END.

{"type": "series", "show": "Bones", "episode": "01x08 - The Girl in the Fridge"}

foreverdreaming

"The Man in the Fallout Shelter" Episode 1x09 Written By: Hart Hanson Directed by: Greg Yaitanes Transcribed by: Krystal (krys33) Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Fade in: Stock footage of the White House at Christmastime fades to the Jefferesonain lab, decorated for Christmas. Angela enters the lab, dressed as an elf, chasing after Brennan. Text on the screen reads: DECEMBER 23RD 6 PM] ANGELA: Sweetie! BRENNAN: Angela, I don't want to. ANGELA: Sweetie, could you stop galloping for, like, two seconds? BRENNAN: Better able to withstand peer pressure when you can't catch me. ANGELA: Call it a favor, okay? BRENNAN: How is me going to a company Christmas party doing you a favor? ANGELA: Remember what happened last year? BRENNAN: I didn't go last year. ANGELA: Yeah, exactly. And it took me weeks to collect all those photocopies. I need you. Friends don't let friends photocopy their butts at company Christmas parties. Hey, there's a Secret Santa. BRENNAN: I don't like Secret Santa. The idea that we are forced by convention to exchange meaningless gifts is... ANGELA: Yeah, yeah, I know. If you rearrange Secret Santa, though, you get Secret Satan. [Angela continues to follow Brennan around the platform, standing by as Brennan begins to examine a skull.] BRENNAN: What possible meaning could that have? ANGELA: I've already had an eggnog, if you can't tell. Now, how am I gonna enjoy this party knowing that my best friend in the whole world is in the lab, eyeball to eyeball with... Skeletor? BRENNAN: Who? ANGELA: He's a cartoon villain who looks like a... You know, his name is self explanatory. Would you please just come to this party? [Brennan exhales.] BRENNAN: Twenty minutes. OS: BOOTH: Bones! All right. [Booth enters the lab, carrying a suitcase.] ANGELA: Merry Christmas, Seeley. BOOTH: Oh, wow. Ooh, what are you, an elf? ANGELA: Yes. What's wrong with a little Christmas spirit? [Brennan grabs the file Booth brought in.] BRENNAN: What's the context? BOOTH: A federal property on Dupont Circle where Congress puts up visiting agricultural specialists, or- or something like that, they're digging to put in a solarium, and they find a fallout shelter with... a skeleton inside. [Brennan looks at a picture of the skeleton.] ANGELA: How long was it in there? BOOTH: Shelter was built in the fifties, part of that whole A-b*mb panic. BRENNAN: It's not a su1c1de. BOOTH: Why not? Hole in the head, you see the g*n, it's a su1c1de. BRENNAN: He sh**t himself in the head and somehow his arm ends up across his chest? Bring the skeleton in, I'll prove it wasn't a su1c1de. BOOTH: Merry Christmas, Bones. [He whistles loudly.] BOOTH: Come on, boys, bring it in. [Two FBI men carry in a stretcher with the skeleton and bring it up onto the platform.] ANGELA: Oh, no. We are going to the company Christmas party. BRENNAN: Well, you go ahead. I'll do a cursory examination and I'll meet you in a few minutes. BOOTH (helping lower the body onto the table): All right. There you go. Wow. [He turns to leave.] BRENNAN: Booth, will you escort Angela to the Christmas party and make sure she doesn't photocopy her butt? BOOTH: Oh, no, no. I can't do that. You see, I got some really last-minute important Christmas shopping that I gotta do. ANGELA (taking his arm): It's not last-minute until tomorrow. BOOTH: Come on, Bones. Bones... [Angela starts to drag him away.] BOOTH: I just- I gotta- ANGELA: Come on. BOOTH: Geez. [Cut to: Hodgins and Zack watching a small robot walk across an empty examination table.] ZACK (to the robot): Stop. [It starts to do a somersault.] ZACK: Stop! [The robot completes it somersault and returns to its feet.] ZACK: Turn. [The robot stops, and Hodgins laughs.] HODGINS: You robot reminds me of you. You tell it to turn, it stops. You tell it to stop, it turns. You ask it to take out the garbage, it watches reruns of Firefly. ZACK: After I fix the voice recognition protocols, this is going to blow those Gomers at M.I.T. away. [Hodgins walks across the lab, picking up a glass container with some liquid in it.] HODGINS: Hey, we've got about half a liter of pure alcohol here. Dump it in the eggnog, and we've got the best Christmas party in history. [He pours the alcohol into a beaker.] [Cut to: The lab platform. Brennan examines the fallout shelter skeleton very closely.] [Cut to: Zack is crouched down, examining a skeleton, looking closely at the femur. Hodgins' hand appears, waving a mug in front of his face.] HODGINS: I brought an eggnog. ZACK (standing): I can't drink while I work. HODGINS: Good thing I didn't bring it for you. ZACK: Crystal in Accounting is after you, isn't she? HODGINS: Like Alien after Predator. (to the robot) Sit! [The robot starts to run across the table. Hodgins laughs, and offscreen the robot can be heard falling to the floor.] [Cut to: Lab platform. Brennan pulls something out of the jacket on the skeleton. Booth enters.] BOOTH: What do you got there? BRENNAN: Two open tickets to Paris. One way. Pan Transit Airlines. They're blank. BOOTH: Pan Transit went out of business in the sixties. BRENNAN: I thought you were at the party. BOOTH: Ugh, it wasn't a party, it was a Star Wars convention. [Brennan picks up the remains of a b*llet with a pair of tweezers.] BRENNAN: This was still in the skull. BOOTH: .22 caliber. Matches the g*n he was holding. Did you open up the suitcase? BRENAN: Nope. BOOTH: Why not? BRENNAN: It could hold information that would compromise my objectivity. BOOTH: Oh, yeah, like a name and address? BRENNAN: I prefer to make unbiased initial observations. [She spots Zack and Hodgins walking across one of the catwalks on the upper level of the lab, Hodgins carrying the beaker of alcohol.] BRENNAN: Is that pure alcohol? ZACK (flustered): Yes, Dr. Brennan. [Hodgins sh**t him a dirty look.] BRENNAN: You really think Goodman's gonna let you spike the eggnog after the Fourth of July fiasco? [Hodgins sighs.] HODGINS: We may have to rethink. BRENNAN: Zack, I need you to clean these bones. ZACK: Now? [Hodgins laughs.] HODGINS: Burnt. [He starts to walk off, but Brennan calls out to him, too.] BRENNAN: And I need you to search the clothing for insect evidence. BOOTH: Geez, Bones. Merry Christmas. [From off to the side, Angela speaks.] ANGELA: Okay, you people listen to me. There is a party going on upstairs, okay? A Christmas party. We're going up there. We're gonna talk to some people, we're gonna sing some carols, we're gonna drink some eggnog. [She points at Booth for a moment.] ANGELA: You are going to kiss me under the mistletoe. On the lips. [She turns to Zack and Hodgins.] ANGELA: I might kiss you guys under the mistletoe, too. [She turns to Brennan.] ANGELA: Maybe even you. In a festive, non-lesbian manner. But we are going to that party. [Cut to: Zack and Hodgins, standing over the body. Zack has on a protective mask.] ZACK: Put on a mask. I'm gonna take a couple core samples. HODGINS: Okay. [He holds a mask over his mouth as Zack starts up the saw. As Zack works on the bone, Hodgins pulls his mask away from his mouth to take a sip of eggnog. Dust flies into the air, which the camera follows past Hodgins and into a vent, where lights turn from green to red as the dust sets off a sensor. A loud alarm goes off throughout the lab.] [Cut to: Main lab.] BOOTH: What's that? GOODMAN: Biological contamination. [Cut to: Zack and Hodgins. Both of them dash to the decontamination shower and fight to get in.] [Cut to: The lab platform.] OS: HODGINS (shouting): Zack! [The sliding doors begin to pull shut, and Booth runs at them.] BOOTH: Whoa! ANGELA: The doors seal automatically. Don't worry about it. BOOTH: What do you mean, don't worry about it? BRENNAN: There's no use panicking until we know what it is. BOOTH: What what is? [Hodgins and Zack enter, wet, with towels around their waists.] HODGINS: Uh, we might know. ZACK: I cut into the fallout shelter bones and the biohazard alarm went off. GOODMAN: Were you conforming to autopsy protocol? ZACK: One of us was. HODGINS: The other was... drinking an eggnog. GOODMAN: And you didn't have your mask on. Oh... [Cut to: Brennan's office. The team is conferring with an official, dressed in a Santa costume due to the holidays, via video.] HAL: The pathogen is coccidioidomycosis. GOODMAN: Valley fever? HAL: It was picked up in the scanner in the discharge vent at Mr. Addy's station. BOOTH: What's valley fever? ZACK: It's a fungus that can lead to pneumonia, meningitis, spontaneous abortion, death. GOODMAN: The alarm sounded shortly after Mr. Addy cut into a human bone. That must have been the source. HAL: Was he following autopsy protocol? BRENNAN: Of course. However... HODGINS: I was drinking an eggnog. HAL: And now he's there with you breathing the same air. HODGINS: Hey, I got into the decontamination shower with Zack. Haven't I been through enough hell? BOOTH: Is he contagious? HAL: Dr. Hodgins may have inhaled the spores, yes. BOOTH: Okay, it must suck to be Hodgins right now, but the rest of us, we didn't inhale. So it's okay if I go, right? GOODMAN: Dr. Hodgins may have exhaled the spores all over us. HAL: We have no choice but to impose quarantine. Valley fever can be fatal, and we can't risk a pandemic. Just calm down and let us handle things from this side. BOOTH: Anyone besides me worried that a guy dressed like Santa is in charge? HAL (coldly): Merry Christmas. [The screen shuts off.] BOOTH (at Hodgins and Zack): Okay, you know what? If this is fatal, I will sh**t both of you. ANGELA: Maybe you guys could go get dressed. [Hodgins and Zack exit.] [Fade out.] [TITLE CREDITS] [Fade in: Lab platform. The skeleton is now encased in a plastic dome that covers the examination table.] ZACK: I zapped the bones with ultraviolet light and arranged them on the isolation table so we won't have to worry about spores. In addition, I found this sewn into the lining of his clothing. [He passes the small baggie to Brennan, who examines it to see the ring inside.] BRENNAN: A woman's wedding band. ZACK: Two tickets to Paris, a wedding band, a picture begins to form. BRENNAN: We don't form pictures. We accumulate evidence. Dental work? ZACK: Acrylic resins in the interior fillings from the 1940s. Childhood tibia break. Bad enough that he walked with a limp. (he pulls out another baggie) Also, he wore a toupee. [He passes the bag to Brennan, who looks at the sample.] BRENNAN: It doesn't seem to have degraded. ZACK: It's made of a synthetic called Dynell. It couldn't have looked good. [Cut to: Main lab, later. Six injection needles are laid out on a tray, and the team is assisted by men in full-body protective suits.] HAL: This is a cocktail of four antifungal drugs, including amphotericin B. Orally, you'll be taking ketoconazole, fluconazole, and itraconazole. BOOTH: That's great. Then we can leave? HAL: We won't know for a couple of days if the fungus took hold in your system. [The men in suits proceed to administer the sh*ts to the Jeffersonain team.] BOOTH: Whoa, whoa, whoa. You're saying that we're stuck here over Christmas? Look, you know, I have... places to go, you know? I have obligations. GOODMAN: We all have obligations. HODGINS: I'm supposed to go to Quebec. ANGELA: Hey, whose fault is this? HODGINS: Who forced me to go to the party where I drank to much and had to hide from Crystal? ANGELA: Who never should have cut into a bone with a drunken fool in the room? ZACK: Who brought us human remains just to ditch a little paperwork? BOOTH: Oh, you're saying this is my fault? GOODMAN: You knew Dr. Brennan could not resist. BRENNAN: I'd have been able to resist if I was in Niger, where I wanted to be. GOODMAN: You're blaming me. HAL: Ladies and gentlemen, we'll have sleeping bags delivered. Please have your loved ones call me and we'll set up some kind of safe, quarantined visit on Christmas Eve. Oh, and be prepared for side effects. BRENNAN: Nausea, fever, insomnia. HAL: In very rare cases, euphoria, dream state, mild hallucinations. ANGELA: I'll take that, please. HAL: Early symptoms mimic a common cold. GOODMAN: What if it manifests? ZACK: First treatment protocol involves extremely painful injections into the base of the brain. BOOTH: You know what? [They all turn to face Booth, who is staring up towards the ceiling in somewhat of a daze.] BOOTH: I never realized how pretty all this shiny stuff is. HODGINS: That is so not fair. [Cut to: What appears to be an autopsy room, Zack and Hodgins are laid out in opposite directions on two tables, tucked into blue sleeping bags.] HODGINS: Tomorrow I was supposed to leave for Quebec. You wanna know the true meaning of Christmas? It's being inside a 300-year-old inn with a French Canadian masseuse when there's ten feet of snow outside. ZACK: Christmas is going home to Michigan and heading into the woods with your brothers to cut a twelve foot Christmas tree, and you all decorate it together. Brothers, sisters, nieces, nephews. Forty people who all love you and are happy to see you. That, my friend, is the true meaning of Christmas. HODGINS: Nah, I'm gonna have to go with the masseuse on this one. [Cut to: An office, Goodman, in another blue sleeping bag, is laying across the couch with Booth nearby on the floor, on top of his sleeping bag.] BOOTH: What are those little tiny lights dancing on the ceiling? GOODMAN: For the third time, those are minute firings of neurons on your optic nerve due to your reaction to the antifungal cocktail. BOOTH: Wow. They're beautiful. [Goodman chuckles.] GOODMAN: You are stoned, Agent Booth. [Booth laughs, too.] BOOTH: Oh, good. Let's hope it lasts long enough to keep this from being the worst Christmas of my life. GOODMAN: What are you complaining about? I don't like to boast, but I am the spirit of Christmas at my house. I have a wife, and twin five-year-old daughters. [He pulls a photo out of his wallet and passes it to Booth.] GOODMAN: We have family traditions, most important of which is being together for Christmas. BOOTH: Wow. They're beautiful. [He passes the photo back.] BOOTH: You know, I have a kid too. [Booth pulls out a picture of his own.] BOOTH: His name's Parker. He's four years old. [He passes the photo of his son to Goodman.] BOOTH: His mother wouldn't marry me, so my parental rights are totally- GOODMAN: Vague? BOOTH: That word's just a little bit Christmasier than what I was thinking. [Goodman passes the picture back.] GOODMAN: He's a fine looking boy. BOOTH: I get him part of Christmas day. I get him an excellent present every year, something really cool. But, uh, this year... GOODMAN: Yes. This year. BOOTH: What are those little lights on the ceiling again? [Goodman just smirks and shakes his head.] [Cut to: Another office. Brennan and Angela are laid out on the floor in their sleeping bags.] ANGELA: I know it's against your nature, but I need your help. BRENNAN: For what? ANGELA: To make Christmas. BRENNAN: Why? Because we're the girls? ANGELA: Yes. We have to decorate and we have to make our own Secret Santa. BRENNAN: You called it Secret Satan before. ANGELA: It's all so tragic. A cheap wedding ring sewn into his suit, two tickets to Paris. It makes you wonder. Who was the girl? Can you imagine what it was like for her, waiting and wondering, never knowing what happened. BRENNAN: I don't have to imagine. ANGELA: What do you mean? BRENNAN: I'll tell you what I'm gonna do for Christmas. ANGELA: Good, thank you. At last you decide to take part. BRENNAN: I'm gonna solve a m*rder. [She gets out of her sleeping bag and leaves.] [Cut to: Lab platform. Brennan's looking into a microscope. The text on the screen reads: DECEMBER 24TH. Booth jumps up on the opposite side of the platform, arms in the air, with an elf hat on his head.] BOOTH: Bones, it's after midnight. Hmm? Christmas Eve day. Both an eve and a day. It's a Christmas miracle. BRENNAN: Still enjoying your medication, I see. [He comes over and takes a seat next to Brennan.] BOOTH: Okay, so, what are we looking at? BRENNAN: There are traces of lead and nickel in the d*ad guy's osteological profile. BOOTH: You don't seem too upset about missing Christmas. BRENNAN: Indications are that Christ, if he existed, was born in late spring and that the celebration of his birth was shifted to coincide with the pagan rite of the winter solstice so that early Christians weren't persecuted. BOOTH: Hmm. What are you, like, the Christmas k*ller? BRENNAN: It's the truth. BOOTH: It sounds like the truth 'cause it's so rational, right? But, you know, the true truth is that you just- you hate Christmas, so you just spout out all these facts and you ruin it for everyone else. BRENNAN: I ruin the true truth with facts? BOOTH: Yeah, and you ruin it for the squint squad too by making them work on a case about a guy who's been sealed up in a fallout shelter for fifty years. BRENNAN: Well, how would you like me to spend my Christmas? BOOTH: Christmas is the perfect time to reexamine your standing with, you know... [He points upward.] BRENNAN: A helicopter pilot? BOOTH: Oh, right, right. You can't measure the man upstairs in a beaker, so he can't possibly exist. BRENNAN: The man upstairs? BOOTH: Mmm. You know, you don't know if you're sick, but you're more than willing to take drugs just in case. It seems to me you could give the man upstairs the same benefit of the doubt that you do an invisible fungus. [He leaves.] [Cut to: Later, the lower level of the lab. Booth is doing pull-ups on a support bar as Zack and Hodgins come down the stairs.] ZACK: In some cases of valley fever, suppurating skin lesions appear. HODGINS: Could someone in a position of responsibility please order Zack to shut up? [The three men walk over to Goodman, who is standing near a cart of breakfast food as Angela enters from another direction.] ANGELA: Coffee. Coffee. GOODMAN: Good morning, Miss Montenegro. ANGELA: Where'd this come from? GOODMAN: Hazmat team brought it over early this morning. Very appetizing. [He turns to Booth.] GOODMAN: Are you back with us? BOOTH: Yeah, think so. ANGELA: Since we're gonna be stuck together for Christmas, we should make the most of it. BOOTH: How? ANGELA: We'll decorate this place and exchange handmade gifts. GOODMAN: An excellent idea, Miss Montenegro. ZACK: I can get behind that. HODGINS: I'm in. GOODMAN: As am I. BOOTH: How 'bout Bones? [Goodman, Hodgins, and Zack all shake their heads.] BOOTH: Aw, come on. What's the deal with Bones and Christmas? ANGELA: Last night I spun a little story about two young lovers running off to Paris. But the man never shows up, and the woman is left wondering what happened to him. And I say, "Imagine what that must have been like." And Brennan says, "I don't have to." BOOTH: Yeah I- I still don't get it. GOODMAN: Oh my God. BOOTH: What? ANGELA: Brennan's parents disappeared just before Christmas when she was fifteen. GOODMAN: And she never knew what happened to them. BOOTH: Oh, God. That explains a lot. HODGINS: Mm, yeah. GOODMAN: Yeah. ANGELA: Alright, we need a way to choose our Secret Santas. ZACK: I could build a random generator. GOODMAN: Ah, wouldn't it be better to match complimentary people in a premeditated manner? HODGINS: I've got five numbers in my head and five letters. You tell me the number and I'll tell you the matching letter. [As the three of them argue, Booth and Angela begin their own method of choosing, Booth writing names on paper.] GOODMAN: Are the letters sequential or the numbers sequential? HODGINS: Sequential, we'll go in order from oldest to youngest. ZACK: Six. HODGINS: There's no six. GOODMAN: A through E and one through five. [Booth clears his throat to interrupt them, holding up a metal container with the names in it.] BOOTH: Pick a name, and if you get your own, put it back in. GOODMAN: Oh, that could work. HODGINS: Yeah, that's good. ANGELA: Good idea. [Cut to: One of the catwalks above the central lab platform. Booth follows Brennan as she reads paperwork.] BOOTH: Feds seized the house is from a man named Gil Adkins in the sixties. Proceeds of crime from fencing, dealing in jewels, stolen art. Adkins built the shelter in '51, he sealed it in '58, he died in '83. What do you got? BRENNAN: Uh, nothing much special about our victim. You know about the toupee? Below average height, below average weight, a little frail. Had a bad back. He had a hunch, maybe from paperwork. BOOTH: Yeah, so basically a wimp. [Brennan hands him a paper.] BRENNAN: Contents of his pockets. BOOTH: Compass, pen Kn*fe, some change. Listen, I got Goodman for this Secret Santa thing, and I don't know what to get- BRENNAN: Anthropologically speaking, gifts are a way of asserting dominance in a group. Now imagine an entire holiday devoted to self-promotion, especially in this materialistic culture. How can you expect me to get behind that? How can you get behind it? BOOTH: Wow, that's deep. That's a very deep pile of crap. BRENNAN: You came to me with information this morning. A peace offering. But it was to make you feel better, not me. Proves my point. [She points to the photo.] BRENNAN: Any idea with this is? BOOTH: No. BRENNAN: Me neither. Try Dr. Goodman. [She starts to walk away.] BOOTH: You know, Bones, you make it very, very hard for me to be nice to you. [Cut to: Hodgins, Angela, Zack, and Goodman, sifting through various science supplies in an effort to make Christmas decorations.] ANGELA: We have to be extremely creative. HODGINS: Maybe string a bunch of test tubes together, fill 'em with luminescent liquids. ANGELA: Nice. Very festive. ZACK: They'll probably give us cancer. GOODMAN: That would be fitting this Christmas. ANGELA: Tidings of joy, gentlemen. Tidings of joy. GOODMAN: Decorations do not a Christmas make. Family and friends make Christmas. HODGINS: We're friends. [Goodman only looks at him.] HODGINS: We're... not friends. GOODMAN: We are colleagues, friends, coworkers, yes, but for a father like myself, like Agent Booth- [Everyone else pauses and looks at him.] GOODMAN: -a few glowing test tubes don't make up with missing Christmas morning with the children. ANGELA: Excuse me? ZACK: Be kind, rewind. HODGINS: Booth has a kid? GOODMAN: Ah. Well... Not common knowledge, I gather. [Cut to: Bone storage room. Booth has the contents of the suitcase laid out on a table. Goodman enters.] GOODMAN: I, ah, see you've decided to help Dr. Brennan with the case. BOOTH: Oh, you know, if Angela's right, sure, why not. I mean... a little something for Bones. Call it Christmas spirit. GOODMAN: My thoughts exactly. Um, I thought I might take a look at the contents of the suitcase with you. BOOTH: Why? GOODMAN: Ah, it beats cobbling together Christmas decorations out of pipettes and graduated cylinders. BOOTH: No, I mean, what makes you qualified to look at clues? GOODMAN: Well, I'm an archeologist. I'm good with artifacts. Do you mind? BOOTH: No. Archeologist? I thought you were an administrator. GOODMAN: I didn't start out that way. [He begins to look over the objects on the table.] GOODMAN: He was fastidious. Everything neatly folded as thought by a trained valet. [He picks up a shirt.] GOODMAN: This man was by no means wealthy. All the clothing is well-used and mended. BOOTH (looking at the shirt's tag): Yeah, 'Blackman and Ball, Fine Tailors, Washington D.C.' The rest of his clothes are all labeled from Tulsa, Oklahoma. [Goodman picks up some papers.] GOODMAN: Huh. Female handwriting. BOOTH: How'd you get that? GOODMAN: After Cuneiform, handwriting is a snap. 'Dearest Lionel...' BOOTH: No envelopes, no return address. GOODMAN: No signature either, just this drawing of a leaf. It seems to be dated from the summer of 1957 through to winter of 1958. With your permission, I'll read these? BOOTH: Yeah. Bones thought you might know what, uh, this is here. [Goodman picks up the small object with tweezers as Booth answers his ringing cell phone.] BOOTH (into phone): Oh. Hey, Rebecca. Yeah, thanks for calling. You heard what happened, right? GOODMAN (examining the object): Seems to be some kind of a pouch. BOOTH (into phone): You don't have to see me. Sid agreed to bring him by. Don't make me beg. [Goodman takes notice of Booth's conversation and appears to sympathize with him.] BOOTH (into phone): Thank you. [He hangs up.] GOODMAN: Everything alright? BOOTH: Yeah. [Cut to: Brennan and Hodgins walking across one of the catwalks.] HODGINS: Puparia show Lionel had valley fever. BRENNAN: We sort of knew that. HODGINS: Wow, was that a sh*t? Because I apologized. I mean, Goodman doesn't get to see his family, Zack doesn't get to see his kids, Booth doesn't get to see his son. At least I'm an accidental Grinch. All due respect, you're the Grinch on purpose. BRENNAN: I have no idea what you're saying to me. HODGINS: The Grinch is a relatively well-known creation of a children's author named Dr. Seuss. Listen, I got Angela for my Secret Santa thing and what I wanna do is blow up a microscopic image of the toxic mold Stachybotrys chartarum because I know she's very interested in fractal imagery. I thought that might appeal to her aesthetically. Do you agree? BRENNAN: I'm not really who you want to talk to about gifts. Wait- Booth has a kid? HODGINS: You didn't know? BRENNAN: No. HODGINS: I wasn't the one who told you. [He leaves.] [Cut to: Upper lounge, Booth is talking on his cell phone, Brennan standing a ways behind him.] BOOTH (into phone): Fall, 1958, heavyweight suit, kinda small, wool, black, first name Lionel, that's all I got... Thanks, I appreciate it, you know, it being Christmas Eve and all. I'll hold. [He turns to Brennan.] BOOTH: Lionel had a suit here made in town. The tailor shop, it still exists. His grandson owns it. But get this: they kept their records. We may be able to find Careful Lionel's last name. BRENNAN: Careful Lionel? BOOTH: Yeah. Little guy, toupee, drank a vitamin tonic, carried his own compass, all of his stuff just so. Careful Lionel. What was he so worried about? BRENNAN: Well, considering how he ended up... Wait, you have a son? BOOTH: Yeah. BRENNAN: You've never mentioned that. BOOTH: Well, nothing brings people together like a Christmas lung fungus. [He turns back to his cell phone.] BOOTH (into phone): Yes... That's great... When? ... Great. Thank you. Merry Christmas. [He hangs up.] BOOTH: Lionel Little. 'Kay, he picked up his new suit November 7th, 1958. He paid cash. He was supposed to come back the next day for a shirt. But get this: he never showed up. It was his wedding shirt. [Brennan sneezes.] BOOTH: Whoa, bless you. [They both realize what that could mean, eyes wide.] BOOTH: Uh oh. Is that valley fever? Bones... [Cut to: The group eating take out food and laughing at a table in the bone storage room, two television screens with animated hearths, compete with stockings hanging over a roaring f*re, are in the background.] HODGINS: So if Lionel was a coin collector, that might explain the levels of lead and nickel in his bone. ZACK: When do they insert the needle into your brain? BRENNAN: I sneezed because the air is dry. It's not valley fever. GOODMAN: Any other symptoms? Headache? ZACK: Any foul smelling pustules on your shins? BOOTH: Look, she sneezed twice, that's it. Did you find anything else about the letters? GOODMAN: Quite a lot, yes. They are very, very passionate love letters. BOOTH: Careful Lionel had a girlfriend. GOODMAN: A girlfriend who was in trouble. ANGELA: 'Pregnant,' in trouble? HODGINS: Whoa, apparently Careful Lionel wasn't so careful. BOOTH: Unmarried pregnant girl in Oklahoma in the late fifties... GOODMAN: You suppose Lionel came up here to procure an abortion? ANGELA: You know what? This isn't a very Christmas Eve type story. BRENNAN: Of course it is. The whole Christ myth is built upon the travails of an unwed mother. BOOTH: Okay, can we just stop bringing up the whole Christ myth thing? Alright, some people believe it's more than just a myth. BRENNAN: Well, who besides you? GOODMAN: That would be me, Dr. Brennan. I'm a deacon at my church. ANGELA: I do. Christmas and Easter, anyway. HODGINS: Although I believe organized religion is just another political movement designed to control the masses, doesn't mean God doesn't love me. [Brennan looks to Zack.] ZACK: Hey, I'm a rational empiricist all the way. Unless you talk to my mother. Then I'm Lutheran. BRENNAN: I can understand why you'd be sensitive, Booth. You have a child out of wedlock. [There's a moment of tense silence.] ANGELA: Sweetie... BRENNAN: What? GOODMAN: The letters display a combination of both block and cursive. ANGELA: A combination of both printing and writing? GOODMAN: It would indicate that she may have left school some time in the second grade. Most white children in those days would obtain at least an eighth grade education. BRENNAN: She was African American? GOODMAN: Why I believe so, yes. HODGINS: Is there any way Lionel was an African American? BRENNAN: No, no he was definitely Caucasian. ANGELA: A white man and a pregnant black girl in 1958 Oklahoma. ZACK: That was bad? GOODMAN: It was illegal. HODGINS: In Okalahoma? GOODMAN: Not just Oklahoma, here in D.C. ANGELA: Then why come here? BOOTH: They were running away. Lionel had two tickets to Paris, and where else in 1958 could a white man and a black woman get married and live together? OS: HAL: Visiting hours, folks. [Hal stands in the doorway in a protective suit.] HAL: Who's first? GOODMAN: As director of this institution, I claim that right. [He quickly stands and leaves.] ANGELA: Okay, brief announcement. You guys might recognize my dad, but I don't really want to talk about it, so, thanks. Okay? That's all. [Cut to: Lab sliding glass doors. 'Have Yourself a Merry Little Christmas' begins to play as we see clips of Booth, then Hodgins, then Goodman, then Angela waiting impatiently for their family members to arrive on the opposite side.] [Cut to: Goodman. He has a device on his ear, presumably to let him speak with those on the other side of the door. His face lights up as his wife and daughters appear. He crouches down and waves at them.] [Cut to: Hodgins. A brunette woman in a blue jacket, appearing to be his girlfriend, appears on the other side of the door to visit.] [Cut to: Booth, waiting, arms crossed.] [Cut to: Angela. Her father, a ZZ Top member, appears, and she smiles.] [Cut to: Brennan, off to the side, watching her coworkers interact with their families.] [Cut to: Zack. On the other side of the door from him is a large group of family members. They all wave, and he laughs.] [Cut to: Booth. Sid appears on the opposite side of the glass with Parker. Booth crouches down to his son's level, smiling.] [Cut to: Hodgins. He kisses his girlfriend through the glass.] [Cut to: Zack. A middle aged man on the other side of the door tells a story, wildly gesticulating, and the group laughs.] [Cut to: Brennan, off to the side, smiling.] [Cut to: Booth. He and his son both put their hands up to the glass.] [Cut to: Angela, who does the same as she talks with her father.] [Cut to: Hodgins. Both he and the woman put their hands up to the glass as well, over the lipstick marks on the door.] [Cut to: Goodman, who puts his hand up to the door against that of one of his daughters.] [Cut to: Zack. All his family members have a hand up to the glass, and he walks down the door, pressing his hand against each one.] [Cut to: Angela, then Hodgins, then Zack, then Goodman, then Booth all say goodbye and watch as their visitors leave.] [Cut to: Angela's office. On the Angelator is a three-dimensional Christmas tree. Brennan stands looking at it as Angela enters behind her.] ANGELA: You like it? BRENNAN: It's very beautiful. ANGELA: It's not done yet. We can put our presents under there, and we can... You think it's stupid. BRENNAN: No, Ange. What were your Christmas plans? [They make their way to the couch and sit down.] ANGELA: My dad and I get together, somewhere quiet, exchange gifts. Just the two of us. Since I was a kid, getting some time alone with my dad was always difficult. What is it with you and gifts, anyway? [Brennan doesn't answer, looking away.] ANGELA: I know your parents disappeared just before Christmas. BRENNAN: My brother Russ was nineteen and we were still in the house. ANGELA: That must've been strange. [Brennan gives a small nod.] BRENNAN: Russ found our presents in my parents' room... [Booth arrives in the doorway. Brennan, with her back to him, doesn't notice.] BRENNAN: ...and Christmas Eve, when I was asleep, he snuck down and made Christmas, trying to do the right thing for me. ANGELA: Christmas for his little sister. BRENNAN: But when I came down and saw the lights and the presents... ANGELA: You thought your parents were back. BRENNAN: I just expected to see them, sitting there, drinking their coffee, watching Russ and me open our presents. ANGELA: Oh my God. BRENNAN: I kind of lost it. I refused to open the presents until they came back... It was like I told Russ he wasn't enough family for me. Before New Years, he went out west to work and I was in the foster system. BOOTH: Excuse me... We have Lionel's Missing Persons file. BRENNAN: The tree is really, really beautiful, Ange. Really. [She gets up and leaves.] [Cut to: Catwalk above the main lab. Goodman, Booth, and Brennan are sitting on the edge, their legs dangling over the side.] BOOTH: Lionel Little was born May 19th, 1934, Tulsa Oklahoma. GOODMAN: 24 years old. BRENNAN: Fits the remains. BOOTH: According to the Missing Persons report lodged by his boss in January of 1960, Lionel Little worked as a lease inspector for Silver Cloud Petroleum out of Tulsa, Oklahoma. GOODMAN: Basically an accountant. BOOTH: Yeah. You know what, you were right about Lionel's coin collection. When Lionel vanished, so did most of his extensive coin collection. That was attached to the file. GOODMAN: Did the coins ever show up? BOOTH: Yeah, though D.C., Maryland, Virginia, Pennsylvania. The sales were traced to a Gil Adkins. Yeah, he made out about eight thousand dollars selling those coins. BRENNAN: Adkins k*lled Lionel for a coin collection? GOODMAN: Eight thousand dollars in 1958 translates to roughly sixty-four thousand dollars. BOOTH: Careful Lionel gets a young black girl pregnant, he sells his coin collection so he can them move to Paris and they can live together. GOODMAN: He offers the coins for sale to Adkins, who figures it'd be easier to k*ll the country bumpkin and steal the coins. BOOTH: Oh, also, um, the last person to see Lionel was a woman who cleaned his office, Ivy Gillespie. GOODMAN: What's the significance of that? BOOTH: Does this look like an ivy leaf to you? [Booth passes Goodman one of the letters, pointing to the leaf signature on the bottom.] GOODMAN: Ivy Gillespie. Race: n*gro. BRENNAN: Oh my God. OS: ANGELA: You have to find her. [Angela appears below them, on the lab platform.] ANGELA: Ivy. GOODMAN: Ivy Gillespie may not even be alive and if she is, this could be a reminder of an extremely painful time of her life. What would we accomplish? ANGELA: You have to find the girl and tell her what you know. [She looks to Brennan.] ANGELA: Don't you see? You can give her the answer that you never got. BRENNAN: Angela. ANGELA: I'm sorry, sweetie, but it's true. You have a chance here. BRENNAN: To say what? "Merry Christmas, Ivy Gillespie, your fiancé was m*rder and your life was ruined, but hey, at least you get to know what happened to him."? ANGELA: Don't you wish somebody had said that to you? [There's a pause.] BRENNAN: Yes. [She gets up and exits.] [Cut to: Later, Brennan's office. She is working frantically to get in contact with Ivy Gillespie.] BRENNAN (into phone): I realize it's Christmas Eve, but it's extremely important that I find Miss Ivy Gillespie. We know that she was a cleaning lady at the Silver Cloud Petroleum in 1958 and 1959. After that, we don't know... [Cut to: Hodgins working on his Secret Santa gift, concentrating on cutting a paper with an x-acto Kn*fe.] VO: BRENNAN: I wouldn't interrupt your Christmas- [Cut to: Zack, working on his robot.] VO: BRENNAN: -except this is very, very important to a friend of mine. I don't want to take time from your family- [Cut to: Goodman, working on his own Secret Santa gift.] VO: BRENNAN: -but I have extremely important news for Miss Gillespie regarding a loved one. [Cut to: Booth, with a stack of paper, cutting some of them.] VO: BRENNAN: Do you have an address or a place of work or... anything? [Cut to: Angela, drawing on a pad of paper.] VO: BRENNAN: I've made dozens of calls this evening in an effort to track this woman down. It's that important. [Cut to: Brennan, on the phone, in her office. She hangs up the phone. Time lapse: she's on the phone again.] BRENNAN (into phone): Assisted living? Is her last name still Gillespie? [We see Brennan using the internet to search for assisted living homes in Maryland.] BRENNAN (into phone): Yes, Merry Christmas to you, too. [Time lapse. Brennan is still on the phone. Angela enters in the background to put her Secret Santa gift under the tree. As Brennan talks on the phone, the others come in and put their gifts below the three-dimensional tree.] BRENNAN (into phone): Hello? Yes, I was wondering if you could tell me if you have any guests there first name Ivy, born January 21st, 1934, she'd be African American... Yes, I apologize, I should've started with Merry Christmas. [Time lapse: Angela is asleep on the couch, Brennan still on the phone. Text on the screen reads: CHRISTMAS DAY.] BRENNAN (into phone): Date of birth is January 21st, 1934. She's African American... Yes, Ivy. Her name is still Gillespie? Yes, if her granddaughter's right there... Yes, hello, I'm Dr. Temperance Brennan from the Jeffersonian Institution in D.C. I have information that might be very interesting to your grandmother. [Angela awakens and sits up.] BRENNAN (into phone): I can be reached through the Medico-Legal lab here at the Jeffersonian. And tell her Merry Christmas. [She hangs up.] ANGELA: You found Ivy Gillespie. [Brennan nods.] BRENNAN: In an assisted living facility near Bethesda. I spoke to her granddaughter. ANGELA: Thank you. BRENNAN: She might not get in touch with us. ANGELA: She will BRENNAN: Because it's Christmas? ANGELA: Yes. [Cut to: Brennan's office. She's seated at her desk, with some of Lionel's things. She picks up one of the coins and slides it into the small pouch. Booth enters.] BOOTH: You find something? BRENNAN: Two things that fit together. BOOTH: Angela sent me. She says it's Christmas. BRENNAN: Okay. BOOTH: You still think there's more to learn about Lionel Little and Ivy Gillespie? BRENNAN: There's always more to learn. [He moves to leave.] BRENNAN: Hey. I'm sorry you didn't get Christmas morning with your little boy. BOOTH: Thanks. [He walks away.] [Cut to: Angela's office. The rest of the group is gathered, and Brennan enters.] ANGELA: Good. Okay, everybody. Stand over here. [She leads them nearer to the Angelator.] ANGELA: Close your eyes. [They do, and she fiddles with the control pad to bring up her three-dimensional Christmas tree, now complete.] ANGELA: Open your eyes. [They open their eyes, and impressed by the sight before them, commend Angela on her work with kind words and applause. They all hug and shake hands, wishing each other merry Christmas. As the group continues to fawn over the tree, Brennan slips out of the room.] [Cut to: Angela's office, later. The group is opening presents. Angela is working the wrapping off of her gift.] ANGELA: Look at all these gifts! BOOTH: We should be drinking eggnog while we're doing this. ANGELA: I wonder what this is. [She pulls out the framed picture.] ANGELA: Oh my God. It's beautiful. What is it? HODGINS: It's... prettier if you don't know the details. GOODMAN: That is beautiful. ANGELA: Thank you. [Goodman is next, opening his box.] GOODMAN: I wonder what it is. ANGELA: What did you get? [He pulls out an intricately crafted bird made out of paper.] GOODMAN: Very impressive. OS: HODGINS: Whoa... GOODMAN: You made this? BOOTH: Yeah. GOODMAN: Thank you. ZACK: I'm next. [He slides the tie off of his present, a rolled-up sheet of paper.] ANGELA: It's from me. [He unrolls the paper to see a drawing of a large group of people.] ZACK: It's my family. And me. Thank you. ANGELA: You're welcome. [Hodgins opens his gift, pulling out a replica of a beetle.] GOODMAN: Arabara sassar. HODGINS: A sacred scarab. That is excellently rendered, sir. Thank you. ANGELA: That's cool. GOOMAN: You're very welcome. [Booth opens up his gift, pulling out the small robot.] BOOTH: Wow. Zack, that's, uh- ZACK: Self-propelled, nonautonomic unit. HODGINS: It's a robot. ZACK: I thought if we get out of here in time today, you could give it to your son. BOOTH: Merry Christmas. [He gives Zack a vigorous, enthusiastic handshake.] OS: ANGELA: Oh, Zack. BOOTH: Thanks a lot. ZACK: You're welcome. [They each look down at their gifts with fondness.] [Cut to: Brennan sitting in her office, staring at an enlarged photo of the earlier coin from the pouch on her computer screen. Booth enters.] BOOTH: Look, Bones, here's the thing. What if a gift goes both ways? What's wrong with that? BRENNAN: Look at this. BOOTH: Yeah, it's a penny. BRENNAN: It's not just a penny, it's a 1943 bronze one-cent piece. BOOTH: Look, all I'm saying is maybe the real gift is when you accept something with a little grace. BRENNAN (holding up the coin): Over a billion pennies were minted in 1943, most of them in steel to conserve copper for World w*r II, but a handful were struck in an old style bronze planchette. Only about twelve of them exist today. BOOTH: Whoa. And this is one of 'em? BRENNAN: Yes. BOOTH: Huh. How much is it worth? BRENNAN: Over a hundred thousand dollars. [Booth places the coin back in Brennan's hand extremely carefully.] BRENNAN: Lionel never showed Gil Adkins the best part of his collection. Adkins m*rder him, never knew there was a fortune in his pocket. BOOTH: Well, it looks like Careful Lionel got the last laugh. [Goodman appears in the doorway.] GOODMAN: Ready? It's time for our test results. [Cut to: Lab entryway. Hal and another man are in protective suits around a machine with two monitors. The Jeffersonian group waits on the lab steps. The top monitor flashes a green bar.] BOOTH: Green, green. Is that green as in go, or green as... stick a needle in your brain? [Hal takes off the head covering of the suit.] HAL: Merry Christmas. [Everyone but Brennan hurries off of the stairs as the doors unlock with a loud buzzing noise.] HODGINS: Yes! We are outta here! Merry Christmas everyone! [After the rest of the group has left, Booth hesitates and turns back toward Brennan.] BRENNAN: Go. Go have Christmas. Wish your boy merry Christmas for me. BOOTH: I'm at Wong Foo's if you decide you want company. [She gives a small nod of understanding.] BOOTH: Merry Christmas, Bones. [He leaves. Brennan turns to walk back up through the lab.] OS: LISA: Excuse me. [Brennan turns back to see two black women entering. She walks over to them.] LISA: Hi, my name is Lisa Pearce, and this is my grandmother Ivy Gillespie. Are you Dr. Brennan? BRENNAN: Yes. [Cut to: Brennan's office. Ivy is seated on the couch, examining the wedding band from Lionel's jacket. Lisa sits and Brennan stands nearby.] IVY: I gave birth to a half-white in Oklahoma, 1960. Lionel's daughter. Raised her myself. No education. Got her to college. She died eight years ago. LISA: And grandma raised me after that. IVY: Her mother was a nurse, and Lisa's gonna be a doctor. LISA: Grandma, I can't afford college. [Ivy shakes her head.] IVY: So Lionel was m*rder? BRENNAN: In 1959, yes, by a man named Gil Adkins. IVY: And you can figure that out all this time later? BRENNAN: He had these. [She hands Ivy the tickets from the suitcase. Upon looking at them, Ivy is touched.] IVY: Tickets to Paris? LISA: Grandma, isn't that what he promised you? A life in France? IVY: I thought the worst of him. LISA: Thank you, Dr. Brennan. BRENNAN: I have something even better. [She hands Lisa the penny.] IVY: What could be better, if giving me back my life? LISA: It's a penny. BRENNAN: There's something you oughta know about that penny. [Cut to: Wong Foo's. Brennan walks through the door and sits herself next to Booth at the bar. Sid approaches, Santa hat on his head, with glasses of eggnog.] BRENNAN: Drinks. SID: Ah, yes. Christmas spirits, well, the come in many a guise. BOOTH: Cheers. [All three clink glasses.] BRENNAN: Ivy Gillespie came to the lab after you left, with her granddaughter. [Booth only smiles.] BRENNAN: Don't you want to know what happened? BOOTH: I know what happened. You told her about Careful Lionel. You showed her the letters, the tickets. She cried. But you made her happy. BRENNAN: Not to mention I gave her a penny worth over a hundred thousand dollars. BOOTH: She won't care about that today. You just gave somebody the best Christmas gift they could every get. Who's the Secret Santa now? [He nudges at her with his elbow playfully.] BRENNAN: Stop. [Zack's small robot, on the counter nearby, leans forward and starts doing push-ups in response to Brennan's voice.] BOOTH: Whoa. [They laugh.] BOOTH: And that weirdo assistant of yours just made me the coolest dad in the world. OS: PARKER: Daddy! [Parker comes running towards Booth.] PARKER: Daddy! [Booth picks him up and kisses him on the cheek.] BOOTH (handing him the robot): Hey, look. Look at this thing. PARKER: Can it flip? BOOTH: How cool, it can flip, trip, swim, whatever you want. [He leans close to Parker's ear.] BOOTH (in a whisper): Can you say 'Merry Christmas'? PARKER (to Brennan): Merry Christmas! [Brennan waves to Parker, who returns the gesture, before Booth turns and leaves. Parker waves again over his father's shoulder as he's carried off.] BOOTH: Okay, big guy... [Cut to: The empty lab. All the lights and decorations switch on. Brennan is standing at the foot of the lab platform. 'Have Yourself a Merry Little Christmas' begins to play in the background.] [Cut to: Brennan's office. She pulls a green box out of a cabinet behind her desk.] [Cut to: Angela's office. The green box is open underneath the three-dimensional Christmas tree. Brennan takes one of the few gifts inside over to the couch. The envelope with the present has her first name on it, and she opens it, pulling out a Christmas card of a Santa with sunglasses, the front reading 'Ho! Ho! Ho!' and the inside reading 'Merry Christmas!'. Underneath the generic message is written, in pen, 'To our Temperance, Much Love, Mom and Dad, Merry Christmas'. She sets the card down and picks up the present. She peels off some of the wrapping paper and pulls out a plain white box. She opens up the box, looks inside, and smiles, teary eyed.] [Fade to black.]

{"type": "series", "show": "Bones", "episode": "01x09 - The Man in the Fallout Shelter"}

foreverdreaming

"The Woman at the Airport" Episode 1x10 Written By: Teresa Lin Directed by: Greg Yaitanes Transcribed by: dizzy_dia Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [The scene opens on a skeleton displayed on top of a lab table in the room of body drawers. As Dr. Goodman begins to speak the camera pans away from the skeleton to reveal Dr. Goodman, Zack and Dr. Brennan.] Dr. Goodman: These remains, dating from the Iron Age, were found at the bottom of shaft three at the site. There were five sets of human remains found. This is the only one found whole. Zack: He's in good shape. Brennan: Fifteen hundred years old, he shouldn't look this good. Dr. Goodman: Which is why we're here. We're going to either authenticate the find as a set of human remains from the Iron Age ever found or dash the hopes of a thousand scholars. Let me know how it turns out. Brennan: Dr. Goodman, this is extremely prestigious. Aren't you going to be part of the team? Dr. Goodman: No, I have an institution to run. Zack: Didn't you use to be an Archeologist? Dr. Goodman: Yes, Mr. Addy. Thanks for reminding me. (Dr. Goodman leaves.) Brennan: (to Zack) x-rays, pictures, we're going to do this without touching the actual skeleton as much as possible. Zack: Kid gloves? Brennan: Latex should be all right. (Pauses) Zack, were you being metaphoric? Zack: I decided to give it a sh*t, which is also metaphoric. [Brennan walks into her office to find Booth sitting in her desk chair with a very cheerful smile gracing his face. Her face immediately shifts to annoyance as she walks toward him.] Brennan: (sighs) I need a receptionist. I can't just have anybody waltzing in here. Booth: Take a look at this. (Holds up sheets of papers) Brennan: (takes the papers from Booth) A bunch of red circles? Booth: Each circle shows were a body part was found. Brennan: What is this, an airport? Booth: Los Angeles International. Local pathologist says the remains are in pretty bad shape. Brennan: So he punted it to the FBI. Booth: Airports, they fall under Federal jurisdiction. Excellent use of the word punt. Brennan: I can't go to Los Angeles. I have an Iron Age warrior to authenticate. Booth: Iron Age warrior, when was the Iron Age? Brennan: Fifteen hundred years ago. Booth: Fresh body bits just a little more urgent. Bones: You do realize there are a lot more fresh bodies then there are perfect specimens from the Iron Age? Booth: You know, when you say things like that it's just to bug me, right? [Cut to Dr. Goodman's office. He is seated at his desk and across from him are Brennan and Booth are arguing.} Dr. Goodman: Do we have to go through this every time? Booth: Exactly. Brennan: Booth can't just walk in and say (smacks hands together) pack your bags we're going to LA. Booth: Oh, yeah, yeah, the whole Ice Age warrior thing. Dr. Goodman and Brennan: Iron Age. Brennan: And that's not the only thing. Dr. Goodman: Homeland Security has just asked Dr. Brennan to identify three bodies found d*ad in... Brennan: I'm not allowed to say. Dr. Goodman: The point is Agent Booth, Dr. Brennan is in great demand on several pressing cases and she's needed here at the museum. Why should I send her to California? Booth: Sexy case in Hollywood. How much more good press could the Jeffersonian get? (Dr. Goodman folds his hands on his desk and leans forward. His interest has peaked.) Brennan: But, Dr. Goodman, you said the Iron Age warrior was of the highest priority. Dr. Goodman: I can step in on that case. You pack your bags. [Cut to Arial sh*ts of California. Cut to a sunny street lined with palm trees. Booth, wearing sunglasses and a content smile, is driving a black convertible mustang. Brennan is riding g*n and she is bating Booth.] Brennan: This car doesn't feel very FBI-y. Booth: Bones this is a nineteen sixty-six Mustang. It's a classic and what goes better then that with the FBI? Brennan: How come on the rental agreement under model you made the guy write sedan? Booth: C'mon. We're in California. (Puts his arm around her shoulders.) Look palm trees. Brennan: You know I'd like to drive sometimes. Booth: Look, our contact out here is Special Agent Trisha Finn. Brennan: I'm an excellent driver. Booth: Okay, Rain Man. Brennan: I don't know what that means. Booth: I'm always gonna drive. You know that, right? Me behind the wheel; you over there on the grandma side. Brennan: I'm not above telling Deputy Director Cullen what kind of car you rented. [Cut to the exact same scene, but now Brennan is driving and Booth is pouting in the passenger seat. The scene fades away] [Cut to an exterior sh*t of the Jeffersonian. Cut to the lab where Dr. Goodman, Hodgins, and Zack stand around the Iron Age skeleton. Dr. Goodman is pacing next to the skeleton and studying it intently. Hodgins is looking at Dr. Goodman. He is annoyed and already frustrated. Zack is watching Dr. Goodman and is very confused as to what they are doing.] Hodgins: Do you want us to do something or just stand here and watch? Dr. Goodman: I'm getting a feel for the fellow. Zack: A feel? Hodgins: Look, there's no bugs on him, haven't been for over a thousand years. Dr. Goodman: There may be spores and pollens, correct? Hodgins: Probably not. Dr. Goodman: Dozen of species of pollens have been discovered from the crustaceous era. How long ago was that? Zack: (raises hand) sixty-five million years. That was a pretty good come back. Dr. Goodman: When authenticating a find like this we have to be at the top of our game. Hodgins: We all know that you're going to say I'm unable to authenticate with confidence. Zack: Why would he do that? Hodgins: When you declare something authentic you run the risk of being proven wrong. That doesn't happen if you equivocate. As head of the Jeffersonian, Dr. Goodman will place the reputation of the institution over everything else. Dr. Goodman: I'm an archeologist. My findings will be congruent with the facts. Hodgins: With all due respect, you used to be an archeologist. (Hodgins and Dr. Goodman glare at each other) Zack: (Looking back and forth between the two) I have no idea what's going on between you two right now. [Cut to a California desert airport. A plane is flying overhead and Brennan and Booth are standing near the crime scene with agent Trisha Finn, a young blonde agent.] Brennan: Agent Finn, why was the body removed from the crime scene? Finn: Call me Trisha, Dr. Brennan. The body was removed because parts were visible to arriving flights. (Hands Bones a map of the crime scene) Here's a map of the crime scene with a legend. Now there's a marked cone at the location of each body part and each photograph corresponds to a cone. That's how they did it in your book. Booth: She got that from me. Brennan: This is not a dismemberment. Booth: Okay, are you sure Bones? I mean this is Los Angeles. You know, they're showy. Finn: Is it possible that the body parts were ground up in a landing gear then dumped when the airplane landed? Brennan: The dispersal rate is wrong. It looks to me like the body was pulled apart by a pack of dogs. Finn: More likely Coyotes. Brennan: Coyotes at the airport? Finn: We got Coyotes everywhere. Brennan: (to Booth) Did you know that? Booth: No, I thought Coyotes were a cowboy thing. Brennan: I'd like to see the remains now. [Cut to a large, sterile, and empty lab. On a examining table are the remains. Brennan, Booth, and Agent Finn stand around it. Agent Finn looks slightly sick.] Brennan: I need all the dirt, silt, bits and pieces collected with the body parts sent back to the Jeffersonian immediately. Booth: You know what I like, when there's no flesh on the bones. Just a personal preference. Brennan: (picks up an arm and studies it.) There's not much left anyway. Finn: Eww. Dr. Brennan, as a screenplay writer myself I'd be happy to help you in anyway I can with regard to your movie. Brennan: Excuse me? Finn: Someone told me they're thinking of making your book into a movie. Booth: Say something Bones. Brennan: Well, all I know is I'm supposed to meet some big movie producer while I'm here, if I have time, which I probably won't. Does the pathologist need any further access to the remaining soft tissue? Finn: Uh, no. He got everything out of it he could. So my own screenplay is about this FBI agent who finds herself on the trail of a former boyfriend... (Bones tears what is left of the skin from the skull) Oh, uh, God. Booth: It's okay if you have to leave. (Finn walks away as quickly as she can. Her hand covers her mouth and she makes groaning noises) Brennan: (holds up the skull and studies it much closer then she studied the arm.) This is not good. Booth: Yeah thanks for that insight. Brennan: No, I mean the architecture of the skull has been radically altered. Booth: You mean by rotting and being eaten by coyotes and having the face ripped off by you? Brennan: No, by surgery...lots of surgery. I'm not sure I'll be able to tell who this was. [Roll Intro.] [A large screen is now placed in the center of the lab in California. The screen shows a lab at the Jeffersonian and Zack Addy can be seen on screen. Brennan is speaking to Zack and studying the remains.] Brennan: Are you getting the feed Zack? Zack: (pops into view on the computer screen) Yes, Dr. Brennan. I'm looking at the x-rays you beamed me. Brennan: I'm going to have the bones cleaned, but there are still vestiges of flesh. Zack: Hodgins got the clothing remnants and silt this morning. Brennan: Are you there, Ange? (Angela pulls Zack out of the way and sits down.) Angela: Is it sunny sweetie? Tell me it's sunny. Brennan: It's sunny. I sent you the entire skull. Angela: You want a reconstruction? Brennan: If you can. Angela: If I can? Have I ever failed you? Brennan: This one's different. You'll see what I mean when you get it. Zack? Zack: (Appears on screen.) Here, Dr. Brennan. Brennan: I make this a young woman. Zack: Early twenties from the look at the x-rays. Brennan: Cause of death? Zack: I see evidence of s*ab. One h*t to the sternum, two to the p*stol cartilages. Brennan: Estimated time of death? (Angela pushes her chair closer to the computer so she is visible next to Zack on screen.) Zack: Degradation of the remains suggests the body was left out in the open between a week and ten days and the marks on the bones suggest carnivorous feeding beyond insects, birds, and rodents. Brennan: Coyotes. Zack: They have coyotes? Brennan: Yes. Zack: That explains the dispersal of remains. A pack of coyotes finds the body, pulls it apart, and spreads out to eat in solitude. Brennan: The teeth are veneered. Zack: The jaw has been broken and reset, same with the right leg. Have you seen any movie stars yet? Brennan: No, why? Zack: Apparently, it's a contest when you go to LA in which the winner is the person who sees the most celebrities. (Zack exits the screen and Angela takes his place in the center of the screen.) Angela: You have a whole skull, right? Brennan: Yes. Angela: So why is this going to be so difficult? Brennan: You'll see. Ange On the Iron Age project, Goodman does this thing; Hodgins isn't going to like it. Angela: What thing? Brennan: He theorizes in a way. It sounds like he's making stuff up. It's hard to explain but it's going to irritate Hodgins. Angela: Honey, you're in California. Forget the Iron Age. Say these words, 'Sky Bar'. Go there tonight; tell me everything. (Zack swings the camera to him and puts his face up to it.) Zack: Dr. Brennan, one of these x-rays shows two dark clumps near the pelvis. Brennan: Behind what's left of the spleen. (Booth enters.) Booth: I got a list of missing persons, women in their early twenties. (He sees Bones rip something out of the body) Oh boy do I really have to be here for this part? Zack: Do you think she swallowed that? Booth: Could be because she was a drug mule. Brennan: (holds what looks like a round gel pack in her hand) It's an implant, breast implant. Booth: Those come with serial numbers. Brennan: We should be able to identify our victim in a couple of hours. [In the main lab at the Jeffersonian Hodgins, Goodman and Zack are once again standing over the Iron Age skeleton. Mr. Goodman is describing the way he was buried as all three study the skeleton. Hodgins rolls his eyes at Goodman.] Dr. Goodman: Unlike other burials of the time in which the remains were found in a semi fetal position, this fellow was found on his back, arms at his sides, with a piece of decorated antler on his chest. Hodgins: Do you actually need me here? Dr. Goodman: The antler honors him as a hunter although his w*apon tell us he was a warrior. Zack: He was in his mid-thirties when he died. He was 1.88 meters tall. Hodgins: You know there's all the detritus from Brennan's Hollywood crime to sift through, Dr. Goodman: Six foot one, a big man for his time, feared by his foes, respected by his neighbors. Hodgins: Encourage that much conjecture in Archeology, huh? Dr. Goodman: His bones bear the marks of battle. His w*apon are of good quality, well used. He's old for a warrior yet how did he die Mr. Addy? Zack: Looks like Tuberculosis. Dr. Goodman: A proud man. This is not the ending he would of wanted yet he was surrounded by family and friends, a good death. (Hodgins rolls his eyes) Hodgins: Oh please, now you're describing a scene from Lord of the Rings. Zack: I liked that movie. Dr. Goodman: He was buried with respect, w*apon, jewelry. His family did not stint or pilfer. Have you found any spores or fungi, Dr. Hodgins? Hodgins: Yes, they correspond both with the time he lived and the geography in which he was found. Dr. Goodman: Hmmm Hodgins: What? Dr. Goodman: I'd like details. Hodgins: You mean like a written report? Dr. Goodman: Yes, our findings will have to bare scholarly scrutiny from our peers. (Hodgins sh**t Dr. Goodman one more frustrated look before walking away.) Dr. Goodman: (to Zack) What's his problem? [sh*ts of beautiful women on a rooftop pool in California. Brennan and Booth are standing against the rail at the far end of the roof. They are discussing the case, but Booth keeps coming back to how lavish a hotel Brennan gets to stay in.] Booth: My hotel doesn't even have a pool. Brennan: Well, you're welcome to use mine. Finn: [Walking over to Booth and Brennan] Well, the breast implant lead went nowhere. Brennan: What about the serial numbers? Finn: Uh, the implants were reported stolen six months ago. Our victim must have gotten them off the black market. Brennan: There's a black market in breast implants? Finn: Yeah, we have the name of the doctor from whom the implants were stolen. Brennan: Who uses a black market breast implant? Booth: Back alley plastic surgeons use them. They're not even real doctors. Finn: Are you going to write the screenplay? Brennan: What screenplay? Finn: The one based on your book. Brennan: Well I guess maybe the producer I'm meeting will tell me. Booth: Okay guys; let's turn our attention back to the m*rder victim. I'd like to go pay a visit to Dr. Boobs. Finn: Why? If implants were stolen from him, he won't know anything. Booth: Because it's the only lead that we've got Finn and leads are great for screen plays or even, say, if you're actually working a real case. (Finn gives him a pissy look and Booth whistles.) [Angela is in her office, at her desk, working on a skull reconstruction. Zack enters holding something behind his back.] Zack: I have something for you. Angela: Is it chocolate? Zack: No. Angela: Then I find my interest has flagged. (Zack pulls a clean skull from behind his back) Angela: Nice. (She takes it from him.) Who is it? Zack: It's the Hollywood m*rder victim. Angela: Oh my God. I see what Brennan means. This woman has had a lot of surgery. Zack: What's with Goodman and Hodgins? Angela: Oh, they're guys. They should just lay them out on the table and measure. Zack: Lay what out on the table and measure? Angela: Okay, awkward moment. Let's just say they have different approaches and they're guys, okay? Zack: I'm a guy. Angela: You're more highly evolved. (Placing tissue markers on the skull) This girl didn't just change her face; she changed her skull. This is going to make Brennan nuts. Zack: You know one thing. Angela: What's that? Zack: She's going to be beautiful. Why would anyone go through all this pain and not end up beautiful? Angela: Do the names Michael Jackson or Joan Rivers mean anything to you? Zack: One of them. The other I'll look up. [Cut to a plastic surgeon's large waiting room. Booth and Finn are sitting in a couple of chairs reading magazines while Brennan paces. She is ranting about plastic surgery.] Brennan: Every culture nurtures ideals of beauty toward which people strive. Fine, but in the future people will look back upon the surgical alterations... (Booth lowers his magazine and catches the eye of a patient sitting near them. She glares, annoyed and Booth looks up at Brennan) Brennan: (sits) of the nose or breasts or buttocks with the same horror that we regard binding of the feet or the use of bronze coils to extend the neck. Booth: Do you want to speak up because it's really hard to hear every word in this very very quiet waiting room? Brennan: It's barbaric. It's painful. (Looks at the woman waiting.) It's wrong. This m*rder victim may never be identified because some glorified barber with a medical degree had the arrogance to think that he could do better then the millennium of evolution. (Booth hides his face in the magazine.) Finn: Do you know what producer you're meeting with, Dr. Brennan? Brennan: No, my publisher didn't give me a name. I don't know what a producer does specifically. Finn: Nobody does, but it's really important. Secretary: Dr. Kostov will see you now. Booth: (gets up) You can remain here Agent Finn. Finn: (disgruntled) Yes sir. [The plastic surgeon's office. Booth sets the breast implant from the d*ad girl down on the doctor's desk. Brennan and the doctor are seated at the desk and Booth joins them.] Booth: Do you recognize this Dr. Kostov? Kostov: That would be your high profile double lumen full 'C' saline. Booth: Yeah it's from a shipment of implants you reported stolen six months ago. Kostov: I have a hard time believing you're returning one implant to me. Brennan: I found it in the remains of a m*rder girl. Booth: Have many more of those stolen implants been recovered? Kostov: Yeah. Approximately three weeks ago there was a uh, faulty one had to be removed by a surgeon out in the valley. Booth: From whom? Kostov: A Heidi Brennan: I don't know what that means. Booth: LA speak for call girl. Kostov: LAPD was investigating. They can tell you what agency the girl was working for. (Looks at Brennan.) You have the most beautiful bone structure. Brennan: I can't take credit. It's genetic. Kostov: How old are you? Brennan: Why do you want to know? Kostov: Well it's never too early to watch problem areas (gets up and walks over to her) the jaw, little pouches beneath the eyes. Do you mind? Booth: You touch her; she'll break your arm. She thinks what you do is... Brennan: Barbaric. (Glares at him.) Booth: (laughs) No, don't look at me. I like my face the way it is. [Cut to Brennan sitting in a red plastic covered bed back in her hotel's pool area. She is lying on her stomach with her laptop open and she is talking to Angela who is her lab working on the reconstruction. The scene switches between the two places.] Angela: Sweetie, I'm having a hard time with this skull. Brennan: Did you try filling in the surgical scoring. Angela: I can't be definitive. All the usual indicators have been modified. I reconstructed three facial variations. She had her cheekbone shaved, her chin changed, her jaw reconstructed. (Sends images of the girl to Brennan's computer) That's just what she did to her bones. We don't have a clue what she did to the soft tissue. Her nose, her brows, her cheeks. Brennan: Just start with her basic architecture. We'll go from there. Angela: The basic architecture is what I can't find. Brennan: You're going to have to make a best estimate. Angela: Did you just tell me to guess? (Angela is looking at Brennan's image on a large screen in the lab. Brennan is lying down.) Brennan: No, I said make a best estimate based on your experience and expertise. Angela: Okay, well dress it up however you want, but it's still a guess. Look my experience and my expertise don't extend to this. A facial reconstruction might not be helpful in this case. Brennan: Angela, I told you it would be hard just...do what you can. Angela: Okay Bren, you're being a little edgy and tart with me and all I'm trying to do is tell you the truth. Brennan: What this young woman did to herself, it's as if she completely removed her own identity. Who hates herself so much that she not only changes her looks but her core architecture? If we don't know who she is, then how will we be able to catch the person who m*rder her? Angela: Is that your way of apologizing? Brennan: Yes, Angela. Angela: I accept. I love your guts, Sweetie. [Cut to the LA FBI office. Brennan and Booth are sitting across a small table from a classy looking businesswoman. She turns out to be a madame. Agent Finn is pacing. They are discussing the remains and the stolen breast implant.] Brennan: According to LAPD, a black market breast implant from the same shipment showed up in another girl from Aphrodite Escorts. Finn: Are you missing anyone? Booth: We're not looking into your business, Miss Bardu. We're just trying to solve a m*rder. Bardu: I haven't heard from Rachel in two weeks. Finn: Is that unusual? Booth: I prefer to ask the questions my own way, Agent Finn. Thanks. Bardu: Rachel booked out at a one-week rate. She knows to check in with me if the client wants to extend the contract. It's time to worry. Brennan: (Hands Bardu pictures the pictures Angela had sent her) Do any of these women resemble Rachel? Bardu: If I had to pick one, this is the closest, (points to one of the pictures) but not really. Booth: Hmmm, does Rachel have a last name? Bardu: Rachel wasn't even her real first name. Finn: Ah, she goes by Rachel Ashaunce. Bardu: Rachel went to Vegas with a long time customer. Booth: I need his name...(Bardu looks like she's not going to answer.) Miss. Bardu it's always the same story, beautiful young woman...somebody wants to meet her, somebody can't have her, somebody dies. Bardu: Dr. Anton Kostov, an assembly line nip tucker in town. If that's all? Booth: Do you have a card Miss. Bardu? Bardu: (Hands Booth a card) We provide a law enforcement discount. Booth: (takes card) Ah. Brennan: Miss. Bardu, do you have any idea of what Rachel looked like before her plastic surgery? Bardu: Which time? [Cut to Angela's lab and the 3D image processor. Angela, Goodman, Hodgins, and Zack are standing around the processor. A 3D image of a man's face is hovering above them. Angela has her electronic notepad in her hands and is explaining the image.] Angela: The skull is in extremely good shape. Zack: Cranial measurements are congruent with age and sex as Celts and Pre-Aryans. Dr. Goodman: Which matches the location of the find. Angela: I used Zack's new tissue depth for the markers. However, every skull requires its own unique demands. Dr. Goodman: Are you certain of your calculations Miss. Montenegro? Angela: A lot more certain then I am on Brennan's Hollywood hooker case. Dr. Goodman: This is a Pict. Picti actually mean painted ones in Latin. The Romans feared them. Very little is written about them or by them. Fierce warriors falsely reported to be small in stature. Hodgins: He's a Pict, so what? Dr. Goodman: The Pict's are from the far far north of the British Isles, far above Adrian's wall. The remains were found in an archeological site in southern England, near Wales. Hodgins: A Pict can't go for a walk? Dr. Goodman: These remains represent an archeological anomaly. This is unique in that no Pict has ever been found this far south before. Zack: If we could remove the clothing and take a closer look at the bones. Hodgins: It's a face. Maybe Angela got it wrong. Angela: Hey! Hodgins: Zack screwed up the measurements. Zack: Hey! Hodgins: This whole Pict business sounds like one of your stories. Dr. Goodman: (sighs) Enough. (He leaves the room) Angela: (to Hodgins) Are you trying to get fired? Hodgins: Science is no country for storytellers baby. [Cut back to the California lab. Brennan and Booth are looking at on-screen visuals of the skull. They are bouncing ideas off of each other.] Booth: Kostov knew Rachel as a patient and she knew him as a client. Brennan: Kostov wasn't the victims' only plastic surgeon. These are ten times magnifications of the victims jawbone surgery. Kostov doesn't do work this sophisticated. Booth: Meaning she had more then one plastic surgeon. (Zack appears on the computer screen to the left.) Zack: Zack Addy. I live to serve. Brennan: Zack this facial surgery...the edges of the bone are almost scalped as if the blade simultaneously cut and applied torsion. Zack: You need to know if this procedure is recognized and sanctioned by the American Medical Association. Booth: You think Kostov is performing illegal surgical procedures? Brennan: It won't help us discover the identity of our victim (Hodgins pushes Zack out of the way on the screen behind her. Zack shouts 'hey!' in the background.) but it might help us catch her k*ller. Booth: That's the point Bones. Brennan: What? Booth: To catch the m*rder. Hodgins: I'm sending you a catalog of all the stuff they sent me. Soil samples, pollen, particulates, etcetera that were on the body parts. Nothing too surprising except for E glass fibers. Brennan: Well she didn't pick that up in a field. Hodgins: No, it's marine fiberglass. The victim was on a boat shortly before she died. Also, look at this... (A blown up fingernail pops up on the right screen.) a fingernail probably her own. I sent it to the FBI crime lab so they can run DNA tests. That's Zirconium by the way not a diamond. So I'm guessing she wasn't your top-drawer high-class prost*tute. Zack: All the osteological perjovations are consistent with recent elective surgeries except the compound fractures in the right tibia and fibula which indicate traumatic compression and... (Booth picks up a cell phone and taps it on the table.) Brennan: The victim had her leg crushed probably in a car accident around age thirteen. Excuse me! That's my cell phone. Zack: I analyzed the molars. Oxygen and stranti mysotopes in enamel indicate early childhood in New England while the dentin suggests six to ten years in southern California. Booth: (in phone) Hey, Miss. Bardu. Hi. Special Agent Booth. I've reconsidered your offer. I was wondering if I could have one of your ladies visit me today? Brennan: (to Booth) You're ordering a prost*tute from my cell phone? Booth: I was wondering if Rachel ever took part in any of those two on one specials. Hodgins: Hey the old two on one special, classic. Zack: What's a classic? Booth: That's great. Just send me whoever she worked with the most. Brennan: You're ordering a hooker to my hotel? Zack: Did I hear you say hooker? Hodgins: How come I never get to go on these out of town trips? Booth: (to Bones) 'Cause you have much looser daily allowances then I do. Brennan: Well have fun. I have to get up early tomorrow. Booth: Why? Brennan: I'm meeting a producer. [Cut to the rooftop pool again. More beautiful people are covering the area. Booth is lounging next to a beautiful girl. She smiles seductively at him and the they talk. She is the prost*tute that used to work with Rachel.] Leslie: Oh, you're one of those guys. Booth: What guys? Leslie: One of those guys who say they just want to talk. Booth: I do just want to talk. I'm an FBI agent. Leslie: Okay, I get the drill. What am I playing? Booth: (removes his sunglasses and smiles at her.) No really. (Shows her his badge.) Leslie, I really am an FBI agent. I just want to ask you some questions that's all. Leslie: About what? Booth: About your friend Rachel. Look I'm sorry but I think...I think she's been m*rder. Leslie: This can't be happening. Oh God, Rachel was so nice. She was really an actress. You know, the way I'm really a singer. We all say we're something different then what we are. None of us want to be what we are. Booth: Did you know Rachel's real name? Leslie: Candace, Candace Hayden but I doubt that was her real name. She said she was from Stockton but I told her I was from Quarterlane and I was lying. Booth: Do you know why anyone would want Candace d*ad? Leslie: We see things we shouldn't all the time. We know things about powerful people they don't want us to know. Booth: Did Candace have anyone in her life? Leslie: Nick for awhile. I forget his last name but he played some kind of t*rror1st on 24. He got k*lled in like four seconds. Booth: Did Nick know that Candace was a call girl? Leslie: No, not at first. When he found out he got really mad. He smashed out all the windows of her car. (A security guard walks over to them with a disapproving look on his face.) Security: I'm sorry Miss but you're going to have to leave. Booth: Listen buddy, I don't know what your problem is but this is my little sister, okay. I'm visiting from Quarterlane. I asked her here for a drink, which is taking a hell of a long time by the way. Security: I'm sorry sir but we have strict rules... Booth: You might want to have a little respect. (Shows him his badge) Check on those drinks for us okay pal. Security: Yes sir. Booth: Thank You. Leslie: (to Booth) Thank you. So we're just going to sit here and have a drink? That's all? Booth: That's all Leslie. Have a drink, enjoy the view, pretend we belong. Later catch a m*rder. [Cut to interior of the LA FBI Headquarters. Agent Finn tracks Booth down and forces him to speak to her.] Finn: Agent Booth, can I have a moment please? (He stops walking and turns toward her.) Um, have I done something to offend you? Booth: Look I'm really not into this whole west coast in touch with your feelings thing so... Finn: Yeah, um I'm really good at my job and I've been nothing but cooperative and helpful to you but you just freeze me out. Booth: Mmmmm. Hmmm. Finn: And I know you have nothing against working with women because you're partners with Dr. Brennan so your problem must be with me. Booth: Look I don't have anything against you Agent Finn. I just don't like the way you view the FBI. Finn: What do you mean? Booth: This is a proud and noble job but you're using it to get to something else. My advice, write your script, get an agent, hell have a little plastic surgery but quit using my Federal Bureau of Investigation as a stepping stool into something that you think is better because in my book there is nothing better. [Cut to a Fox studios where Dr. Brennan and Penny Marshall are being interviewed about the possibility of Dr. Brennan's book, Bred in the Bone, being turned into a movie. Brennan looks a little baffled by the whole thing.] Interviewer: I'm here with Penny Marshall one of the most prolific hyphenates in Hollywood. Actress, producer, and director of such hits as A League of Their Own and Big. Her latest project is bred in the Bone. It's a thriller based on the best selling novel by crime fighting anthropologist, Dr. Temperance Brennan. Okay, so how did this all come together? Brennan: I have no idea. Penny: Well my brother Gary gave me the book and I liked it and then this whole bidding w*r started and I usually don't get into that kind of thing but in this case... Interviewer: A bidding w*r? That's got to be a thrill for a first time author. Brennan: I wasn't actually there. Interviewer: You must be a big fan of Penny's films so, which one is your favorite? Brennan: I enjoyed her humorous treatment of the time space paradox. (They both look at her confused before the Interviewer gets it.) Interviewer: Big! Penny: (smiles to Bones) That's very funny. Time Space Paradox. Interviewer: Penny who is going to write the script? Brennan: Don't I get to do that? Penny: We'll talk. (A cell phone rings and both Penny and Brennan check theirs. It turns out to be Brennan's) Brennan: Cut, stop, whatever you say. (In phone) Brennan, well I want to come with you. (To Penny and Interviewer) I have to go because we have a suspect and I have to go. (She rushes off.) Penny: Would you look at that...passion? [Cut to the Santa Monica pier. It's crowded and there is a volleyball game going on. Brennan, Booth, and Finn are watching the game and discussing their suspect, who happens to be playing in the game.] Booth: There's a pretty good chance one of these leaping losers is our k*ller. Brennan: You always think it's the boyfriend. Booth: Well he loved her, he found out she was a prost*tute. I'd say anyone who plays this stupid game is capable of m*rder. Brennan: Well then you got this case sewed up. (Pushes his arm) Why don't you just go and arrest them all? Booth: (to players) Excuse me guys, ladies? Ladies, Gentlemen excuse me? (They just ignore him.) Please? (Bones jumps into the middle of the game and catches the ball. She punts it down the beach and the players stare in confusion and annoyance.) Booth: (holding up his badge) Okay everyone who isn't Nick Harberson go get the ball. Brennan: Go fetch. (Everyone leaves, but Nick, who is left standing in the center of the court looking very confused.) [Cut to a bench on the beach. Nick is sitting on the bench looking upset. Booth and Brennan stand over him. They are discussing Rachel.] Nick: God she was so sweet. Actually thought about getting back together with her even though... Brennan: You broke out all the windows in her car. Nick: Well what would you do if you found out your girlfriend was a prost*tute? Booth: When did you last see Rachel? Nick: Sandra. Her name is Sandra Cane at least as far as I knew. Booth: When did you last see Sandra? Nick: About a month ago. I was tending bar at a function at the Colonnade. Booth: Did you speak to her? Nick: No, no I was working. So was she...I didn't k*ll her. Brennan: How could you not know what she was doing for money? Did you even know her at all? Nick: She said she was modeling. The thing about Sandra is that as pretty as she was she was just never pretty enough. She would be all black and blue and then she would heal and she would look beautiful. I mean really really beautiful and we'd be sure something was going to break for her and of course it wouldn't and then she would be back in front of that mirror. And no matter what I said...Look, look I never knew her. I never understood her. I'm probably the last guy you should be asking about her. Booth: (to Brennan) He's an actor of course he's convincing. Brennan: I don't know. He doesn't seem to work very much. He's playing volleyball in the middle of the day. (Nick looks up at her annoyed) Just an observation. [Cut to the Jeffersonian. Goodman, Hodgins, Angela, and Zack are standing in a hallway discussing the Iron Age Skeleton. Goodman looks dour and Hodgins looks as if he knows exactly what is coming.] Dr. Goodman: I have an announcement. Hodgins: You're unable to positively authenticate the skeleton. Dr. Goodman: That is correct. Hodgins: Told you. Dr. Goodman: Given the inconsistencies between the specimens' geographic location and physio argumentum artifacts I cannot in good faith authenticate the find. Angela: Is this because of how I made him look? 'Cause there's a certain amount of subjectivity involved in recreating a face. Dr. Goodman: Certain amount, yes but the fact is he displays Pictish features. For all we know this skull doesn't belong to this body. Zack: Even though on x-rays it looks at though the head is properly attached to the spinal cord. We could actually go in and look, confirm the authenticity. Dr. Goodman: I declined to continue the investigation at this time. We will store the remains in the interim. Hodgins: (yells) I knew this was going to happen! (Dr. Goodman looks angry and walks up to him. They are nose to nose.) Angela: Hodgins. Dr. Goodman: Because we have been colleagues on this more then superior and subordinate, I have allowed you to be insubordinate but I warn you Dr. Hodgins that is over. Hodgins: Do you want my letter of resignation? Zack: You know what would be better put them on the table and measure, Alright? (There is an awkwardly hushed moment where no one is sure what to say.) Angela: Okay look, everybody just turn and walk away. Hodgins: If you want me to resign, just say so. Dr. Goodman: Miss Montenegro is right. (Dr. Goodman walks away.) Angela: (to Hodgins) You think you just won something. I'm telling you Goodman was the bigger man. [Exterior, Sunny street in California. Brennan and Booth are walking down the street with Dr. Kostov. He is in a rush, but they are keeping pace and asking questions.] Brennan: Isn't it against your ethical code to have sexual relations with a patient or do you guys even have an ethical code? Kostov: Sex with patients is frowned upon. Booth: That's why he said the implants were stolen. There is no way to prove that he was the one who installed them. Kostov: I did not know Rachel was d*ad when you last visited. I did not k*ll Rachel. I made her beautiful. Brennan: You mean you took what was unique and particular about her and destroyed it. Kostov: You have a serious neurosis on this subject. Booth: Do you have a boat? Kostov: I do four boob jobs a day, twenty grand a pop. Of course I have a boat. That's all you get without a lawyer. Booth: So what do you do huh? Pay him in hair plugs? [Cut to a lab in the Jeffersonian where Zack and Hodgins are working on Rachel's bones. Zack is staring a screen showing the indentations of the wounds. He is frustrated by his inability to find the m*rder w*apon. Hodgins is at the far end of the lab working.] Hodgins: So what are you doing? Still working on the m*rder w*apon? Zack: Maybe it's not a Kn*fe; maybe it's some kind of sharpened screwdriver. Why are you being so mean to Dr. Goodman? Hodgins: I'm not being mean. I'm being critical of his process. Zack: Why are you being so critical of his process? Hodgins: Goodman should be looking at the facts. Is the skeleton authentic or not? That's all. Instead it's all a mish mash of conjecture. What I think is that he's forgotten how to do the science and he doesn't want to admit that. Why a screwdriver? Zack: Because it's more torsion in the cut then a flat bladed Kn*fe could bear without snapping. It twists without breaking. The k*ller would have to be incredibly strong and even then the blade would snap. Hodgins: That's what Brennan said about the jaw surgery thing. Zack: What? Hodgins: I...I don't know I do bugs and silt but she said the words torsion and twist and cut. (Zack looks at the wound and then at the jaw surgery.) Zack: This is the type of situation where people say oh my God. Hodgins: pretend you're a person and say it. Zack: Oh my God. [Back to yet another sunny street in California lined with Palm trees. Booth is once again driving the Mustang with Brennan riding g*n. They are discussing the case.] Booth: Scenario number one, prost*tute gets breast augmentation from plastic surgeon in return for sex. She thr*at to tell on him. Brennan: Plausible. Booth: Scenario number two, jealous boyfriend...well yada yada ...you know the rest. Which do you like? Brennan: Neither. Booth: Because there's no real evidence. Brennan: Unless you count a volleyball. Sounds like you're getting ready to quit. Booth: Quit? No. It's just the Deputy Director wants me to hand the case over to the LA field office. We're supposed to give Agent Finn what we've got and go home. Brennan: What? Forget it. You don't even like Agent Finn. You think she's an idiot. Booth: Bones, the whole case is a bust. It's a blank. I mean we don't have anything. We checked her apartment, nothing. There are no pictures, nothing. We don't know what she looked like. We don't know her name. Brennan: It's like she lived on the world instead of in it. Cullen is calling you back because he thinks I'm at a d*ad end. You have to tell him he's wrong. (Booth pulls the car over and parks. He looks at Bones.) Booth: Is he wrong? Brennan: We know we're looking for someone who grew up in New England and moved here about eight years ago. Her leg was crushed in a car accident when she was thirteen. She was on a boat shortly before she was m*rder. We know some of her names and some of her faces. Booth: That's all your stuff, okay. Usually by now we know more about my stuff. Brennan: We have separate stuff? Booth: Yeah by now I usually have a feel for the person. What they wanted. How they felt. What was going on in their lives? With this girl, nothing. Brennan: She thought she was ugly. She did everything she could to make herself beautiful and all she did was make herself more invisible. Booth: Everybody in this city thinks they're ugly, huh, and nobody is. I'm starting to get why you hate anonymous death so much. Brennan: We were born unique. Our experiences mold and change us. We become someone. All of us and to have that taken away by m*rder, to be erased from existence against our will, it's just... Booth: Evil? Brennan: Unacceptable. These bones you bring me, I give them a face. I say their names out loud. I return them to their loved ones and you arrest the bad guy. I like that. Booth: So do I. Brennan: I feel like we should be arresting these doctors because whether they k*lled her or not they...they still erased her. Booth: Well, maybe I could hold off calling for a day. Brennan: It's not good enough. (Booth starts the car again.) Booth: You're welcome. (He pulls away from the curb and drives away. Brennan's cell phone rings and she pulls it out to answer it.) Brennan: (in phone) Brennan. Zack: (on other end.) The m*rder w*apon is a larger version of the surgical implement used on the victim's jaw. Brennan: You compared the bones to the marks left on her jaw? That's brilliant Zack. Zack: It was Hodgins. Well Hodgins quoting you so it was us. Go team. But get this according to the National Plastic Surgery Association, there's only one surgeon who does this procedure. Brennan: Tell me he's in LA. Zack: He's in LA. (She hangs up the phone.) Brennan: (to Booth) Dr. Henry Atlas, Rodeo Drive, Beverly Hills. Go. (Booth hits the gas.) [Cut to: Dr. Atlas's office. He is seated at his desk and Brennan is across from him. Booth stands over him as they question him.] Atlas: I'm ethically bound to ask you for a warrant before revealing the identity of any of my patients. Booth: Let me try this then. The uh, jaw procedure which Dr. Brennan described to you is... (Booth notices a picture of a sailboat on the wall.) Atlas: My innovations, yes. There is an adage in my business, you can't alter the bone. I've proven it incorrect even to my patients. Brennan: How many have you done? Atlas: Perhaps half a dozen and if you get a warrant I will release the names of my patients otherwise... Brennan: Do you use special operating instruments? Atlas: Yes, I designed them myself specifically for the procedure. Brennan: Have you patented them or shared the design with anyone? Atlas: Not yet. Booth: Nah, He's waiting until he has enough success stories to cash in. Brennan: Well he's going to be sure of one success story. Booth: That's right. We got here Sandra Cane, Rachel Ashaunce. Candace Hayden. Do these ring a bell? Atlas: As I have indicated. Booth: A search warrant here. (Hands him the warrant.) to collect your surgical instruments. Atlas: You'll...you will shut me down. You will cost me a fortune. Brennan: The only ones we require Dr. Atlas are the ones you designed yourself. Atlas: She told me her name was Susan Sheppard. (Atlas pulls a case out of a draw and opens it on his desk. Inside are the tools he made.) Brennan: (looks at them) Brilliant. [Cut to Goodman's office. It seems late, there is a light on in the corner and he is working intently. Hodgins pokes his head through the door hesitantly.] Hodgins: You wanted to see me? (Dr. Goodman gestures for him to sit down and he does. Dr. Goodman then stands up.) Dr. Goodman: You are a very difficult and stubborn man, Dr. Hodgins. Right now I would like nothing more then to f*re you. In my position very few people tell me the truth anymore. I find I enjoy it in some perverse way. Hodgins: Are you willing to admit you bailed on the authentication? Dr. Goodman: Yes. Hodgins: Seriously? Dr. Goodman: But not for the reasons you think. True, we might be able to authenticate the skeleton by taking it apart, destroying it. If he's a fake, that would be fine. Nothing lost but I think he's the real thing. Hodgins: You do know he has been d*ad for fifteen hundred years, right? Dr. Goodman: I am an archeologist. This is what we do. We step outside the facts and tell ourselves the story of an individual or a culture and if the story I tell myself about this man who lived fifteen hundred years ago is true. If he was laid to rest by people who respected and loved him, don't I owe it to them not to let the pure scientist desecrate his remains? Hodgins: Or you could be totally rational and say you were waiting for imaging technology to improve to the point where it wasn't necessary to disassemble him. Dr. Goodman: Ah, yes. I suppose I could say that. It's less... Hodgins: Sentimental for the pure scientists. (They shake hands.) [Cut to a montage of Brennan in the California lab. She is testing medical instruments as possible m*rder w*apon by s*ab them in clay and comparing the marks to the marks on Rachel's bones. Eventually she finds it.] Brennan: (in phone) I've got the m*rder w*apon. [Cut to an open room at LA FBI headquarters. A long table is placed in the center of it. Booth and Bones are sitting at the table across from Dr. Atlas and his lawyer.] Brennan: We have the m*rder w*apon. We have trace evidence from your boat. Booth: We have testimony from your staff that you argued with a woman you knew as Susan Sheppard shortly before she died. Lawyer: So what you need now is a confession. Booth: You're patient list is what is known as a uh, A-list right? Oscar winners, supermodels, super-agents, moguls...so how is it that a call girl makes the grade? Lawyer: You can answer that Henry. Atlas: I did Susan's procedure pro bono. Brennan: Why? Atlas: Because she volunteered. Brennan: She was a guinea pig. Booth: How did you meet her? (Atlas doesn't answer) Booth: Aw, come on. I mean Susan didn't just walk into your office, did she? Lawyer: Oh, just tell them Henry. Atlas: Through another call girl. One I used regularly. Sometimes these girls from the high-class establishments start to have expectations beyond the professional. Booth: What? She thought you were going to marry her? Atlas: Something along those lines, yes. So I made a change, I started requesting Susan. Brennan: Did you trade plastic surgery for sexual favors? Lawyer: Obfuscate Henry. Atlas: We did each other favors, went fine for a few months. Booth: Until Susan wanted you to marry her too. Atlas: No, in my opinion, Susan was becoming addicted to plastic surgery. I refused to do any more procedures. That's what my staff saw us arguing about. Booth: What was Susan like? Atlas: She was the girl next-door, simple, healthy. The girl before Susan was the opposite, very flashy. She had diamonds in her incisors...diamonds in her fingernails. Booth: Bones, didn't Hodgins find a fingernail? Brennan: Yes with a fake diamond in it. Booth: Susan was the girl next-door type. Brennan: It wasn't her fingernail. Booth: Jealously, like I said. (To Atlas) So what was the name of the escort before Susan? (Atlas says nothing.) The flashy one? The one that thought you were going to marry her? Lawyer: Tell the man what he needs to know Henry. [Exterior night scene. Back at the rooftop pool at Brennan's hotel. Brennan is watching from afar as Booth sits and waits for Leslie. Leslie arrives and they grasp hands before sitting. Booth holds Leslie's hand and leans in to whisper in her ear. She smiles as he leans back. He turns her hand over and looks at her fingernails. Very gently Booth pulls one of the nails off. It is a fake and underneath is ravaged skin as if the nail had been pulled off. Leslie loses her smile and Booth gestures to FBI agents waiting in the wings. Finn and another Agent handcuff Leslie. Before they take her away she leans in and whispers something to Booth. He smiles sadly and nods his head in the affirmative. Cut to: Bones with her hand on a railing near the edge of the roof. Booth walks up to her.] Booth: She thought Atlas was going to take her out of that life. Brennan: He wanted the girl next door. You were right, jealousy. Booth: Well it's an old story. Bet your fifteen hundred year old friend back home heard a version. Leslie thought Rachel was stealing her man so she k*lled her. Brennan: What did she ask you? Booth: What? Brennan: She asked you something after she was arrested. What was it? Booth: She asked me (pauses) if I thought she was beautiful. I got one more thing. (He pulls some papers out of his back pocket.) I had the Bureau search for adolescent girls that were injured in car crashes in the upper northeast ten to twelve years ago. (Booth hands Bones the paper and it's a newspaper. There is an article titled "Local Woman k*lled In Car Crash, Daughter Survives."] Booth: Daughter's right leg was crushed. Brennan: (reads the article) Allison. Her name was Allison Holmes. Booth: Her father and her brother are still alive somewhere in Bangor, Maine. We will return the remains. Brennan: Thanks Booth. Booth: Well, Bones, you do your thing. I do mine. Brennan: (looks at a picture of her in the paper) Look at her. Booth: Yeah, pretty little thing. [Cut to all the beautiful people having a good time on the roof and then pan out away from the hotel until it is far away.] [Fade Out]

{"type": "series", "show": "Bones", "episode": "01x10 - The Woman at the Airport"}

foreverdreaming

"The Woman in the Car" Episode 1x11 Written By: Noah Hawley Directed by: Dwight Little Transcribed by: Crystal Posey Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [The scene opens with an uncomfortable Dr. Brennan being interviewed by Stacie Goodyear on Brennan's newest Novel, "Bred in the Bone."] STACIE: I'm Stacie Goodyear and joining me on Wake Up, D.C. is Dr. Temperance Brennan. She is the Author of the best selling mystery novel Bred in the Bone and she's also, now tell me if I get this wrong, an anthropologist who works with the F.B.I. to solve crimes? BRENNAN: Yes, that's correct. I use the bones of people who have been m*rder, or b*rned, or blown up, or eaten by animals or insect or just decomposed. STACIE: Well that's exciting Uh Dr. Brennan your book has sold over 300,00 copies. How do you juggle twin careers as a best-selling author and a crime-fighting scientist? BRENNAN: Well, I do one, then the other. STACIE: [Beginning to find Brennan odd and hard to interview.] And is the work enjoyable? I mean, the part involving rotten bodies? BRENNAN: Enjoyable? Well, satisfying, yes. Like cracking a code. But in general, when you're looking at someone who's been brutally m*rder... it's complicated. STACIE: [chuckling] 'Cause I just thought, you know, yuck! [laughing and then sighs because Brennan herself is not laughing] Doesn't leave you much time for a personal life, does it? [Booth enters, taking a seat. Brennan takes notice] BRENNAN: It's true I'm more focused on my career right now [Booth motions for Brennan to smile.] STACIE: Most of our viewers are parents at home with their preschool-aged children. [Booth continues to urge her to smile more. Brennan attempts but it's only a fake, uncomfortable smile.] What will you tell your kids about the horrors that you see everyday? BRENNAN: I'm not going to have any children. [Stacie and Booth are taken back.] STACIE: Really? BRENNAN: Yes, really. STACIE: [Nearly speechless] Do you have any advise for budding authors out there? BRENNAN: [Stumbles for an answer.] Well, the first thing you should have is an idea and then . . . well first you need something to write with. They . . . they know that. Well, obviously you need a writing instrument and you need an idea. [Booth looks to the floor feeling bad for Brennan.] I'm just not sure which should come first. [TV Show Theme Music] STACIE: The book is Bred in the Bone by Dr. Temperance Brennan. Next up after the break, "Wicker, the new leather but is it safe for your children?" [Stacie gets up to leave eyeing Brennan.] BRENNAN: [Stands to head for Booth forgetting she is attached by a microphone.] How was I? BOOTH: We'll talk about it on the way? BRENNAN: On the way where? [They arrive at a scene with a b*rned car that has wrecked into a tree. Sirens are wailing] BOOTH: State troopers called in the f*re Department to put out a burning car. They found a body in the driver's seat. License plate and the V.I.N. are missing. BRENNAN: Why is the F.B.I. involved? BOOTH: One b*rned backpack, child-size sneaker plus the right side of her seat belt went missing, sliced away. BRENNAN : You think it was a kidnapping? BOOTH: I have to act that way. The first 48 hours after a child abduction are crucial. That's why you're here. You I.D. that victim, that tells me what kids I'm looking for. [Zach snaps photos, Brennan examines body] [Bones Intro Theme] [Fade into missing child's shoe. Zach and Brennan are on the platform.] ZACK: Shoe size, four. That's a school bag, but he contents are b*rned beyond recognition. BRENNAN: What about the human remains. ZACK: The victim was female. Her skull shows Caucasoid and Mongoloid features. Also, Preauricular Sulcus to the pelvis shows the victim gave birth five to eight years ago. BRENNAN: The kidnapping victim could be her child. ZACK: Maxillary Molars have been pulled and replaced with removable dentures. [He removes them from victim's mouth] Lots of gold. BRENNAN: In parts of the Caucasus, when girls from wealthy families turn 16, there given good teeth to display of affluence. ZACK: I'll dissolve a Bicuspid in Nitric Acid and do a chemical workup. BRENNAN: There's something lodged in the larynx. ZACK: Part of her tongue? [Zach pulls it out as Brennan holds a flashlight on the object.] BRENNAN: It's not fleshy enough for tongue. This is cartilage. [Goodman enters with guest.] GOODMAN: Dr. Brennan, Mr. Addy. This is Miss Pickering. She's performing a security review for the state department. HODGINS: One man's security review is another man's witch hunt. PICKERING: That would be Dr. Jack Hodgins. GOODMAN: It would be, yes. HODGINS: You know us all, don't you, Miss Pickering? Or is it "Agent" Pickering from the national security agency? PICKERING: I don't yet know you as well as I will, Dr. Hodgins. Is something burnings? ZACK: Not anymore. She's pretty much extinguished by now. GOODMAN: Miss Pickering will require a few minutes of everyone's' time to perform a routine security review. I expect everyone to be cooperative. HODGINS: I'm not swearing any damn loyalty oath. GOODMAN: [Speaking specifically to Hodgins] And civil. BRENNAN: Send this to Dr. Chen in Pathology. Ask him to identify it as soon as possible. GOODMAN: Dr. Brennan? BRENNAN: Yes. Security check. Civil. [Now speaking to Hodgins] Zach will grind a segment of the femur so you can perform trace element analysis. [Hodgins nods to Brennan] PICKERING: Didn't I see you on Television this morning, Dr. Brennan? BRENNAN: How could I possibly know what you watched on television? [Notices Booth] Booth. I have to talk to you. PICKERING: Yeah, it was definitely her. GOODMAN: Maybe work your way up to Dr. Brennan. [Brennan now off platform discussing case with Booth.] BOOTH: How close are you to I.D.'ing the victim? BRENNAN: I may be jumping the g*n but- BOOTH: [Interrupting] That's music to my ears. BRENNAN: Considering this 48 hour thing, we should be looking at eastern European immigrants going back 10 years. BOOTH: I can get that information for you. Angela doing facial reconstruction? BRENNAN: Yes. BOOTH: You know if this works, I'm gonna buy you a puppy. [Heading towards Angela's office.] BRENNAN: That would be inadvisable. You never told me how I was this morning. I asked, "How did I do?' You said, "We'll talk about it in the car." We never did. BOOTH: Was it your first TV interview? BRENNAN: Yes. BOOTH: It was fine, you know, for your first interview. BRENNAN: That was a qualified response. BOOTH: What? No. It was lively [Enters Angela's office] BRENNAN: Lively? What kind of words is that? BOOTH: It's an adjective. Though ironically, most works that end in a "Y" are adverbs, like "Ironically." BRENNAN: Okay, what did I do wrong? BOOTH: Next time, tell a funny story. Oh, and never, never say you don't like children BRENNAN: I didn't say I don't like children. I said I don't want any. BOOTH: On TV it's the same thing. [Cut to Angela, Booth, and Brennan at the Angelator.] ANGELA: The victim's skull was in good shape. No real shrinkage from the f*re. I'm running a comparison between the facial reconstruction and the photos in the immigration database. I hear we're all gonna get grilled by some mysterious government chick. BRENNAN; I've been through this before. It's so we can work on classified cases. C.I.A., Military. BOOTH: Why? You have something to hide? ANGELA: Better believe it, Bucko. BOOTH: What kind of something? ANGELA: The best kind. [Brennan walks to computer that is going through immigration photos and picks a good match.] BRENNAN: There. [Points to a photo] That one. ANGELA: Okay. BRENNAN: It's a good match ANGELA: Polina Rozalina Semov. Born in 1970. Cherdyn, Perm District of the Urals. She immigrated to the U.S. in '94 with her sister Maria. Married Carl Decker. They live in Cleveland Park. BOOTH: Children? ANGELA: [nodding] Donovan Dimitri Decker. Born 1997. He's eight years old. [Cut to Booth and Brennan in car, Booth drives.] BRENNAN: Polina and Carl separated three months ago, separated addresses for Mom and Dad. BOOTH: Well we know that Mom is in a drawer back in your lab. Lets go find Dad. BRENNAN: Arrest someone really small lately? [Points to car seat] Car seat in back? BOOTH: I had Parker for the weekend BRENNAN: I don't know how you do that. BOOTH: Install a car seat in an F.B.I. vehicle? BRENNAN: Bring a kid into this world, knowing what you know. I'll bet Parker was an accident, right? Because his mother wouldn't marry you? What? BOOTH: It never occurred to you that might be a sensitive topic? BRENNAN: Well, you could've gone with the very small felon story. BOOTH: It's better for Parker being in the world someday you will see that. BRENNAN: I won't. BOOTH: You'll change your mind. BRENNAN: I don't do that. BOOTH: You will. BRENNAN: Yeah, maybe after I see how Decker reacts when you tell him his wife is d*ad and his child has been kidnapped. BOOTH: Well statistically speaking, we're gonna find Donovan with his dad. BRENNAN: What? Why? BOOTH: Because most kidnappings happen by estranged spouses. BRENNAN: You're certainly making the whole domestic scene more and more attractive. [Cut to neighborhood, Booth and Brennan coming up on a house.] BRENNAN: This is it? BOOTH: Yea. This is the correct address. You just hang back and let me do all the talking. Okay? [Booth knocks on door and motions for Brennan to hang back.] Mr. Decker! [noticing Brennan heading for the window] ]Bones, what are you doing? BRENNAN: What? [Looking through window.] Oh, it's tidy, Spartan even. Is that normal for a recently separated man? BOOTH: Guy's supposed to be some super-rational, tight-ass Geek. [Looking around taking notice of something.] No offense. BRENNAN: There's no TV, no magazines, no art, no stereo. [Booth sees a man with binoculars looking at them from a vehicle; he glances back at Brennan before heading off to the vehicle] There's dust on everything. I don't think he's been here in a while. [She turns noticing him walking off] Where are you going? Booth? Where are you going? [Engine starts. Booth now takes off in a jog reaching for his g*n. Brennan going after him.] BOOTH: Son of a bitch! [Breaks driver side window with butt of his g*n. Brennan comes up on the back of the vehicles as another man tries to exit through the back window. Brennan grabs him and throws him to the ground. Booth yanks driver out of seat onto ground putting his g*n on him.] BOOTH: F.B.I. DRIVER: U.S. Marshals [Pulls his g*n as does the man Brennan put on the ground.] BOOTH: U.S. Marshals? BRENNAN: Forensic Anthropologist! That's why no g*n. [Cut to Booth's office with Cullen.] CULLEN: Well at least nobody got sh*t, probably because she didn't have a g*n. BOOTH: Sir, why is Carl Decker's home being watched by U.S. Marshals? CULLEN: Carl Decker's a Federal witness under witness protection. He's scheduled to appear before a grand jury in two days. BOOTH: Is it a mob thing? CULLEN: Decker Designs body armor for K.B.C. Systems. He says they knowingly sent defective armor to Iraq. Justice department believes him, so they moved him to a safe house. BRENNAN: Does the justice department think that Decker is in danger from the company? CULLEN: He thinks he is. They want him to testify, they play along. BOOTH: Does Decker know that his wife has been k*lled and his child has been kidnapped? CULLEN: No. And they don't want him to know. BRENNAN: Why? BOOTH: Because it might prevent him from testifying. CULLEN: Their point of view, there's nothing to be gained from him knowing. BRENNAN; Except maybe Decker chooses not to testify and they don't k*ll his son. Shouldn't that be his choice. CULLEN: Justice estimates that K.B.C. systems is directly responsible for 30 deaths and hundreds of injuries. They're taking a larger view. It's complicated. BOOTH: His wife is d*ad and his child is missing. That's not so complicated. CULLEN: No one is stopping you from investigating those crimes. BOOTH: He's a material witness. I need access to him. CULLEN: Well, we know Decker didn't k*ll his wife. He was in custody of U.S. Marshals. So start looking someplace else. Harsh reality Booth, deal with it. [Cullen exits.] BRENNAN: What, does he not like me? BOOTH: I don't know. [Cut to car, Booth drives taking Brennan back to the Jeffersonian.] BRENNAN: I'll stay on Polina Decker's remains see if that leads somewhere. BOOTH: Yeah, I'll talk to the victims' families, at least the ones who aren't under federal protection. BRENNAN: You think a corporation would actually k*ll a woman and kidnap her child? BOOTH: Billions in dollars, plus civil suits if they're found guilty? I've seen people k*ll for 50 bucks. BRENNAN: You believe the by is already d*ad? BOOTH: I have to assume that he isn't. BRENNAN: Why make that assumption? BOOTH: Because it gives me something to look forward to instead of dread. Given a choice, I avoid dread. BRENNAN: Okay. That's logical. BOOTH: Is it? BRENNAN: Why dread something that hasn't happened yet? BOOTH: Yeah. [Cut to Jeffersonian] ZACK: That piece of Cartilage we found in Polina's mouth? Tihelix and Meatus Remnants. BRENNAN: It's an ear? ZACK: Chen says it was bitten off. BRENNAN: The victim bit off one of her attacker's ears. ZACK: I heard someone found a fingertip in their chili once. Dr. Chen also found vestiges of earwax. BRENNAN: Okay, get that wax to Hodgins. See what he can find. [Cut to Brennan and Booth watching the Decker family on tape.] DONOVAN: Am I going to ride a bike? CARL: Are you really asking? Or are you just stalling? Donovan: Mm, stalling CARL: Yeah, thoughts so. [Brennan pauses the video.] BOOTH: Why'd you stop? BRENNAN: What are we hoping to learn from this tape? We know Carl Decker didn't kidnap his own child. The mother is d*ad. And the boy- BOOTH: [interrupting] And the boy might be d*ad too. BRENNAN: I'm just wondering what is the benefit from watching this video. BOOTH: You put faces to names. You get a sense of human beings. Come on, Bones. You're the anthropologist. What does this tape tell you? Brennan: Learning to ride a bicycle is a kind of right of passage. It has anthropological significance. BOOTH: Really? BRENNAN: It carries meaning beyond the simple mechanics of learning to ride a bike. BOOTH: Are you being psychological? BRENNAN: Definitely not. Psychology is about the individual. I'm speaking to a set of cultural proxies and mores. BOOTH: What the hell are you talking about? BRENNAN [Turns to the video]: The father is tight. He's holding his arms, touching his mouth- BOOTH: [Interrupting] So he's nervous. So what? BRENNAN: Look at the boy. He's relaxed. He's not afraid. BOOTH: So then, why was the boy stalling, huh? BRENNAN: He's not the father is. The son understands that on some level, and he's enabling his father to reach some level of comfort. It's a symbiotic relationship. BOOTH: Relationship [laughs] That's psychology. BRENNAN: The boy trusts his father absolutely. He's confident. The Father wishes he didn't have to do this, but he's accepted that he must in his role as a Father. What? BOOTH: Probably the same way Decker felt about being a whistle-blower. BRENNAN: That's psychology. And it's of no use to us in this current investigation. BOOTH: Just push play, okay? [Brennan unpauses video.] DECKER: All right, ready? DONOVAN: I'm okay. POLINA: Be careful, Donny. DECKER: Don't make him nervous, Polina. DONOVAN: Push me Dad. Let go. Let go! DECKER: Not yet. DONOVAN: Let me go, Dad. Let me go. POLINA: not yet. Run along with him, Carl. DONOVAN: I can do it! DECKER: [laughing] he's doing it! He's doing it! POLINA: Be careful. Be careful. How will we get him back, Carl? [Video stops.] BOOTH: That's the real question. Now, isn't it, Bones, huh? How do we get the boy back. [Cut to a woman with Russian accent speaking to Booth, this is the victim's sister, Maria Semov.] MARIA: They left this morning, very early, about 5:00 am. [We see now that she is upset, crying.] Donovan is on the swim team. Oh my God. BOOTH: You and your sister were close? MARIA: Yes. When Polina and Carl separated she and Donovan came to stay with me. [Sobs] This is terrible. BOOTH: Can you think of anyone who would want to hurt your sister? MARIA: It must be Carl. Maybe he was afraid she would take Donovan from him. BOOTH: Would she have done that? MARIA: No. Never. BOOTH: You don't like your brother in law. MARIA: He is suppose to be brilliant, I know. But he is cold and angry. Everything has to be just so. BOOTH: Why did Carl and your sister separate? MARIA: Polina said he was having an affair. I thought, "Who'd want him?" But she found credit card receipts from a Motel he went to one, twice a week. When she confronted Carl he was furious. Wouldn't talk about it, so she left him. [Taking a hold of Booth's hands.] Please find Donovan. Find my sister's boy. [Cut to lab where Zach is showing Brennan something on a computer screen.] ZACK: I found cuts in the victim's upper Incisors. There are also bilateral fractures in the femoral necks. BRENNAN: There's similar fractures in the bilateral humeral heads. ZACK: The result of the body going into spasm as it b*rned? BRENNAN: If she was b*rned alive. I'll have Angela run some scenarios. ZACK: Angela's in her security review. [Cut to Pickering interviewing Angela.] PICKERING: Twenty-five address in six countries in eight years. ANGELA: That's weird right? PICKERING: What where you doing in all those places? ANGELA: Different things. Mostly looking. I'm an artist. PICKERING Pickering: When was the last time you saw your husband? ANGELA: My husband? PICKERING: Yes. ANGELA: Oh. [laughs] Oh. Wow. You mean that actually took? Really? It didn't seem legal. We were in figi. You know there was a f*re dance. You know how those things can go, right? PICKERING: I really don't , Miss. Montenegro. ANGELA: Right. PICKERING : Do you like working here. ANGELA: Sometimes. Yeah But not always, but there's also a sense of accomplishment. And Brennan needs me here, so I feel a personal connection there. But you know, the world is a big place. Frankly, I'm emotionally ambivalent on the subject. [Noticing Pickering jotting down notes on everything Angela is saying.] Was that the wrong answer? I should be more, "Oh this is the best job in the world and I'm proud to serve my country." Right? Right? Am I going to fast here? [Pickering shakes her head as she continues to write] Am I treating you too much like a therapist? Should we stop now? Actually . . . because we could pick this up later if you . . . Yeah. [Cut to Booth at K.B.C. Systems interviewing CEO, Trent Seward, and the company Attorney, Sharon Pomeroy.] SEWARD: Carl Decker is not only a disgruntled employee he's a . . . a . . . what's the term? [Looking to his attorney.] POMEROY: As a lawyer the legal term is "nuts" and a "pain in the ass." SEWARD: Oppositional defiance disorder and paranoia is what I read. POMEROY: Like I said nuts and a pain in the ass. BOOTH: Read where? Paranoia. You read that where? [Sharon slides him a folder that Booth opens.] You had Carl Decker investigated? POMEROY: He's making extremely damaging allegations against the company. SEWARD: False allegations. BOOTH: Think of anyone who would want to k*ll his wife and kidnap his son? POMEROY: It wasn't us? BOOTH: I didn't say it was. POMEROY: Oh please, we have to top your list of suspects. SEWARD: Look. We have an in-house system for dealing with whistle blowers. We encourage it. I served in Vietnam Agent Booth. I saw what solders see. If I read you correctly, you know what I mean. BOOTH: Army, 75th Regiment. SEWARD: "Rangers Lead The Way." [Leaning forward.] I would never risk the lives of solders by knowingly providing them with defective armor. And I welcome Carl Deckers appearance at the grand jury because he is wrong. POMEROY: Carl Decker did brilliant work for us. But he alienated everyone he worked with. You should look for your m*rder and kidnapper elsewhere. [Cut to Jeffersonian. Brennan coming up on booth obviously irritated] BRENNAN: Where have you been? BOOTH: I'm a field agent. I was out in the field. What did you find? BRENNAN: A piece of an ear in the victim's mouth. Looks like she bite it off, could tell us something? What did you find? [Extreme attitude, walks off, he follows.] Found anything? BOOTH: A lot. No reason for the attitude. BRENNAN: I peg your pardon? [Turns back to Booth.] BOOTH: It's not like you've been doing all the work and I've just been kicking back. [Walking off irritated now, she follows.] BRENNAN: Okay. Well what have you found out. BOOTH: The victim and her husband were having marital problems. She found motel receipts. I got security tapes from the parking lot. I thought Angela could use her Fat Recognition Program on them. BRENNAN: Mass Recognition Program. BOOTH: Whatever. Maybe we'll be able to figure out who Decker was seeing behind his wife's back. [Brennan turns to face him as they stop walking. Tension and irritation is very evident between the two.] Is Angela in her office? [Brennan shrugs and he walks past her heading for Angela's office. Brennan watches him walk off.] [Cut to victim's bones on the platform, with Brennan holding one of the bones. Zach is there too.] ZACK: According the F.B.I. Pathologist there was no smoke in the victim's lungs. BRENNAN: Meaning? ZACK: The victim was already d*ad when she was b*rned. There was clotting in the lungs as well. BRENNAN: That's troubling. [Looking up at Zach.] ZACK: If the f*re was hot enough . . . [Trailing off unsure.] BRENNAN [Setting the bone down.]: For clotting to occur superheated air would have to be drawn into the lungs. ZACK: Which wouldn't have happened if she were already d*ad. BRENNAN: Something else caused the clotting. BOOTH: [coming up on the platform] Angela is ready with the tapes. ZACK: The broken teeth could have resulted from particularly violent seizures. [Booth turns back to them rather than heading back to Angela's office.] BOOTH: Epilepsy? [We see Pickering heading for the platform.] ZACK: There are alternative causes of acute muscular contractions. Poisoning, precipitous drop in blood sugar- PICKERING: [interrupting] This a good time to speak with Mr. Addy? BRENNAN: Considering you had to interrupt him to ask, probably not. [Hodgins now on the platform.] Take Hodgins [now holding another bone of the victim's]. HODGINS: I demand a lawyer. PICKERING: I don't need Dr. Hodgins I need Mr. Addy. ZACK: If I demand a lawyer will it get me out of it too? BRENNAN: We all demand a lawyer. PICKERING: I'll wait for Mr. Addy. HODGINS: Why aren't you interviewing me? PICKERING: It won't be necessary. [Turns and leaves.] HODGINS: I knew it. They think my dossier is complete. They think they know everything about me. [Turns back toward Pickering yelling] Well they're wrong! ZACK: Be happy they're leaving you alone. HODGINS: Yeah. I'm happy. Don't worry, I'm happy. [Obviously annoyed.] BOOTH: Now the ear you found. There's no way it's her own ear, right? BRENNAN: How could it be her ear? BOOTH: That's what I'm saying. BRENNAN: What? BOOTH: It's definitely not her ear? BRENNAN: How could she bite of her own ear? HODGINS: Chromosome tests make it male. BRENNAN: Seizures. [Looking to Zach.] ZACK: Seizures could be due to low blood pressure, electrocution, infection, head injury, uh brain tumor, uh sudden lack of oxygen to the brain. BRENNAN: Electrocution. BOOTH: What? [He and Hodgins looking to Brennan as it comes to her.] BRENNAN: The broken teeth, the fractures, the clots in her lungs. She was electrocuted. ZACK: That much damage to the teeth could only result from multiple violent spasms. BRENNAN: Dozens. She was tortured. For what? [Asking Booth.] BOOTH: To find out where her husband was. [Cut to Hodgins chasing down Pickering in the Jeffersonian.] HODGINS: You should at least pretend to interview me. PICKERING: Dr. Hodgins your file is complete [Annoyed.] HODGINS: How is that possible? No one from the state has interviewed me in two years. PICKERING: No on from the state has ever interviewed you. HODGINS: Yeah. Right. Let's play it your way. PICKERING: Six months ago your cousin was appointed to a very high posting in the government. HODGINS: My cousin with the bad rug? PICKERING: That doesn't effect his security clearance. HODGINS: It should. It demonstrates a complete denial of reality. Appointed to what "very high" posting? PICKERING: That's classified. HODGINS: In what part of the government? Or is that classified too? PICKERING: As a potential embarrassment you were thoroughly check out HODGINS: What kind of embarrassment. PICKERING: You're a conspiracy buff Dr. Hodgins. Your paranoid. HODGINS: Okay. Okay. So you're telling me that my toe-chewing moron cousin was appointed to a secret post in a secret part of the government you can't tell me about so you compiled a secret dossier on me. But I'm the one who's paranoid. PICKERING: We don't use the word dossier. HODGINS: What was the finding? I still work here- PICKERING: [Interrupting] Harmless. HODGINS: Harmless? I'm harmless. PICKERING: Yes. You don't pose a viable thr*at. HODGINS: Well, that's insulting. PICKERING: If you want me to interview you I will. But I'll only discover what's already been found. You are benign. HODGINS: I am not benign lady. I'm not harmless. I'm malignant. I'm a loaded cannon. PICKERING: Thank you Dr. Hodgins. [Walks off.] HODGINS: I know things that would make your blood curdle. Including a formula that literally curdles blood! FEMALE LAB WORKER: Excuse me. HODGINS: She's wrong. I'm dangerous. [Cut to Angela, Booth, and Brennan looking at tapes.] ANGELA: Carl Decker is 1.7 meters tall. And weighs 58.2 kilograms. BOOTH: An ultra marathoner. ANGELA: Be glad he's so lean. Should make him easier to find. BOOTH: Not him. [Looking at a man on the screen.] ANGELA: I talked to Pickering. Brennan: Was it awful ANGELA: Actually, I found it cathartic. BOOTH: His head's down, what do you think? [Look at another man on the screen.] BRENNAN: No he doesn't move like a runner. ANGELA: She's knows a lot about us. It's creepy. BOOTH: Well it's confidential. ANGELA: Couldn't you get the file? BOOTH: Probably. BRENNAN: Then it's not confidential. BOOTH: That's him. That's Carl Decker. [Referring to Carl Decker who is now on the screen.] Fast forward. See if he shows up with anyone else. [Angela fast forwards a bit.] Back up. Freeze on that guy. Can you zoom in? ANGELA: Mm-Hmm. [She does so.] Hmm. A secret life can cause marital strife. BRENNAN: He was having an affair with a man. BOOTH: All right, simmer down. For all we know he's meeting a h*t man. ANGELA: Doesn't look like a h*t man. BOOTH: Print the picture. I'll see if he's in any of bureau databases. BRENNAN: When we find him? BOOTH: Haul him in and see if he's got two ears. I'll let you know what happens. [Booth exits.] [Cut to Pickering attempting to interview Zach.] PICKERING: Could we start, please? ZACK: Anytime. I can do two things at once. PICKERING: Mr. Zach Addi I require your full attention. ZACK: No you don't but I'll give it to you. [He walks over and leans onto the table.] PICKERING: I need to establish that you are not a thr*at to the security of this country. ZACK: I'm getting a degree in forensic anthropology another in engineering. What are you afraid of? That I'll build a race of criminal robots who'll destroy the world. PICKERING: Do you have that kind of fantasy often? ZACK: Very often. PICKERING: Does it concern you that such adolescent are a sign of emotional ret*rd? ZACK: I've been told. I'm working on it. PICKERING: And can you understand why that concerns us? ZACK: Not really. PICKERING: Hypothetically, you have a piece of information. ZACK: Secret and meaningful information? PICKERING: Yes. The security of the nation is at stake. Could I bribe you to give it to me? ZACK: No. PICKERING : thr*at you? ZACK: No. PICKERING: What if I made a rational argument, very persuasive? ZACK: Merely persuasive? PICKERING: Irrefutable. I make an irrefutable argument as to why you should give me this piece of information. Would you do so? ZACK: Not without checking with Dr. Brennan or Angela first. See what they'd say, maybe Agent Booth if he talked to me, he probably wouldn't. I'd check with Dr. Hodgins but he'd say it was all part of a conspiracy so I mostly only take his advice on women. [Looking away from her, realizing something.] 480 volts 350 amps. PICKERING: I beg your pardon. ZACK: It's sort of secret information. I probably shouldn't tell you. Any other questions? Good. [Zach exits.] [Cut to Cullan's office where Booth walks in to find US Attorney Ken Weeks, the man who was with Decker in the video.] BOOTH: Good work sir. I only posted his face in the hot seat twenty minutes ago. WEEKS: My boss is the United States Attorney General you're not doing my career any good by putting me on the hot list. CULLEN: Special Agent Seeley Booth meet U.S. Attorney Ken Weeks. Booth: I was hoping you would turn out to be gay or only have one ear. WEEKS: I get the gay thing a lot because I'm so cute, but the on eared thing that's unique to you. BOOTH: Your Carl Decker's Justice Department handler. WEEKS: Carl Decker was my prime witness against K.B.C. Systems. BOOTH: Was? You get fired because we caught you on some motel surveillance camera? CULLEN: No, they lost him. Booth: A material witness for a specially-convened grand jury and you lost him? WEEKS: The guys pretty smart . . . genius level. Do you have any idea what it's like intervene with those type of people? BOOTH: Yeah a little. CULLEN: So, what made him run? WEEKS: Decker insisted upon talking to his son everyday. This morning we couldn't put him in touch with his son. He panicked and ran. The marshals will find him. BOOTH: It doesn't matter. He won't testify after he finds out what happened to his wife and his child. CULLEN: You might as well pack up that grand jury and sent every body home. WEEKS: I get the chance I'll give him the "don't let your wife die in vain" speech. [Gets up to leave.] Who knows it might work. BOOTH: Weeks, you think this company is capable of putting a h*t out on Decker? CULLEN: k*ll his wife, kidnap his kid? WEEKS: K.B.C. Systems sent our boys into battle with faulty armor. In my book, if you can do that you can do anything. [Ken exits.] [Cut to lab Booth trailing behind Brennan catching her up.] BRENNAN: If Decker's as smart as they say, how will they catch him? BOOTH: Forget Decker, our job is to find his son. BRENNAN: If Decker doesn't show up to testify- BOOTH: [Interrupting] No. We can't assume they are going to let the boy live. BRENNAN: Surely K.B.C. isn't going to- BOOTH: Bones we don't know who hired these guys. K.B.C. Military, disgruntled shareholders, or it could be someone we haven't even thought of yet- [He noticed Brennan with a large smile on her face staring at him.] What? BRENNAN: You just told me not to jump to a conclusion. [She playfully points at him.] BOOTH: No offense intended. BRENNAN: You were right. I usually get to tell you that. BOOTH: Well our relationship has taken a whole new turn. ZACK: [entering Brennan's office after them] 480 volts 350 amps. BRENNAN: Polina Decker? ZACK: That's the voltage it would take to cause muscle spasms so strong they would fracture the bone. BRENNAN: That's not household current. BOOTH: They used a generator. BRENNAN: Zach, you are smart. BOOTH: Zach, this guy Decker, he's like you. He's in the whole stratosphere, IQ wise. ZACK: What's his IQ? [Intrigued] BOOTH: It's 163. BRENNAN: [Chuckles] He's not where Zach is. ZACK: If he's in the stratosphere then I'm in the ionosphere. BOOTH: The point is, Decker escapes the U.S. Marshals, tries to contact his wife, finds out that she's been k*lled. What does he do next? ZACK: His IQ is not variable. BRENNAN: Intelligence doesn't determine what you do so much as how effectively you do it. ZACK: It depends on what kind of person he is. BOOTH: Well you know he's a loving father, you know. Estranged from the mother of his child. ZACH [Walks directly up to Booth, in his face.]: Sound like anyone you know. BOOTH: Just back out of my personal space there buddy. BRENNAN: Zach's right. If you were in Decker's position what would you do? [Cut to Booth and Brennan in car, sirens wailing.] BOOTH: BUGAR-4, accessory proceeding to 4413 L Street, KBC Systems. Requesting local cowboys for backup, possible 10-31 Roger that BUGAR-4 BRENNAN: Did you just refer to me as an accessory? BOOTH: You asked me what I would do if I were Decker. They k*ll my wife, they take my little boy. I'm going to the source of the problem. I take him out. BRENNAN: Take him out . . . like [Booth gives her a serious look, answering her question.] Oh. [Cut to Booth and Brennan walking into the K.B.C. building. Booth shows his badge to the front security officer.] BOOTH: FBI, Seward in his office? OFFICER: Yes, sir. BOOTH: Secure the building, no one in or out. Usually, I enjoy your company, Bones. It's times like these that you give me a little something else to worry about. BRENNAN: You enjoy my company? [They come up on the K.B.C. Attorney with a bloody nose lying on the floor. Booth pulls his g*n while Brennan checks for a pulse. The woman moans, Brennan nods to Booth letting him know she is alive. Booth head for Seward office, Brennan follows.] [Cut to Booth entering Seward's Office] DECKER: Make the call! BOOTH [Putting his g*n on Decker.]: F.B.I. Mr. Decker. Drop your w*apon now. DECKER [Speaking to Seward with a g*n to Seward's head.]: Nothings changed make the call our I'll blow your head off. [Enters Brennan.] SEWARD: [Clearly scared.] He wants me to call his son's kidnappers. DECKER: Tell them to release my boy or you die. It's that simple. [Looking to Booth] You can sh**t me after that I don't care. SEWARD: I don't- BRENNAN: [Interrupting] Mr. Decker, Agent Booth is an excellent sh*t. DECKER: I'm not afraid to die. SEWARD: sh**t him! For God's sakes, sh**t him! BOOTH: Mr. Seward, please shut up. BRENNAN: What your trying to do, save your son, that's not going to happen if you die here tonight. Be rational Mr. Decker. What your planning has failed. You have to adapt. DECKER: Adapt how? All I want is for my son to live. You people just took away his best chance. [He puts the g*n down on the desk.] [Cut to Goodman's Office where he is being interviewed by Pickering.] PICKERING: Do you know a woman named Lily Mardsen? GOODMAN: Yes, I do. PICKERING: You had sexual relations with her? GOODMAN: This falls under purview? PICKERING: Lily Mardsen is an environmental extremist. GOODMAN: She's in Earth Now. PICKERING: You give money to Earth Now, don't you? GOODMAN: Yeah, and the Sierra Club, Habitat for Humanity, the Opera, and Public Radio. PICKERING: Lily Mardsen has been arrested for breaking into animal labs, torching S.U.V.s, trespassing on Military Reserves, dousing citizens wearing fur with red paint- [ Goodman starts laughing] Dr. Goodman if you have had or are having sexual relations with Lily Mardsen, we have a problem. GOODMAN: Why? PICKERING: Because an illicit relationship gives her leverage over you, this makes you a security risk. GOODMAN: I'm a married man Mrs. Pickering. I am faithful to my wife. PICKERING: Define your relationship with Lily Mardsen. GOODMAN: I enjoy talking to her. We argue. She's nuts. But she's a smart nut. She's always interesting . . . never dull. PICKERING: So you- GOODMAN: Talk to her. [Pickering looks confused. Goodman become irritated.] I think it's a very bad sign when discourse become suspect. PICKERING: You talk to her. GOODMAN: Sometimes we yell. [Cut to an office where Booth, Brennan, Decker, Cullen, and US Attorney Weeks is.] CULLEN: Give me one good reason why I shouldn't charge you with attempted m*rder, Mr. Decker. DECKER: You think I went after Seward out of vengeance? CULLEN: Looks that way. DECKER: K.B.C. Systems hired people to k*ll my wife and kidnap my child. Think rationally for a moment. BRENNAN: That makes sense. If K.B.C. are behind the kidnapping then Seward would be the one to call it off. DECKER: A rational human being. How'd you find yourself amongst these people. BOOTH: Sir, we're trying to help. DECKER: Excellent, hold a g*n to Trent Seward's head and force him to let my son go. CULLEN: There's no compelling evidence that Seward was the man who ordered the kidnapping of your son. DECKER: I personally calculated the penetration tolerances for the combat flak jackets. The company found my calculations to be excessively conservative. Thirty solders died. Trent Seward will do anything to keep me from testifying. He, or someone working for him, kidnapped my child and k*lled my wife. WEEKS: If you want Seward, then go to the grand jury and tell them what you know. DECKER: And the kidnappers will k*ll my boy. CULLEN: In all respect for what your going through emotionally, Mr. Weeks is not wrong. DECKER: This is my son! I love him! If there's a slight chance that I can save him by shutting up, then that's what I'll do. Shut the hell up! WEEKS: And what about the solders? DECKER: Analytically I understand that many lives out way the one. But I cannot trade my son's life. WEEKS: Have you considered that by not testifying, your wife will have died in vain. CULLEN: Shut up Weeks, if your people would have protection Mr. Decker and his family properly we wouldn't even be here. WEEKS: [Scoffs] Let's go. DECKER: [Speaking to Booth] The only way that I will testify is if I see you with my son. BOOTH: Mr Decker, you and Donovan, you have a code word? Something to let him know that you sent me? DECKER: Paladin. Tell Donovan, "Paladin." CULLEN: [Standing to leave.] Paladin. Defender of the faith, protector. Suits you Booth. BRENNAN: You know what? You tough guys are all very sentimental. [Cut to Hodgins in the lab looking over data on his computer.] HODGINS: I have results on the earwax. I ran the particulates through the gas chromatograph. I found the pollen of eragrostis curvula, more commonly known as "weeping love grass." BRENNAN: And where does one find weeping love? HODGINS: Weeping love is found worldwide. But weeping love grass, that's in South. [Smiling at his own joke, Brennan not amused.] BRENNAN : Anything else? HODGINS: Yeah, traces of automotive-grade asbestos. The guy didn't have very good oral hygiene. [Pickering walks up] PICKERING: Dr. Brennan? BRENNAN: What? Now? You've got to be kidding. HODGINS: Take me. I'll wave the lawyer. [Brennan's phone beeps.] I have surprises in me. [Pickering ignores Hodgins as she walks off, he yells after her.] Tell that to your superiors at the N.S.A. [On the phone with Brennan is Booth, he's at his office. Camera cuts back and forth between Booth and Brennan as they speak.] BRENNAN: Booth we're looking for a one-eared South African. BOOTH: South African? BRENNAN: Does that mean something? BOOTH: Well yeah there are a number of South African security consultants that companies use to do their dirty work in the third world. [Booth receives a package.] Their really mercenaries. BRENNAN: He might be a mechanic of some kind. BOOTH: You can tell that? BRENNAN: He had traces of what is probably brake pad in his ear. BOOTH: How'd that get in there [Pulling out whatever is in the package he pulls out a small brown jewelry box with a piece of card board that says "BACK OFF"]. BRENNAN: Well, any number of ways. Most likely, his hand comes in contact with the asbestos and this he scratches his ear. [Booth opens box to find a child's finger on gauze with blood.] BRENNAN: Hello? Are you still there? BOOTH: Yeah. I'm on my way over. BRENNAN: What's the matter? BOOTH: Somebody sent me Donovan Decker's finger. [Booth hangs up.] [Cut to Booth and Brennan at lab, Brenna is examining the child's finger.] BRENNAN: An eight-year-old boy. Yes, that's consistent with what I'm looking at. You should really send this to an F.B.I. pathologist. BOOTH: They give me fingerprints, DNA, we already know who the finger belongs to. I-I need more. BRENNAN: Like what? BOOTH: What-you gave me a South African mechanic from a chunk of burnt ear. Do it again. Do it better. Do it fast. [Brennan turns staring at him.] What? Start. Come on, do what you do. BRENNAN: You're kind of worked up. BOOTH: What you see is a bunch of facts. I see a terrified little boy with his finger cut off. Now is he even still alive? BRENNAN: [Turns back to finger] Blood saturation levels in the surrounding tissues are high. His heart was still beating when they removed the finger. BOOTH: Okay. He's alive. That's something. BRENNAN: Who does this? Cut's the finger off an eight-year-old boy. BOOTH: Mercenaries. Professionals. They don't feel a thing. BRENNAN: I feel things Booth. [Turning to look at him.] BOOTH: I never said you didn't Bones. BRENNAN: I'm a professional, too. I do better work if I only see the finger and not the child. It doesn't mean I'm like them. BOOTH: Look, I know that Bones. But what I also know is that they made a big mistake sending us that finger. BRENNAN: Why? Because it made you mad? BOOTH: No. Because your going to use it to catch them. So, you gather up your squint squad. Let's get to work. [Cut to Booth, still at lab, on phone with son Parker.] BOOTH: Did you kick the ball? How far did it go? Backwards? [Chuckles] Yeah I can kick a ball. Daddy's gonna show you on Saturday. I'm gonna see you Saturday, okay Parker? Okay, I gotta go bub. I love you. I'll see you Saturday, bye. [Rushing to Hodgins and Zach] What do you got? ZACK: The finger was severed using a hatchet on a wooden service. BOOTH: Cutting board? ZACK: No, older unsealed-pine. HODGINS: I'm thinking like work-bench in a mechanics shop. BOOTH: Why? HODGINS: Well, there's traces of lead and methyl tertiary butyl ether on the bone. The nail was bitten to the quick, by the way. BOOTH: The kid was nervous, you would be too. ZACK: M.T.E.B.'s have been added to gasoline since the 70's. HODGINS: But there's lead here as well. ZACK: lead gasoline was phased out between 1975 and Phased out between 1986 BOOTH: Asbestos from brake pads, leaded gasoline, mechanics bench. You know, plus the mother was electrocuted by current from a generator. We're looking for an abandoned gas station or mechanic shop. You know you guys are geniuses. [Getting on his phone he walks off.] ZACK: How do we find that? BOOTH: I work for the F.B.I., idiot. HODGINS: Way to go Zach. We went form genius to idiot in 3 seconds. [Cut to Pickering interviewing Brennan in her office.] PICKERING: Can you tell me what you were doing in Cuba BRENNAN: Only if you tell me first. PICKERING: I beg your pardon? BRENNAN: I don't know your security clearance. PICKERING: Well, what is your security clearance? BRENNAN: You should check with the state department. PICKERING: I'm from the state department. BRENNAN: Then that should make it easy for you. PICKERING: [Taken back some] When you were in Cuba, did you meet with a man named, Juan Guzman? [Brennan is shocked as if she cannot believe anyone knows about this subject. She holds a finger up to Pickering motioning her to hold on. She dials a memorized number to an unkown person.] Hello. It's Dr. Brennan from the Jeffersonian. You told me to call you if anyone asked about . . . you know, him. Someone from the state department named Samantha Pickering. [Brennan hands the phone over to an irritated Pickering, who takes the phone with attitude.] PICKERING: [Into the phone.] Pickering. [Attitude changes and she becomes slightly nervous. She seems to realize who is on the phone, obviously a superior of some kind.] Yes sir. Yes. I'll wait . . . I'll wait here. [Hands the phone back to Brennan.] BRENNAN: Anymore questions? PICKERING: No. Uh, no. In fact the entire review has been suspended. I'm to wait here for someone to come and destroy my notes. [Enters Booth.] BOOTH: We might have the kid. [Brennan jumps up to follow him.] [Cut to Booth and Brennan in his car, night time.] BOOTH: Polina didn't make any calls from her cell phone after she was kidnapped. But nobody turned if off. When she left the coverage area, the cell phone was automatically assigned a new routing tower. BRENNAN: You can triangulate her position? BOOTH: Yeah to within 75 square miles. There was six abandoned gas stations in that area. There were five urban one rural. S.W.AT.'s team gonna check them all out but I think it's the rural one. BRENNAN: Why? BOOTH: Because I use to do this kind of work. BRENNAN: What, rescuing people? BOOTH: Or being the person they needed to be rescued from. BRENNAN: Oh. BOOTH: If I had choice, I'd pick the isolated rural one. The place I perfect. It's an abandoned truck repair depot. S.W.A.T. team will meet us there. BRENNAN: Why don't we ever take my car? BOOTH: Do you have b*llet-proof vests in the trunk? BRENNAN: No. BOOTH: That's why. [Cut to the abandoned truck repair depot.] S.W.A.T. TEAM MEMBER: [Handing a g*n to Booth] The F.L.I.R. Imagery gives us three adults within this structure. BOOTH: Boy? S.W.A.T. TEAM MEMBER: No reading? BOOTH: Probably because he's small. Hypothermic. S.W.A.T. TEAM MEMBER: Entirely possible, sir. What's the play? BOOTH: I go in first, straight for the kid. You guys do what you do. S.W.A.T. TEAM MEMBER: Alright. BRENNAN: What about me? BOOTH: Wait outside. BRENNAN: But I don't wanna miss anything. BOOTH: Bones these guys aren't like anyone you've every come up against. Please, just be someone you aren't for the next ten minutes and hang back. Please. [She nods. Booth and S.W.A.T. Team start for the building. Booth motions with his hands, giving directions. They raid the building. sh*t fired. Booth finds the kid and rushes to him. S.W.A.T. Team is yelling out, watching each other completely taking out the mercenaries. We see Donovan crying and covering his face. Booth approaches but he backs away frightened.] BOOTH: Donovan, don't look at him anymore. Okay? It's okay. DONOVAN: N-no! [He starts swatting at Booth.] BOOTH: Don't look at him anymore. Don't do that. DONOVAN: Just get away! BOOTH: He's not gonna hurt you anymore. DONOVAN: No go away! BOOTH: Okay. Donovan paladin. Okay? [Child begins to calm down but still unsure.] Paladin, paladin, okay, paladin. Come one. [He reaches for the child again, Donovan goes with him.] Come on. [Booth exists with child in hand and Brennan runs up.] Alright. Okay. You good? You all right? [Cut to ambulance, sirens wailing, child is on stretcher with hand properly bandaged. Booth and Brennan are beside him. A car pulls out, Donovan's dad steps out. Crying but happy.] DONOVAN: Is my dad crying? BOOTH: I think your dad's crying because he's happy. He's happy he got you back. BOOTH: [Donovan's dad makes his way over to him. Weeks and Booth come face to face.] WEEKS: Well done. BOOTH: Yeah, I hope your really good at your job, Weeks. WEEKS : Why is that? BOOTH: Because, otherwise you've got nothing going for you. [Booth walks off as Brennan approaches, speaking to Weeks.] BRENNAN: He's a Father himself. WEEKS: Thank God I always had the sense not to let that happen to me. [Brennan looks at him a moment, seeing just how cold Weeks is and walks off catching up with Booth.] BRENNAN: You think K.B.C. hired the mercenaries? BOOTH: We'll let the grand jury figure that out. We did our job. [They start to walk off, leaving.] BRENNAN: It's not often I get to help save someone before they die. [Looking satisfied.] BOOTH: Bones, every time you catch a m*rder, you save his next victim. BRENNAN: This is different. BOOTH: Yeah. Still glad you don't have any kids? BRENNAN: [Stopping to face him.] Yeah. Why? BOOTH: Looking at that boy and his dad. I just thought you'd change you mind. BRENNAN: No. Still glad you do have a kid? BOOTH: Gladder today than yesterday. [Smiling.] BRENNAN: Doesn't make any sense. BOOTH: Yeah, it's complicated. [Leaving the scene.] -END-

{"type": "series", "show": "Bones", "episode": "01x11 - The Woman in the Car"}

foreverdreaming

"The Superhero in the Alley" Episode 1x12 Written By: Elizabeth Benjamin Directed by: James Whitmore Jr. Transcribed by: etoile_du_soir Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Aerial view of Washinton D.c.] Voice of a man on the radio: 7:30 right now. Coming up, a recap of a disturbing story- Man 2: ...the skeletal remains discovered by a group of sixth-grade students in Anacostia. Woman: The remains have not yet been identified, according to police and there's no word as to wether foul play is suspected. [Cut to inside the truck of a TV station. The reporter woman appears on a screen. The camera then shift and we can see the woman standing outside the truck] Reporter woman: Dale, the word most repeated by the young witnesses we spoke to: "horror". As in it looked like a horror movie. [Sirens wailing] Voice: Nah we're going to be going for another take. [Booth and FBI deputy director, Cullen, appears walking out of the alley] BOOTH: I hate press cases. CULLEN: Yes sir. More than three cameras show up, some homicide detective kicks it up to his captain who kicks it up to the chief, who kicks it to the F.B.I.- BOOTH: And you - bang - kick it down to me. Which I thank you for, sir - the opportunity. [They stop at the crime scene yellow tape] CULLEN: Booth, I want this closed. I don't want to pick up next Sunday's Post and read "Church kids find mystery corpse dressed for Halloween, F.B.I. remains clueless". BOOTH: I garantee you won't read that, sir. Okay? I-I'm on it. [Brennan and Zack arrive] Bones. Reporter woman: A body left to rot- BRENNAN: Got here as soon as I could. BOOTH: Yeah. Thanks for coming. I pull you from anything important? [They walk toward the crime scene] BRENNAN: A 9,600 year old Caucasoid female skeleton was found in the Kunlun Moutains in China last month. An international investigation is under way. I'm contributing stress marker analysis. [view of them from above, walking in the alley] BOOTH: I think you're gonna find this, uh, very interesting too. [Camera zooms on the d*ad body. The skeleton seems to be wearing some kind of armor outfit. Brennan approaches.] BOOTH: Oh... BRENNAN: What the hell is he wearing? It's lightweight. Composite. BOOTH: I think it was some kind of sexual bondage suit. And there's that bag. It's full of maggots. BRENNAN: Looks like cellulose in there, degraded from bodily tissues and decomposing fat. BOOTH: And maggots. [Zack takes pictures of the body. Shutter clicking] ZACK: Tibial plateau fractures and ground disturbance suggest total body impact. BOOTH: Okay. So did he jump, or was he pushed, Bones? BRENNAN: That's what we have to figure out. We can take the skeleton in. Give you a report, maybe after next week. BOOTH: No you don't have to solve the whole case. Just tell me if I'm looking at a m*rder. Maybe, you know, pull a quick I.D.? [He smiles] BRENNAN: Don't use your charm smile on me. BOOTH: What? It's a mark of respect. That's all. [Jeffersonian Insitute. Zack and Brennan are on the platform, examining the body lying down on one of the tables] ZACK: Epiphyseal union with the diaphysis on the wrist, knees and ankles suggests the victim was between 14 and 18 years old. 1.6 meters tall, a very slight build suggesting he was at the younger end of the scale. [Hodgins arrives] HODGINS: That tracks with the bag. The degraded cellulose we found is a graphic novel. BRENNAN: A what? HODGINS: It's a comic book. ZACK: I never read comic books. HODGINS: Really? I had you pegged for a graphic novel nut. ZACK: The face and cranial vault are badly fractured. Blows to the parietal have sent radiating fracture lines between the mid, frontal and anterior temporal buttresses. Why? HODGINS: Star Wars, Star Trek, Stargate, Battlestar Galactica. BRENNAN: Focusing, gentlemen. ZACK: Conclusion: brutal as*ault k*lled him. BRENNAN: He was dropped...after he was was already d*ad. HODGINS: His k*ller wanted it to look like a su1c1de. [Silence] BRENNAN: Let's get his dentals into the N.C.I.C., see if we can find a match. Zack, call Stockholm and Beijing. Our research data on the other thing is going to be delayed. [Cut to close-up of the victim files, hold by Brennan. Booth and Brennan are in a car] BOOTH: It's Warren Granger, age 17. BRENNAN: 17, small for his age. BOOTH: Yeah. Well, he was homeschooled. G.E.D. obtained last summer. Mother and stepfather reported him missing form this very block two months ago. Hey, listen. Bones, you know, if you want, uh, sit this part out, hey I know you got some ancient Chinese bones waiting. BRENNAN: No. I'm on this now. [Cut to outside of the car, turning down the driveway of Warren's parents house] BRENNAN: Looks like every other house in the neighbourhood. BOOTH: EVery family has its secrets, Bones. [Dog barking] [Cut to the inside of the house, in Warren's bedroom. Warren's parents, Booth and Brennan are present. Warren's mother picks up a frame and looks at the picture inside] WARREN'S MOTHER: This was Warren's room. No one's been up here since the detective first looked it over. WARREN'S STEPFATHER: The news said there was hardly anything left of him. [Warren's mother sobs and leaves the room] BOOTH: Can you think of anyone who might have wanted to harm Warren in any way? WARREN'S STEPFATHER: He was always by himself. No friends. No ennemies. Spent all his time up here with his comic books and toys. [Camera shows comic books drawing plasered on the walls] He was a lonely kid. Died before he even had a life. I really thought he had just run away. [He walks toward the entrance of the room] We tried. Tried to get him out of this place into some kind of real life. I even got him a job at the bowling alley. But... he just spent all his money on this... stuff. [He leaves] BOOTH: Unbelievable. [sighs] [He picks up a couple of comic books] It's quite the collection of comic books. BRENNAN: Hodgins said that the cellulose mass was a graphic novel. He sent it to Angela for analysis and recovery. BOOTH: Sweet. BRENNAN: Sweet? BOOTH: [Holding one of the comic books] This is Batman number 127, featuring the hammer of the Thor. This is worth about 300 bucks. BRENNAN: Booth, are you a nerd? BOOTH: First of all, you mean "geek". And no, I'm not. Okay? It's quite normal for an American male to read comic books. BRENNAN: I find it hard to believe you have anything in common with Warren Granger. BOOTH: Oh, you mean isolated with an inner secret life? No. I'd say you were more like Warren. [Brennan's cell phone buzzes. She picks it up and read the message] BRENNAN: Zack discovered some significant hairline parry fractures on the right and left ulnae. [Booth picks up a plastic bag bearing the inscription Karma Comics] BRENNAN: That's arms. BOOTH: I know ulna means forearm. I pay attention. I also know that parry fracture means that the kid fought back, Bones. BRENNAN: Small stature, a geek, and he fought back. BOOTH: Yeah. He also got thrown from a roof. [Brennan checks on the computer] BRENNAN: There's nothing but games on here. There's no journal, there's no documents, nothing personal. What did he do at his desk? I mean, there's light. The rug's worn. He used this area for something. [She sits down at the desk] What was it? BOOTH: Probably were he read his comic books. [Brennan takes out a sheet of paper from a drawer, places it on the desk and starts scribbling on it with a pencil. Marks from the desk appears.] BRENNAN: I think Warren sat here and wrote longhand... with a ballpoint pen. BOOTH: That's pretty retro for a geek. Hmmm. Well, at least we know where he got the idea for a costume. [He drops a comic book on the desk] Citizen 14. BRENNAN: [Grabs the comic book entitled Citizen 14] Superhero. [OPENING CREDITS] [At the Jeffersonian Institute, Angela's office. Images of the comic book found with Warren's body are displayed on the computer screen] ANGELA: Hodgins dried out and separated the pages. I digitized them an ajusted for ink seepage. BRENNAN: [looking at the computer screen] Was this printed commercially? ANGELA: No. It's a prototype. It's handmade. BRENNAN: That's what he was writing at his desk. BOOTH: A comic book starring himself. GOODMAN: A shy adolescent young man renders himself as a superhero. BOOTH: Alone in that room all the time. Maybe Warren got consummed by his own fantasy. BRENNAN: Do you think he was actually out fighting crime? BOOTH: Well, the boy got beaten to a pulp by wearing his superhero outfit in the heaviest crime area of D.C., Bones. GOODMAN: As you know, being a writer yourself, Dr. Brennan, Warren Granger's comic book could be infused with his real-life fears and conflicts. BRENNAN: Especially in the case of an adolescent writer. BOOTH: Can you retrieve any more of this? ANGELA: Yeah, sure. BRENNAN: Fine. What's our next step? BOOTH: Oh, we'll go see if Warren had any friends his mother didn't know about. [Cut to a street, showing the exterior of the Karma Comics store in the background. The camera zooms on Booth and Brennan inside the store as they're talking to the owner] ELLIS: Wait a minute. Warren Granger was the skeleton corpse those kids found? BOOTH: Yeah. Sounds like you were close. ELLIS: How long was he laying there all d*ad like that? BRENNAN: Well, for a while. BOOTH: How well did you know Warren, Mr. Ellis? [Inside the store] ELLIS: He came in here all the time. You know, he, uh, knew his stuff. He was a nice kid. Really nice guy. BOOTH: Something you're not telling us? ELLIS: What do you mean? BOOTH: You seem a little nervous. ELLIS: Well, you just told me that someone I-I know is this rotting skeletal corpse that's been all over the news. [Thumping above] What do you expect? BRENNAN: [Looking up] There a party upstairs? ELLIS: Oh, it's the, uh Doomsday Group. I rent it out thursday nights. [Rock muffled] Hey, wait. Um, Warren was actually one of them. BOOTH: Oh. Well, you know, that's a handy thing to remember. Anything else you forgot to mention to me? ELLIS: No, that's- that's it I think. [Cut to room upstairs; loud music is playing. Brennan enters, next followed by Booth and Ellis. A bunch of guys, wearing costume, seem to be arguing] Guy 1: Can't take that away. Guy 2: We can't keep breaking out 20-sided- Guy 1: [Noticing Brennan] Excuse me. This is a private function. So good-bye. BRENNAN: Go ahead. Don't let me stop you fr- What are you doing exactly? BOOTH: [Chuckles] Guys, this is actually a real live woman. Something you don't see often. Guy 1: And like I said, this is a private function. So- ELLIS: It's the F.B.I. Just turn it off for a minute. Please. [The girl turns off the music] Guy 3: F.B.I.? Guy 1: I'm Yasutani the Terrible. I speak for this clan. [Booth and Brennan exchange a look] BOOTH: Okay. Well, we- we'd like to ask you a few questions if you're not too, uh, busy. BRENNAN: The costume, the social awkwardness, the active fantasy life. The victim would fit right into the subgrouping. BOOTH: Okay. Hey, uh, Mister, uh, "Yakitori the Horrible", what's your real name? Guy 1: Jeremy Kuznetsky. BRENNAN: Do any of you people know Warren Granger? Girl: Something happened to Warren, didn't it? ELLIS: Warren's d*ad. He was m*rder. BOOTH: No. I never said anything about him being m*rder. Neither did the press. JEREMY: Well, obviously, if you're the F.B.I., he was m*rder. You guys don't investigate people getting h*t by a bus. BOOTH: Hey when's the last time any of you have seen Warren? JEREMY: A couple months ago when he left. BRENNAN: Left? JEREMY: Citizen 14 was one of us. Until he went psycho and bugged out. Called us all posers. Guy 3: Pathetic fantasists. BRENNAN: Uh, was he wearing his, um, outfit? JEREMY: His identity. Yeah. BRENNAN: Why do you wear these identities? Guy 3: For the game. BOOTH: How serious do you take the game? JEREMY: It's only fun if you take it seriously. BRENNAN: You always play here? Guy 2: You know, "play" is not exactly the right verb. Okay? JEREMY: [Talking over guy 2] Don't even try to explain it to them. Girl: Shut up! Who cares? Didn't you hear? Warren't is d*ad! Guy 2: It's okay, Minnow! BOOTH: What's you name? Girl: Blue Minnow. BOOTH: Okay, guys. When I ask your names, I want the ones that your parents gave you. Girl: Abigail Zealy. Citizen 14 was my partner. BRENNAN: Is that what you call Warren? Citizen 14? ABIGAIL: Citizen 14 was my partner. Warren was my friend. JEREMY: He was a little more than that. [Abigail gets up and leaves abruptly] ELLIS: Hey, hey, hey, hey, hey. [Cut to the street, view of the car then inside the car] BRENNAN: I don't like to judge an entire subculture, but those people gave me the creeps. BOOTH: That's because they are creepy. What I mean is those kids at the store weren't your good old harmless "tutor you in math" geeks. They were the, uh, you know, "set the school on f*re" geeks. Dark nerds. Columbine nerds. BRENNAN: Columbine? You think Yasutani the Terrible's actually capable of m*rder? BOOTH: I think, you know, they get high, you know, they play these games, they lose their grip in reality. And, you know, they start to believe they are these characters. BRENNAN: You mean like Warren out fighting crime. BOOTH: You know, hey, maybe Warren and that guy, uh, the leader, "Yasuhama"- BRENNAN: Yasutani the Terrible. BOOTH: Yeah. Yasutani the Terrible. Maybe- Maybe him and that guy, you know, they got into this, uh, you know, magic fight, and uh, it became real. BRENNAN: So you're saying it wasn't Warren who was m*rder. It was his character, Citizen 14. BOOTH: They're so delusional they don't even know that they've committed a crime. BRENNAN: I'll get Hodgins to see if there's any signs of drug use in Warren's hair. [Cut to the Jeffersonian, Angela's office. She's looking at the computer screen where Warren's comic book is still displayed] ANGELA: Oh, I managed to get some of the text back from this panel. Cheerful little tyke. GOODMAN: Writer was in pain. And I don't think it was purely the adolescent angst of the outsider. In fact, I'd go so far as to say it wasn't mere psychological pain. He's afraid of actual physical death. [Footsteps approaching. Brennan and Booth enter] ANGELA: Can you really pull all that information from a comic book? GOODMAN: Absolutely. All writers reveal more of themselves than they intend on every page. BOOTH: You know I gotta tell you, I never bought all that English 101 stuff. Sometimes a river is just a river. BRENNAN: All due respect, but my writing, for example, is pure fiction. GOODMAN: Dr.Brennan, I fear you reveal much more of your worldview in your writing than you realize. BRENNAN: Such as? GOODMAN: Such as "Archaeologists make good administrators because they enjoy tedium". ANGELA: Such as "Artists are doomed to a life of loneliness because they aren't able to think beyond instant gratification". BOOTH: Such as, you know, F.B.I. guys are hot, and Angela here wants to have sex with me. ANGELA: Yeah. BRENNAN, looking uncomfortable: Well, all I'm suggesting is that while Mr.Goodman goes through Warren's writing we should concentrate on the hypotheses that are congruent with forensic evidence. I'm going to take another look at Warren Granger's remains. [She leaves the room] [Cut to the platform, Warren's body is still on one of the table] ZACK: In the last 24 hours, I've read several dozen comic books and graphic novels. BRENNAN: Did Hodgins find any sign of drug use? ZACK: No. They're quite interesting. The graphic novels esppecially. BRENNAN: After you clean the bones, look for scoring on the occipital condyle and the inferior nuchal line. ZACK: They're bascically a retelling of the Greek myths with all the superheroes standing in for Hercules. Half god, half human. BRENNAN: [Examining the remains closely] Okay. Be very careful here. X-ray shows fragmentation of the... cervical vertebrae consistent with sharp force trauma. ZACK: Invulnerability, superstrenght, heightened senses, telekinesis... I would love to have some of those powers. BRENNAN: Why? ZACK: I- I don't really know. Is it an odd desire? BRENNAN: Why fantasize? You're smart. ZACK: In some ways my intelligence is a handicap. Well, for one thing, I'm weird. For another, I tend to make people feel stupid, and they resent me for it. BRENNAN: I suspect it's the same for superpowers. [She pauses and looks at Zack] The victim was s*ab here at the base of the spine. The spinal cord was severed. That's what k*lled him. ZACK: I'll clean the bones and try to match a w*apon to the damage done. BRENNAN: Which will make you a real hero in a real world. [she starts leaving] [Cut to Angela's office; comic book pages on the computer screen, showing a blond woman surrounded by a radiant blue light] GOODMAN: In this restored panel from the second and finale volume of Citizen 14, we begin to see a female presence- beautiful, etheral- which he call the Opalescence. ANGELA: A girl he literally can't approach. What if Warren was only... you know, supplying his own masturbatory materials? GOODMAN: Yes. Lonely adolescent boy. But the story moves beyond that dimension. Here [the camera shows a page of the comic featuring the woman surround by blue and a dark character], we see the idolized female Opalescence cowering before a dark male figure referred to only as the Twisted. ANGELA: So Citizen 14 wants to rescue the Opalescence from the Twisted. Could this be Warren's mother and stepfather? GOODMAN: Hmm. There are elements of romantic love. This girl, surrounded by blue. ANGELA: You know, they did mention that one of those comic book geeks was a blue girl. GOODMAN: I'd say she's definitely worth questionning. [Cut to the F.B.I. building, Booth's office. He and Brennan are interrogating Abigail] BOOTH: Blue Minnow- that's your alter ego. ABIGAIL: Abigail Zealy is my alter ego. BOOTH: Did you, Abigail, have a relationship with Warren Granger or did the Blue Minnow have a relationship with Citizen 14? BRENNAN: Or any combination thereof. ABIGAIL: Neither. Warren had a girlfriend. At Capital Bowl. BOOTH: What's the girlfriend's name, Abby? ABIGAIL: He never told us her name. It was just a physical thing. And- And it was almost over. Warren and I had a connection. He couldn't deny that. Before he disappeared, he gave me his entire Neil Gaiman collection. His favorite work beside his own. BRENNAN: In his own work he describes a woman known as the Opalescence. Do you believe that's supposed to be you? [Booth shows Abigail the pages of the comic where the Opalescence appears] ABIGAIL: What do you think? BRENNAN: We think it's another girl entirely. [Abilgail looks disapointed, she looks down] BOOTH: Does that bother you? ABIGAIL: Okay. Maybe the others told you I'm obsessed. I know. Because they never got Warren like I did. He was right. They are posers. BOOTH: But Warren wasn't. ABIGAIL: Warren believed. He believed in truth. He believed in doing what was right. He was Citizen 14. Citizen 14 is real. BRENNAN: Warren didn't fit in with the others? ABIGAIL: I just said. Warren was better. He was a really nice guy. BOOTH: Were you aware that, uh, Jeremy Kuznetsky and, uh, Kenneth Vert had police records? [He approaches and hands her the records. She looks at them] ABIGAIL: Yeah. It's nothing interesting though. It's like vandalism and trespassing. You can't take them seriously. BRENNAN: What? As criminals? ABIGAIL: As anything. BRENNAN: Okay. Well, what would be interesting- as a crime? ABIGAIL: Something that took courage. Something that meant something. BOOTH: Like m*rder? ABIGAIL: Yeah. Like m*rder. [Cut to the lab; Brennan, Booth and Angela are gathered around the "Angelator"] ANGELA: Warren Granger on the night he died, wearing his costume. BRENNAN: Okay. Start the sequence. [Images of Warren and the Twisted appears. The latter s*ab Warren at the base of his neck] Cause of death was a severed spinal cord. We can rule out Abigail Zealy as the k*ller. BOOTH: How do you figure? BRENNAN: Abigail doesn't have enough strenght to sever Warren's spinal cord with one blow. BOOTH: What about his stepdad? Or the, uh, other kids at the comic shop? BRENNAN: Well, the physicality of the m*rder is between 5'10" and 6'1"... I'd say yes to them all, depending on the w*apon. [Silence] ANGELA: What could he have done to make somebody so angry at him? BRENNAN: Zack's cleaning the bones now. Maybe we'll find something that we've missed. [Cut to the room when Zack's cleaning the bones. He's sitting down, feet on a table, reading a comic book. Hodgins enters] HODGINS: What are you reading? ZACK: I'm doing research. [Alarm beeping; Zack gets up to go get the clean bones out] HODGINS: By reading a comic book? ZACK: Intensely allegorical modern myths. HODGINS: You're reading Bugs Bunny, man. ZACK: On the surface, yes, but if you dig deeper the subtext becomes apparent. [He puts on gloves and open the incubator] The conflict is representative of the Darwinian struggle between avians and mammals for dominance. HODGINS: Based on Bugs giving Daffy Duck a cigar made out of dynamite? ZACK: Yeah. [Takes a bone out, put it on a tray and brings it to the table near Hodgins. He points at the comic book Hodgins's holding] And then here he explodes. But not really. HODGINS: [Looking at the bone] You have a problem, my man. ZACK: What? HODGINS: Looks like you degraded the bones. ZACK: [Taking out more bones] Impossible. It's only a 4% peroxide solution. HODGINS: Then what's that bubbling and pitting on the periosteum? ZACK: A 4% solution wouldn't cause that. HODGINS: So, what? It's some kind of systemic deterioration? ZACK: [Examining the bones more closely under a light] The intertrochanteric crest is almost totally eaten away. HODGINS: What do you think it is? ZACK: This kid was sick. [Cut to Capital Bowl; Booth is wearing is bowling outfit. He and Brennan are looking at the lanes] BOOTH: You smell that? BRENNAN: Yes, I do. BOOTH: You know what that is, Bones? BRENNAN: Wax, popcorn. Feet, deodorant. BOOTH: That, is America, Bones. BRENNAN: Keep your bowling ball in the car? BOOTH: Oh, you know, I figure we ask a few questions about Warren Granger, maybe bowl a few frames... You know, nothing like a little sport to, uh, take the edge off of- BRENNAN: This is not a sport. BOOTH: How do you figure? BRENNAN: There's no physical benefit. So it's really like golf. It's not a sport, it's an activity. BOOTH: You know, could you please, Bones maybe just for once try not to piss everyone off around you? [They start walking away from the lanes] BRENNAN: Yeah. Sorry. Are you good at this... sport? BOOTH: Well, my average was over 200, less than 2 opens per game. One match I had 211 strikes out of 431 sh*ts. 29 opens in 39 games. BRENNAN: What does that mean? BOOTH: Means I won some bowling awards. BRENNAN: I won the Marshall H. Dixon Award for my paper on George John Romanes and physiological selection. BOOTH: My God, it's like we lead parallel lives. [They arrive at the counter] Man behind the counter: Need shoes? BOOTH: Yeah. Uh, looking for the manager. [Shows his badge] Man behind the counter: [Points at his name tag] Ted McGruder. F.B.I, huh? BOOTH: Yeah. We're, uh, investigating the death of one of your employees. BRENNAN: Warren Granger. TED: Warren? When he didn't show up for his last paycheck I thought he just found another job and didn't want to give notice. He was weird like that. Cool kid though. [The geeks from the comic books store are here] One of them: Bye, bye, Lucy! JEREMY: Come on. Don't pout. [All laughing] LUCY: Ted, I talked to 'em, but they just keep giving me lip. TED: Luce, these people are with the F.B.I. They're here about Warren Granger. LUCY: Warren? What about him? BRENNAN: He's deceased. LUCY: Oh, my God. [to Ted] I told you he didn't quit. TED: I was wrong. [to Booth and Brennan] Th-This is my wife, Lucy. LUCY: Sorry. BOOTH: That's okay. How often do those kids come in here? TED: Those jokers? Weekends mostly. But they used to come in a lot more, but in these crazy costumes. I told them I'd allow it on Halloween, but that's it. BOOTH: Warren's girlfriend here? We were informed that Warren's girlfriend worked here. TED: Well, if you ever met Warren, you'd know he's not the girlfriend type of kid. LUCY: There was a girl who came by to see him sometimes. [Booth show them a picture of Abigail] LUCY: Yeah. Yeah. Th-That's her. I-I don't know her name but I don't think Warren was all that glad to see her. If she called he would ask me to tell her that he wasn't here. [Brennan's cell phone rings] BRENNAN: [Answering the call] Brennan. TED: Maybe he was just trying to dodge her. BOOTH: Excuse me. Just one moment, please. Thanks. BRENNAN: Okay. Slow down, Zack, and repeat that. ZACK: [at the lab] Hypercellularity with total effacemenbt of the marrow space. Osteoblasts at 26%. BRENNAN: Okay. Good work, Zack. Keep working on the w*apon I.D. [She hangs up] BOOTH: I take it we're not gonna be getting any bowling in tonight, huh? BRENNAN: Zack said that if Warren hadn't been m*rder 2 months ago, he'd be d*ad by now. [Cut to a room in the F.B.I. building. Booth and Brennan are talking to Warren's parents] BOOTH: When you said that Warren was sick as a child, you meant leukemia. WARREN'S MOTHER: Yes. But by the time he was 11, he was in remission. BRENNAN: The hypercellular activity I saw is only present in advanced cancer cases. He must have been very ill. You didn't notice? WARREN'S STEPFATHER: We tried to be there for Warren, but he wouldn't let us in. Right when you thought you'd built a bridge of trust, he'd quit on you. He quit trying to face reality. BOOTH: Maybe your son didn't want you to have to face it. He knew his situation was dire, and he decided to tough it out on his own. WARREN'S MOTHER: Yes. He saw what it did to me the first time. It's not that he quit. It's that he didn't want me to suffer. [Cut to the lab] BRENNAN: You told her that her son didn't tell her about being sick to make her feel better. BOOTH: Mm-hmm. BRENNAN: You don't really believe that. BOOTH: People don't actually do that. BRENNAN: So you told her to make her feel better? BOOTH: Right. BRENNAN: So you just did what you said people don't do. I wonder why he didn't tell his mother. BOOTH: Well, maybe he was all caught up in the romance of being a dying superhero. You know, adolescent angst, all that. BRENNAN: What do you really think? BOOTH: [sighs] The truth is I think the boy was looking to be a man. All on his own without any help. He was doing the best that he could. BRENNAN: Heroes don't whine about being sick. BOOTH: Something like that. Poor kid. [Hodgins, Angela and Goodman walk in] HODGINS: Do they know about the leukemia? BRENNAN: No. He kept it a secret. HODGINS: Tough guy, huh? BOOTH: You were right on before about the kid knowing he was facing imminent death. This changes motivation. HODGINS: The k*ller's motivation? BOOTH: No. Warren Granger's. GOODMAN: You think he was emboldened by the knowledge he was going to die. HODGINS: He went looking for a fight. ANGELA: He went looking for the Twisted. BRENNAN: Wait. No. Wait. We are allowing the comic book story to generate too many hypotheses. HODGINS: I only heard the "go get the bad guy" hypothesis. GOODMAN: It's too general. BRENNAN: Yes. Perhaps the Opalescence represented Warren's better nature and the Twisted was a reflection of his darker sexual impulses. A theme I assume is common in teenage fiction. And the drawings- [She pauses] BOOTH: Hello? Bones? BRENNAN: The drawings... Warren wrote the comics but there was no evidence in his room that he knew how to draw. ZACK: Dr.Brennan, I found an extra piece of bone I can't account for. BRENNAN: Someone else drew the comic. [She leaves] ANGELA: [Flipping through the comic book] Stew Ellis. BOOTH: What about him? ANGELA: Look. Warren Granger wrote this comic book, but it was drawn by Stew Ellis. [Cut to the comic book store. Booth is interrogating Ellis again] ELLIS: Look. I told you I knew Warren from the store, okay? He was a serious investor. BOOTH: Did he owe you money Stew? ELLIS: What? BOOTH: Was it, uh, creative differences or was it you just didn't get enough credit? [He shows Ellis a page of the comic book] ELLIS: [sighs] No. It was none of that. BOOTH: Look. Why didn't you tell me you were partners when I asked you earlier? ELLIS: 'Cause we had a big argument, and I didn't want you to think I had a motive. BOOTH: Okay. What did you argue about? Abigail Zealy? ELLIS: No, man. Just merchandising. BOOTH: You argued about merchandising? ELLIS: Yeah. Warren thought he deserved 70% for the concept but I think, since I did the actual drawings, I- BOOTH: Do you have a publisher? ELLIS: No. And now we never will. Look, if- [Bell jingles, someone enters the shop. Ellis speaks lower] ELLIS: If you think that I k*lled Warren, I'm not that stupid, man. BOOTH: So who do you think k*lled Warren? ELLIS: I- I don't know. Definitely not me, okay? BOOTH: Well, you know, Stew, as of this moment you're the prime suspect in Warren's m*rder. ELLIS: [sighs] Why? BOOTH: Why? Because you lied about your relationship with Warren. So if I were you, I would think really, really hard if there's anything else you haven't told me. ELLIS: All right. Abby. BOOTH: Abby. Triangle. ELLIS: [nods] Look. I hooked up with her a few times, but she was obsessed with Warren. BOOTH: So you did argue about her? ELLIS: No, man. Warren never wanted Abby. BOOTH: Okay. Maybe it made you jealous that she wanted him? ELLIS: Dude, Abby's cute in a chick geek kind of way but she's definitely not that kind of Betty you go to the death chamber for. BOOTH: Okay Stew, you know what? You're just one of those guys who's way too good at lying. ELLIS: Dude, I'm an artist. What do you want? [Cut to the lab, close up of bones on the computer screen. Zack and Brennan are around the table where the bones are] ZACK: I found the extra piece of bone lodged here in the odontoid process of C2. I-I went through all the chipping and damage again but I can't find where it comes from. BRENNAN: [She sits down and looks at the fragment of bone under a microscope] Well, it's not from the cervical vertebrae. ZACK: Oh, it's not? BRENNAN: It's from a long bone. Probably the deltoid process of a humerus. ZACK: Arm bone? BRENNAN: I need you to set up the microtome. And get me paraffin and an embedding mold. ZACK: Are you going to prep your own bone slide? BRENNAN: Yes. ZACK: Usually I do that for you. BRENNAN: This is a tough one, Zack. The piece is small, and I need to make sure there's enough left for a DNA sample. ZACK: Wait. Warren Granger's are bones are complete. This extra bone fragment didn't come from Warren Granger. BRENNAN: Warren Granger was the victim of a violent att*ck. He fought back. It's possible that during that struggle he struck his attacker with the same w*apon that was later used to k*ll him. ZACK: Which means that piece of bone could've come from his m*rder. [Cut to the bones room at the Jeffersonian Institute; Brennan is prepping the bone fragment] [Brennan exhales] [Booth enters the room, whistling] BOOTH: What are you doing? BRENNAN: Breathing on the sample dissipates static electricity and makes it easier to cut. BOOTH: You seem nervous. BRENNAN: If I get this right I'll be able to tell you the age, sex and race of Warren Granger's k*ller. BOOTH: Stew was the artist. BRENNAN: Really? You think he k*ller Warren over artistic differences? BOOTH: He also had a thing for Abby. BRENNAN: Wow. BOOTH: Yeah. For a recluse, Warren Granger- He had his thumb in a lot of pies. BRENNAN: You said before that Warren reminded you of me. You think I'm just like him, that he hid from life by immersing himself in a fantasy world where he fought crime. And I do the same thing, only I don't have superpowers. I... I have science. BOOTH: No, Bones. You do fight crime. It's not a fantasy. As far as any normal person is concerned, you do have superpowers. BRENNAN: You're just saying that to me. BOOTH: No, I don't do that. BRENNAN: Yes, you do. You lied to Warren Granger's mother to make her feel better. That seems to be your superpower. BOOTH: Look. This piece of bone you're analyzing- How did he get lodged in Warren Granger's neck? BRENNAN: It was deposited by the same w*apon that severed his spinal cord. BOOTH: Doesn't make it the k*ller's bone. BRENNAN: Are you thinking a- a separate m*rder victim? BOOTH: Opalescense. Uh, the woman he loved. BRENNAN: I don't think she's d*ad. BOOTH: Why? BRENNAN: This is an arm bone. Has anyone we've seen on this case been favoring her arm? BOOTH: Not that I've noticed. BRENNAN: That's because you're not an anthropologist... with superpowers. BOOTH: Ha. That's good. [Chuckles] [Cut to Capital Bowl. Brennan and Booth walk toward both Ted and Lucy] LUCY: Oh. Hello. TED: Any news about Warren? BOOTH: We're still in the initial phase of our investigation. Listen Mr. McGruder you didn't happen to keep that, uh, last payroll check for Warren Granger that you told me about? TED: By law I have to, yeah. BOOTH: You mind digging that up for us? I apologize for the inconvenience. TED: I guess. It's probably in the file somewhere. [He leaves] LUCY: What do you need the paycheck for? BOOTH: Ah, it's technical. [Lucy seems to be hurt] BRENNAN: Mrs. McGruder, what's wrong with your left side? LUCY: Why would you ask me that? BRENNAN: I noticed how you held yourself last time I was here. I didn't think anything of it. Though viewed through the current context, I- LUCY: What is she talking about? BOOTH: She wants to know how you hurt yourself. BRENNAN: You walk as though your left ribs are cracked. Also, you favor your left arm. LUCY: Oh, I, um- I- I... fell on the lanes. They're very slippery. BRENNAN: Falling would bruise a number of ribs. You're favoring only one or two. BOOTH: The type of damage done by a fist. [Lucy looks uncomfortable] BOOTH: Look. Were you and Warren close? LUCY: He was a nice kid. A really nice kid. [Ted comes back with the check.] TED: Here it is. [Lucy looks very uncomfortable] You two want to bowl a few frames? Got some empty lanes. BRENNAN: I'll see you in the comic books, buster. TED: What? BOOTH: Thanks. I- I'll get this back to you. [Booth and Brennan walk away from the McGruders] BOOTH: It's "See you in the funny pages". BRENNAN: Okay. I took a liberty. Her husband beats her. BOOTH: Bones. All right. Talk about multiple hypotheses. BRENNAN: It's a leap, yes, but it was bound to happen, me spending so much time with you. I mean that as a compliment. BOOTH: Okay. So Warren's former boss is the Twisted, and the boss's wife is the Opalescence. BRENNAN: Go back and arrest him. BOOTH: It's not enough. Okay? For that we need something just a little bit more real. BRENNAN: Evidence. BOOTH: Cold hard facts, baby. [They look back at Lucy who quickly looks away; they leave the bowling] [Zack walk toward the two of them as they come back to the Jeffersonian Institute] ZACK: Dr. Brennan, based on your histology and the DNA, the bone chip found in Warren Granger's neck came from a Caucasian male, mid-30s. BOOTH: McGruder. What? Can you get any more specific? BRENNAN: We need the w*apon. BOOTH: I can get a warrant, search the McGruder house for whatever you want. BRENNAN: That's the trouble. We don't know exactly what we're looking for. ZACK: We h*t a d*ad end trying to reverse engineer it from the mark on the neck. Too much damage and fragmentation. BRENNAN: Wait. You said that in books you could find the real-world version. BOOTH: Yeah. Well, I mean, if you know you, it's pretty obvious. BRENNAN: Well, give me an example. BOOTH: Okay. Well, in your book, your partner's a former Olympic boxer who graduated from Harvard and spoke six different languages. In real life, you got me. BRENNAN: So what you're saying is that reality falls far, far short of the fictional. BOOTH: Yeah. Thanks a lot, Bones. [He leaves] [Cut to Angela's office. Brennan, Booth and Angela are gathered around the "Angelator"] ANGELA: Warren Granger's spinal cord was severed by something sharp, but not a Kn*fe. BOOTH: Okay. If it wasn't a Kn*fe, what was it? ANGELA: The closest match I could find would be a corkscrew or a Tibetan skull Kn*fe but neither of them explain how foreign bone was left lodged in the vertebrae. BRENNAN: Pull up Citizen 14's w*apon thing. BOOTH: I thought that was a boomerang thing, like a sonic g*n. ANGELA: A laser cutlass. That thing that allowed him to hear through walls. BRENNAN: we're looking for something that has a drabber, more banal version in the real world. ANGELA: Well, why would he be k*lled by his own w*apon? BOOTH: Well, because he probably had it on him the night he decided to confront Ted McGruder. [Images of Warren's w*apon appear] ANGELA: Citizen 14's arsenal. BRENNAN: [Pointing at one of the w*apon displayed] What's that? ANGELA: That's his main w*apon. It's a three-sided throwing Kn*fe that returns to him. But none of them make the wound that resemble the one that severed Warren's spinal cord. BRENNAN: It's just an idea. BOOTH: Bones- BRENNAN: No. I- I fell into the exact thing that I warned you about: developing too many hypotheses not grounded in fact. BOOTH: No. Bones, I know exactly which drab real-world thing was used to m*rder Warren Granger. [Booth and Brennan are in the car] BOOTH: All this kid wants is to feel like a hero. Suddenly he's facing a damsel in distress. BRENNAN: Lucy McGruder is 10 years older. BOOTH: That's not that damsel part that matters. It's the distress that appealed to the kid. You know? I mean, look. It wasn't about the sex or the romance. It never was. BRENNAN: He wanted to make a difference in the world before he died. [Pauses, she exchanges a look with Booth] I told you he was more like you than me. Woman on radio: 22705, Dispatch. BOOTH: [answers call] 22705. Woman on radio: Unit sent to suspect's residence reports the domicile is empty. BOOTH: There's no one there? What the about the wife? Woman on radio: Negative. Search time is inside the house. It's empty. Signs of flight. BOOTH: Affirmative, uh, Dispatch. BRENNAN: What? He beats her, but she takes off with him anyway? BOOTH: Spousal abuse syndrome. [Radio] Dispatch, 22705. Woman on radio: Dispatch. BOOTH: Can you send a backup unit to Capital Bowl, 1123 Sea Bolt? [Cut to Capital Bowl; the place seems totally empty] BOOTH: [Whispering] Domestic disturbances are always weird, okay? The woman gets b*at on by her husband. The cavalry turns up to save her. You know, you'd think she'd be on the same side as the rescuers, but- [chuckles] sometimes- BRENNAN: You're saying watch out for the wife. [Sound of a door opening] BOOTH: All I'm saying is just stay alert. Okay, Bones? BRENNAN: Okay. [We hear voices in the background] LUCY: Ted, why are we doing this? TED: Shut up. [They are behind the counter, Ted is taking the money from the safe] LUCY: You didn't do anything. TED: Lucy, I swear to God. If you don't shut up- LUCY: No. I know you wouldn't hurt Warren. BOOTH: Of course he would, You see, that's what he does. [Lucy and Ted turn around as Booth and Brennan enter the room] BOOTH: He likes to b*at up people weaker than him. TED: We are closed. BRENNAN: Well, you left your door unlocked. Probably an oversight due to your state of panic. BOOTH: Yeah. The lights were on. You see, we suspected a robbery. Say, you have a bevel Kn*fe? LUCY: A what? BRENNAN: It's a triangular three-sided Kn*fe. BOOTH: You know, to clean out bowling ball holes. Say I used to have one back in the day, you wouldn't happen to have on around here, would you? TED: You need a warrant. You need a warrant to take any of my stuff. BRENNAN: Lucy, we need a bevel Kn*fe. LUCY: [Looks at Ted] We keep one in here. TED: Shut up, Lucy! BOOTH: Why don't you smack her around a little bit there, Ted uh? Keep your woman in line. [Lucy places a toolbox on the counter. Brennan find the bevel Kn*fe and examine it more closely] [Silence] BRENNAN: Yeah. This could've done it. BOOTH: Say, Bones. That, uh, bone chip. Uh, second victim or m*rder? BRENNAN: Well, for Warren's sake, I hope it was the m*rder. BOOTH: Me too. TED: What are you talking about? Just get out of here. BRENNAN: It would be his left arm. LUCY: What? BRENNAN: Well, Warren was right-handed, so the wound would be on your husband's left arm. LUCY: Oh my God. BOOTH: Bones. [Brennan approaches Ted and h*t his upper left arm with her elbow, Ted groans] LUCY: No! [Ted keeps on groaning. A blood stain appears on his shirt where Brennan h*t him] BRENNAN: [Pointing at the stain] Right there. [Ted makes an attempt at hitting Brennan, which she blocks right away. She seizes his arm and throw him over the pool table nearby. Ted groans some more.] BOOTH: I got him. I got him. I got him. All right. [He handcuffs Ted] Aw, hell, Bones. Looks like you opened up an old wound there. All right let's go. You know what? You're under arrest. I really hate a wife beater. I really do. Almost as much as I hate someone who kills a dying kid. [They leave] [Cut to the FBI interrogation room. Booth and Brennan are talking to Lucy] BOOTH: Warren knew what Ted did to you. [Lucy nods] BRENNAN: Did you tell him? LUCY: I didn't have to. He saw one night. Ted h*t me and... Warren- Warren ran away. BRENNAN: Why didn't you go to the police? LUCY: Because... it's not all the time, I mean- it- it's when things go bad and he's under a lot of strain. Ted has a bad temper. BRENNAN: Warren wanted to rescue you. LUCY: [starts crying] Oh, my God. BOOTH: He probably just wanted to intimidate your husband, stop him from attacking you. BRENNAN: Warren s*ab your husband in the arm with the bevel Kn*fe. BOOTH: Ted took the Kn*fe away from Warren. BRENNAN: It wouldn't have been very hard. The boy was... very ill. BOOTH: After that, it's like you said. Your husband has a bad temper. [Lucy cries] [Black Rebel Motorcycle Club ~ Feel it now] Cut to the lab. Angela is drawing the last page of Warren's comic book: Citizen 14 is victorious with behind him the Twisted in prison. Cut to the cemetery where the ceremony for Warren is taking place. Stew and Warren's friends are deposing offerings on the casket. Beside Warren's mother is crying. Booth and Brennan are standing a few feets away. Cut back to Angela, now finishing the drawing of the Opalescence. Back to the cemetery, Booth approaches the casket. He takes off the sharpsh**ter medal that was on his suit jacket and places it on the casket. Back to Angela drawing. Back to the cemetery. Booth joins back Brennan, they both turn around and see that Abigail is there, away from the gathering, crying. Angela arrives, she hands the finished comic book over to Brennan who skips through the pages. She smiles, casts a look at Angela and walk over to Lucy to whom she gives the comic. Lucy looks at the last page where is Angela's drawing. Above Citizen 14 and the Twisted behind bar is the Opalescence, arms held out, with the words Thank you. The comic book is now on the casket. Zoom on the last page, zoom on the Opalescence's face then on the words "Thank You". End.

{"type": "series", "show": "Bones", "episode": "01x12 - The Superhero in the Alley"}

foreverdreaming

"The Woman in the Garden" Episode 1x13 Written By: Laura Wolner Directed by: Sanford Bookstaver Transcribed by: Elo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [A street where a man is being arrested after being pulled over by the police. The intersection of the street has been tapped off and people are watching behind the tape. Investigators are taking photos of the red car and looking around.] POLICE #1: (to the man he's cuffing) If you had any kind of w*apon like a g*n or a Kn*fe or something like that, you'd let me know, right, buddy? POLICE #2: Make it easier on yourself. POLICE #3: (approaching) Guys, fed are on the way. (Sirens going off) Booth and Brennan arrive in their SUV. They get out and walk onto the crime scene. BRENNAN: Why'd they call in the FBI to Little Salvador? BOOTH: Well, the car's got Virginia plates, crossed the state line. Then there's a suspected g*ng member. Then there's RICO to deal with. What, Bones, do you really wanna know? BRENNAN: No, I was just using it as an excuse to make conversation and reestablish our connection. BOOTH: (puzzled) What? BRENNAN: I read a book about improving work relationships. It's not fair to expect you to tell me everything. BOOTH: I appreciate the effort Bones. sh*ts of Little Salvador with the street vendors and Pupusa restaurants (yummy!) and agents talking to people looking on. BRENNAN: It's like they recreated their country here, right down to being terrified of the police. BOOTH: A lot of these people, they're undocumented. They get nervous around law enforcement. (Approaching the suspect and policemen, holding out his badge.) What do we got? POLICE: He ran the stop sign. I pulled him over, he tried to run. BOOTH: (laying his hands on the suspects back reveals a tattoo on his back.) Oh, look at this, huh? A Mara Muerte tattoo. It's one of the most feared gangs in the area. No wonder he was chauffeuring a d*ad body around, huh? Couldn't just join the Boys Club, pal? (getting into his face) BRENNAN: (to the policeman) And I'm here because... POLICE: (leading her to the trunk of the car) Routine inspection of the vehicle...I found this. BOOTH: (reveals decomposed body in the trunk) Oh. BRENNAN: (putting on gloves to examine) Vertical brow ridge suggests female. Recently dug up, looks like. (pointing to the suspect) Could you hold his hands up, please? (Booth goes over to take a look) We should analyze the dirt on his hands and compare it to the dirt on the shovel and the remains. BOOTH: (to the suspect) Where was she buried? (Suspect ignores him) BRENNAN: (in Spanish) Where was she buried? Why did you dig her up? (suspect continues to ignore them). BOOTH: Great, how he's ignoring us in two languages. BRENNAN: Where's the nearest cemetery? POLICE: The closest one I know about is Holy Rood, but that's a good ten miles from here. The people looking on, watching what is happening. BRENNAN: (in Spanish, to the people looking on) Excuse me ... Can you help us? We're wondering if there's a cemetery nearby? (The onlookers look put off and walk away, not willing to help.) BOOTH: Maybe your Spanish is a little rusty? BRENNAN: They come from a place where getting involved gets you k*lled. g*n sh*ts go off as a black car rolls by sh**ting at them. Everyone ducks for cover. MAN: Get down! Get down! The suspect starts to make a break for it MAN: sh*ts fired! sh*ts fired! Booth starts to chase after him. Various sh*ts of Booth chasing after the suspect through alleys. BOOTH: HEY! Suspect climbs over a fence. BOOTH: Don't make me sh**t you! Booth tries to grab his foot to stop him from getting over the fence, but he gets over and runs away. Brennan arrives in the ally as Booth is upset that the suspect got away. CREDITS At the Jeffersonian Lab, Brennan, Angela and Zack are on the platform examining the remains from the trunk. Hodgins is examining other evidence. ZACK: (going through his notes) Uh, decomp, insect activity, volatile fatty acid levels in the soil due to putrefaction suggest she was buried for approximately six months. HODGINS: (examining the evidence) Typically, gravediggers are necrophiliacs looking for a little action. ANGELA: Um, ew. ZACK: Dental exam shows shoveled incisors and striated enamel. BRENNAN: Indicating? ZACK: Malnutrition. Which is consistent with anthropometrics suggesting the victim is from Central America. BRENNAN: The body was found in a Salvadoran neighbourhood. HODGINS: In Pikeville, Tennessee, a guy dug up the graves of all these people because he wanted to make sure their bodies were still there. They weren't. BRENNAN: (to Angela) Make a sketch of the face. I'm not sure we'll find a match, she might have been undocumented. (Picking up tray with a rosary on it) Goodman is an expert in religious iconography, maybe he'll be able to determine where this rosary was made. (Angela takes it.) ZACK: Depression fracture on her occipital bone straddling the left lamdoidal suture. Looks like one hard h*t congruent with, say, a baseball bat. BRENNAN: She was religious; she should've had a casket, a proper burial with her name on a headstone. We are going to find out who she is, and we are going to give her that. FBI building. In the interrogation room, Booth is talking with Miguel Villeda, an unruly type with tattoos all over him. BOOTH: Miguel Villeda, w*rlord of the Vanganza Rojas street g*ng. According to this, you...you are one fierce, fierce guy. MIGUEL: Well, it didn't stop your guys from picking me up. BOOTH: They tell you why? MIGUEL: Someone took a sh*t at some Mara Muerte espuma. BOOTH: Not a sh*t, hmmmm? A couple dozen sh*ts. A drive-by. Hardly anyone is stupid enough to sh**t at those guys anymore. Your name came up. MIGUEL (smiling) It wasn't my people. So are you gonna charge me with something or let me go? BOOTH: (flipping through file) Extortion, drugs, as*ault, attempted m*rder, hmm? (drops file on table) I could hold you for a while if you wanna play that game. MIGUEL: What's your problem man? BOOTH: What's my problem? (getting upset) My problem is that somebody sh*t at me...sh*t at me and my partner. Plus, a bad guy got away. So I'm a little cranky about the whole thing. MIGUEL: (leaning in) Mmmm. Mira carvacho. I don't really scare that way. You know, the whole in-your-face staring thing. BOOTH: No? MIGUEL: (smiling) No. BOOTH: Give me a chance man, I'm just getting started. MIGUEL: Mmmm. So somebody sh*t at you, huh? BOOTH: That's right. MIGUEL: Think about it. When was the last time you heard of a drive-by where no one got h*t? BOOTH: Innocent bystanders mostly. It's not like you always h*t what you aim at. MIGUEL: (pointing to his head) Think just for a couple of seconds about why the guy never got h*t. (Booth thinks, gets a look) Ah, yeah. You see? You got it now? BOOTH: You're saying that Mara Muerte did a drive-by on their own guy? MIGUEL: (nods head) A drive-by happens, yeah, and you all h*t the deck. (fingers demonstrating running on table) And the gangbanger makes a run for it. Platform of the lab where the bones are laid out. Brennan is examining them as Booth walks up onto the platform. BOOTH: K, I have it on good authority that the guys who sh*t at our k*ller were doing it so he'd have a chance to escape. BRENNAN: (holding a bone) The victim was pregnant when she was h*t over the head. (places bone back down.) BOOTH: Pregnant? BRENNAN: Yeah, five weeks along. Get your hands off there. (pointing at Booth's hands on the table.) HODGINS: (from a workstation adjacent to the platform) I ran samples from the body, shovels and burlap through the gas chromatograph and it all came back full of organic compounds. Plant detritus, root remnants, fertilizer. BOOTH: Sounds like stuff you'd find in a cemetery. HODGINS: Well, I also found this. (Holds up a dish) Fernaldia pandurata, otherwise known as loroco buds. BRENNAN: Loroco is an edible flowering plant, it's native to El Salvador. It's grown in vegetable gardens, not cemeteries. BOOTH: She was buried in a vegetable garden? BRENNAN: Mmmm. BOOTH: Ok, can you recognize this loco plant? BRENNAN: Loroco. I've eaten it, but I wouldn't recognize the plant. HODGINS: It's quite distinctive. I'm also analyzing the dirt and particulates on the shoe you got off the suspect. At first glance it matches the vegetation we've already found but with a couple extras I'm still checking out. BOOTH: (clapping hands) Ok, Hodgins, suit up, you're coming with us. We're going to the barrio. HODGINS: Field work. (excited) Cool! Do I get a g*n? BRENNAN: You can't arm Hodgins and not me. BOOTH: What is with you people and the g*n, huh? Inside of the car, Booth and Brennan are in the front, Hodgins in the back. HODGINS: (looking out on the street, with idle people just hanging around) Look at this. The government bankrupts itself giving tax breaks to the rich so that there's no money left to help these people with job training, educational resources, health care. BOOTH: (not amused) Just look for a garden with the plant. HODGINS: (to Brennan) Those who do manage to land a job are working for minimum wage that hasn't seen a hike in eight years. BRENNAN: That's for those who are here legally. The undocumented do a lot worse. BOOTH: What is this, NPR radio? Huh? What, are you two running for office? HOGINS: Look, over there. San Cristobel Community Garden, all three are looking around. HODGINS: Loroco plant. (Walks over to it.) That's the same approximate maturity that would've yielded the buds we found. (Brennan looks over to a patch of grass, puts her bag down and examines the soil.) BRENNAN: Adipocere (picking up soil). Forms on the body in response to moisture on the ground. HODGINS: Trogid beetles. They got a think for decomposing flesh. I found a couple on the burlap. BOOTH: (using his pen to pick something up.) The rest of the rosary. BRENNAN: (pointing at another spot) There's another freshly-overturned pile of dirt over here. (examines the soil there) More adipocere. BOOTH: Not from the same body? BRENNAN: Another body was buried here, but it's gone now. BOOTH: Double homicide. At the lab, Zack and Brennan are cutting into the skull. Booth walks in. BOOTH: I spoke to the city development office. Garden is scheduled to be excavated next week for construction. My guess is we interrupted a gangbanger moving the body of two m*rder victims. BRENNAN: (behind a face mask) A gangbanger who buries his victim with a rosary? BOOTH: What, did you find any g*n wounds? ZACK: (behind mask too) No, just head trauma. BOOTH: You really like this part, don't you? BRENNAN: I like answers, yes. Brennan placing a section of the skull under a microscope to examine. BRENNAN: Localized staining on the endocranial surface, indicating... ZACK: Subdural hematoma. The head wound caused internal bleeding, but death was not instantaneous. BRENNAN: (looking at screen) She may have been conscious for some time after the as*ault. ZACK: But there's no sign of bone remodeling. She died soon after the as*ault. (Brennan flips over the skull section) There's patterning on the ectocranial surface. Whatever w*apon was used, it left a mark. In another part of the lab, Booth and Brennan are walking and talking. BOOTH: Our g*ng unit's gonna bring in the leader of Mara Muerte, see if we can identify the gangbanger that got away. BRENNAN: Why would a g*ng leader cooperate? BOOTH: I'm gonna ask him very, very nicely, Bones. BRENNAN: You know that book I'm reading, about getting along with your coworkers? It says that sarcasm is never helpful. I could lend it to you if you want. HODGINS: (approaching them) I found Spodoptera, Ornithogalae and Tetranychus urticae on the suspect's show and on the victim. (passes file to Brennan) I also found Notonectidae and Corixidae. It's aquatic fauna typically only found in and around ponds and streams. BRENNAN: There are no ponds or streams at the burial site. HODGINS: Yeah, and here's the kicker. There was also evidence of genetic material from a Franklinia alatamaha on his shoe. BOOTH: (skeptical) You're kidding. I'm in shock. Frankie Alabama, you don't say? BRENNAN: Did you hear what I said about sarcasm? HODGINS: It's a rare flowering plant that hasn't been seen in the wild since 1800. The only known specimen in this area outside a specialized botanical garden was given to Senator Alan Corman as a gift. (hands file to Booth) Oh, I love going after senators. BOOTH: Whoa, just simmer down there. We're gonna check out the botanical garden first. HODGINS: Fine. It's at the White House. BRENNAN: Yeah! (smiling and laughing with Hodgins, giving him a high-five.) BOOTH: Ok, you guys should do that even less than normal people. HODGINS: Make sure to keep your eyes open for backswimmers and water boatmen while you are there. Remember the Notonectidae can be different colours, you know, so... BOOTH: (interrupting) That's a nice try, ok? You're coming with us. HODGINS: (holding up hand) I call g*n. Inside Booth's car. Brennan is riding g*n, not Hodgins, who is in the back. HODGINS: I called g*n. What does it mean to a society when the niceties are no longer observed? BOOTH: (not amused) Ok, look, we got two bodies, alright? One unaccounted for. We've been sh*t at, and now we know that there's a g*ng member walking around a US senator's place. Any theories? (Brennan and Hodgins book shake their heads.) Oh, come on guys. Let's think of it as a puzzle, and there's a missing piece. BRENNAN: I like puzzles, I find them relaxing. I just finished "The Anatomy Lesson", Rembrandt. BOOTH: You're kidding, right? BRENNAN: No. What do you find relaxing? BOOTH: I restore vintage cars. HODGINS: I know what I find relaxing. BOOTH: Everybody finds what you find relaxing relaxing. HODGINS: Senator Corman is a big supporter of business leaders in Central America. That means supporting repressive regimes that use death squads to silence any opposition from the working people which are the same people who flee to the States. BOOTH: Ok, that's great. That's good. Let's focus. That's good, cause now we have a link between Corman and the Salvadorans. BRENNAN: Wait, now you think the senator m*rder two people? BOOTH: I just think we got another piece of the puzzle, that's all. Senator Corman's house in Chevy Chase, MD. There are gardeners working outside as they talk to the Senator and his wife on the lawn. MRS. CORMAN: Because of my husband's official work in El Salvador, we've found a bond with the country and the people. CORMAN: In fact, we have several Salvadoran immigrants working here at the house. I've actually sponsored quite a few for citizenship. HODGINS: Citizenship screening would keep out members of death squads. BOOTH: (coughs) Hodgins. CORMAN: Just because I'm antisocialist doesn't make me pro death squad. BOOTH: Dr. Brennan has found evidence that a g*ng member has been on your property recently. MRS. CORMAN: We employ twenty staff members, give or take. CORMAN: All of our staff members are either legal aliens or citizens. Our house manager's in charge of hiring them and managing them. BOOTH: Do you recognize this man? (shows sketch of the suspect) CORMAN: No, I assume he did something worse than trespass on my property? BOOTH: House manager, is he from El Salvador? MRS. CORMAN: Yes. CORMAN: Agent, you didn't answer my question. BOOTH: We're investigating a death, Senator Corman. You understand why I can't talk about it. BRENNAN: Perhaps we could show this picture to your house manager? CORMAN: Of course. They start to walk over the grounds. HODGINS: Franklinia alatamaha. It's beautiful. (pointing at it) MRS. CORMAN: Yes, we're the only people cultivating it privately. BRENNAN: Senator, do you have a pond on the property? CORMAN: Yes, on the other side of the shrubs. It's small. BRENNAN: Could Dr. Hodgins take a look at it? CORMAN: Of course, be my guest. (Hodgins goes off.) Logan, come say hello. We have guests (to a man talking to the gardeners.) Our son, he's studying landscape architecture at Georgetown. Likes to supervise the men sometimes. (to Logan) Logan, this is Special Agent Booth from the FBI and his associate, Dr. Brennan. LOGAN: What's the FBI doing here? CORMAN: They would like to ask Hector some questions. LOGAN: Yeah. (turns) Hey, Hector? Ven, hablarmos para tu? HECTOR: (giving directions before coming over towards them) Yes, sir? BOOTH: Hector, I'm Special Agent Booth, you recognize this guy? (shows him sketch) HECTOR: (looks) No, I don't think so. LOGAN: (looking as well) That could be Jose. He works here sometimes as a gardener. HECTOR: Really? I don't think so. (hands sketch back) BRENNAN: Jose who? LOGAN: Jose Vargas. MRS. CORMAN: Logan, Agent Booth said he was in a g*ng. LOGAN: (disbelief) A g*ng? No, no way. Jose's a nice guy. You know, wife and kid. HODGINS: (emerging from the trees) I found both backswimmers and water boatmen. All of them head over to the pond, where Brennan veers off to examine a patch of grass. BRENNAN: (to Hector, in Spanish) Did you recently do some planting over there? HECTOR: (replies in Spanish) BOOTH: What is it? BRENNAN: (in Spanish) Can I borrow a trowel. HECTOR: Gladly (gets one and passes it to her.) BRENNAN: Gracias. Brennan digs around while everyone watches intently, revealing a body. BRENNAN: Looks like we found the second body. Platform at the lab. Brennan, Zack and Hodgins are working on the new body. HODGINS: Puparia casing of tineid moths puts the time of death of this one at about a year, six months before the girl. ZACK: Heart shaped pelvic inlet, long projections of bone into the rib cartilage suggest we have a male over sixty. BRENNAN: Anthropometrics suggests Hispanic origins. GOODMAN: (walking onto the platform) We've reassembled the rosary found on the young woman. The carving of f*re in the centerpiece is an archetypal symbol found at an area of El Salvador since the Chaparrastique volcano erupted in 1787. BRENNAN: So this might indicate where the female victim's from? GOODMAN: Yeah, a village called Milagro de la Paz in the southeast of the country. BRENNAN: I was there three years ago identifying victims of the death squads. ANGELA: (approaching with a sketchbook) I finished the sketch of the woman. She was pregnant, starting over in a new country, so I gave her a smile, made her look hopeful. BRENNAN: (looking at sketch) Thanks Angela. Alright, let's clean the bones so we can find a cause of death. ZACK: (looking at the bones in the pelvis region) I think I just found it. (places magnify lens over it.) BRENNAN: It's a b*llet. Looks like steel core, copper jacket. HODGINS: Military issue. Those are the kinds of w*apon gangs like. BRENNAN: They escape from the death squads and wind up being k*lled by the same w*apon that they were running from. sh*t of SUV driving. BOOTH: (voice over) I got Jose's address from Logan. Let's check it out. Apartment 4B, Booth and Brennan enter an empty apartment and look around. BOOTH: (entering the apartment) Thanks. FBI, make your presence known. BRENNAN: (looking at photos on a table) Look, he has a family, a baby. (calling out) Is anybody here? You don't have to be afraid. (repeats it in Spanish) BOOTH: Of course they're gonna be afraid Bones, I have a g*n. BRENNAN: (looking at another photo, of an older couple in front of a church) Milagro de la Paz, that's where the victims are from. BOOTH: (holding a bottle of milk left on top of the TV) They had to have been here a few minutes ago, the bottle's still warm. BRENNAN: They're still here. BOOTH: How do you know? BRENNAN: (looking around) They're prepared for this kind of thing. (walking into another room) Hiding from death squads, people learn to build false walls. BOOTH: Closet. (tries to stop Brennan) Ok, hold on Bones. Let's just pretend that I'm the cop for a second, ok? Just... (walks into the closest and knocks around) Booth finds a latch and opens a trap door type thing, pulling out his g*n. Inside hiding is a woman clutching her baby, trying to prevent him from crying. Cut to the woman and baby now sitting on the bed, being interrogated by Booth and Brennan. WOMAN: (in Spanish saying she doesn't know anything.) BRENNAN: (in Spanish asking her where Jose is.) BOOTH: What did you say? BRENNAN: That we just wanna talk to Jose. That they'll all be safe, and they have nothing to worry about. BOOTH: (approaching the woman, in a more direct voice) Do you wanna be deported? Do you wanna see your baby again? Because if he was born here, he doesn't have to go back with you. We can keep him. BRENNAN: Booth, stop. She's frightened enough. BOOTH: Bones, we have a double m*rder on our hands. BRENNAN: But she didn't do it. BOOTH: Just tell her what I said, ok? Tell her we're calling immigration. Tell her we'll get to Jose. BRENNAN: No! She's lived with terror and intimidation her whole life. I'm not gonna add to it. BOOTH: Alright, you know what, you're acting like I'm gonna hurt her or something. I was just trying to get a little information. BRENNAN: (pleading) I am asking you as a favour not to make me do this...to scare her. Please? (looks are exchanged) At the lab. Zack, Brennan and Angela are examining the remains some more. ZACK: (looking at screen) This is interesting. ANGELA: Interesting or horrible? Because sometimes, it's the same thing with you. ZACK: This hole in the sternum, it's definitely not a g*n wound. BRENNAN: It's a sternal foramen. ZACK: I found the same exact thing on the female victim's sternum. It seemed like a meaningless anomaly. BRENNAN: It's a hereditary condition. The two victims were related. ZACK: (Hodgins walks in) Based on their ages, father and daughter. ANGELA: So father and daughter buried next to each other, right? Then dug up. But then the father is reburied, why? HODGINS: The gangbanger was probably taking the daughter to be reburied when the coops pulled him over. BRENNAN: This is the stuff that Booth is good at...the murky ways of the human heart. ZACK: Yeah. BRENNAN: All that. ZACK: We work the hard evidence. HODGINS: We've used up all the evidence. BRENNAN: (exasperated) OK. Let's just...you know what? Let's pretend we're Booth, ok? HODGINS: (getting into it) Oooh! Let, let, let me try! Ooh. (makes a motion like Booth with something in his hand, Angela smiles. Does his best Booth impersonation) The daughter got pregnant from the k*ller in El Salvador, then came here. He catches up to him, they fight. ANGELA: (laughing) He joins a g*ng and then kills her. HODGINS: The father comes after him seeking revenge and the k*ller kills him. Oh! BRENNAN: No, no. The father's death preceded the daughter's by at least six months. ZACK: (looking up from the bones) I found something. I can't get this b*llet out of the pelvic bone. (pulls magnify glass for better look.) BRENNAN: (looks) Oh, wow. ZACK: The bone started healing around the b*llet. See the remodeling? BRENNAN: This wound healed years ago, he didn't die by being sh*t. HODGINS: Tough old bastard. ANGELA: How was he m*rder? BRENNAN: He wasn't m*rder. ZACK: Metastatic carcinoma. BRENNAN: Probably originating in the prostate. ANGELA: So, he survives being sh*t, but then he dies of cancer? HODGINS: Mega tough old bastard. ANGELA: Yeah. Booth's office @ the FBI, Brennan enters. BRENNAN: (knocking) Anything? BOOTH: Yeah. Immigration has the wife, she got a lawyer from the Salvadoran League or something or other. And she's not giving us anything about Jose. BRENNAN: You mad at me? BOOTH: Nope. But you know, I could've gotten something back there if you hadn't gotten all mushy on me. BRENNAN: I was uncomfortable with...(stops, and restarts.) You always say I'm not a cop. You're what, especially in a situation like that. BOOTH: Nah, it's ok. We're not gonna need her anyway. BRENNAN: Really? Why? BOOTH: Because I had the g*ng unit put a lean on Roberto Ortez, he's the head of Mara Muerte. BRENNAN: The g*ng that Jose belongs to? BOOTH: Yeah, I convinced Ortez to bring Jose in for questioning. BRENNAN: But why would he do that? BOOTH: Ortez's sister's in the can on possession charges. I promised him I could make that go away. BRENNAN: Can you? BOOTH: I don't know, it's a local beef, I'm federal. But, hey, you know...I'm a cop, and thank God for bad sisters, huh? Street outside. A car pulls up and shoves Jose out of the backseat. He looks obviously beaten and there's a note attached to him saying 'Special delivery for Agent Seeley Booth FBI' Hospital room where Jose is being treated. The doctor is talking to Booth and Brennan. DOCTOR: He has a collapsed lung, several broken ribs, one arm is broken the other shoulder's dislocated. BOOTH: But we can talk to him? DOCTOR: You can try. BOOTH: Hey, thanks. Doctor leaves, and Booth and Brennan gets closer to Jose's bed. BOOTH: Wow. (whistles) Your own guys...they do this to you? Geez, I wish I had my own g*ng. JOSE: I don't belong to no g*ng, I'm a gardener. BOOTH: Oh, a gardener with a Mara Muerte tattoo on his neck who can now understand English and who likes to plant d*ad bodies. (Brennan is looking at his hospital charts) JOSE: Maybe that stuff's private. (Brennan looks up from the files, as if she's discovered something.) BOOTH: Hey, you know what? You're an illegal immigrant. You're a g*ng member, you're under arrest for transporting a d*ad body in a stolen car and you're under suspicion for m*rder. I'm gonna call ICE and have you and your wife deported back to El Salvador. JOSE: I got a son. BOOTH: Forget it, we keep the son. JOSE: That's my son. That's my only son. You got kids? BOOTH: No. BRENNAN: What, yes you do. BOOTH: Difference is, I'm a fit father. I'm not going around m*rder guys and little girls, burying them, digging them up. BRENNAN: (looking at Jose's x-ray, that shows the same markings on his sternum) Booth, I don't think he m*rder those people. BOOTH: (disbelieving) You can tell if he m*rder someone by looking at his x-rays? BRENNAN: He has the same genetic condition the two victims had. A sternal foramen. They were probably his sister and his father. BOOTH: (to Jose) That true? Hey, you know what, buddy? You wanna be on my good side because I wasn't joking about keeping your kid. JOSE: Yes, it's my sister. It was my father. BRENNAN: Your father died of natural causes, fine, but your sister was m*rder. BOOTH: You know what? Forget it. The g*ng is the only family Jose cares about. You know, enjoy your trip back home, and have fun explaining to your wife why she doesn't have a baby in her arms. BRENNAN: (to Jose) Give us something. Help us to do the right thing for your sister. JOSE: I cannot. BRENNAN: Just anything. At least you could tell us their names. JOSE: You want their names, huh? Duarte was our family name. Maria was my sister, our father was named Augustine. That's all I can tell you. FBI interrogation room where Booth and Brennan are interrogating Ortez. ORTEZ: Jose's sister hated him. BOOTH: Hated him, why? ORTEZ: She didn't approve of his associations. BRENNAN: You mean associations like the leader of one of the most m*rder street gangs in the country? BOOTH: Look, if she hated Jose so much, why was he moving her body? ORTEZ: Her burial site was thr*at. He wanted to move her to a better place, and his father. Real family guy, you know? (to Brennan) I'm not the leader of the whole g*ng. Just the DC chapter. (Brennan doesn't look amused) BOOTH: You sh*t at us so Jose could have a chance to get away? ORTEZ: The Mara Muerte takes care of its own, even a throwaway like Jose. BRENNAN: Can I ask you something? ORTEZ: Go ahead. BRENNAN: Jose's all beaten up, so he won't tell us anything. But you, you don't even ask for a lawyer, but you hardly stop talking. BOOTH: (warningly) Bones... ORTEZ: I'm the boss, lady, ok? Jose's a sobrenado. That baboso is not as smart as me. BRENNAN: You intimidate him into silence, but you can walk in here to the FBI, say whatever you want and walk away like you own the place? ORTEZ: That's right. BOOTH: Look, all I need to know is who would have the guts to k*ll his sister? ORTES: Who cares, man? BOOTH: Come on Ortez, the sister of the Mara Muerte...it's the most feared g*ng in the city. ORTEZ: She wasn't my sister, man. BRENNAN: It had to be somebody else in the g*ng, somebody more important than Jose. ORTEZ: You know what, lady? You think too much. (in a thr*at tone) Maybe you need a man like me to get your mind off of things. You know what I'm saying? I can be your adoring Salvadoran. (gives a kiss gesture, Brennan is upset at this and leaves the room.) Look, I don't know who k*lled Jose's sister. But I'll tell you what, because I like you so much, if I find out who did it, I'll k*ll him. (laughs) Hallway of the FBI office. Brennan is waiting for the elevator as Ortez approaches to wait too. ORTEZ: (approaching) You've been waiting for me? Push that button again, and we can go down together, junas. BRENNAN: You think you can intimidate people into doing what you want? ORTEZ: Ok, I'll push it myself. (he moves toward the button, but Brennan turns and gets in between.) BRENNAN: How do you handle someone who isn't afraid of you? ORTEZ: Just get out of my way. (getting aggravated, as Booth approaches from behind) I said move your ass, man. (Ortez grabs hold of Brennan's arm.) BOOTH: (alarmed, holding out his hand) I wouldn't ...oh. Brennan slams her forearm into Ortez's nose area. BOOTH: That's gonna hurt in the morning. ORTEZ: (noise is bleeding) Bitch... (takes a swing at Brennan, but she ducks.) He tries to punch Brennan, but she blocks them before kicking him and Ortez falls onto the ground. She steps over him into the arriving elevator. BOOTH: Feel better? BRENNAN: (smiling) Yeah. I really do. (elevator closes.) Brennan's office @ the Jeffersonian. She's working at her desk as Angela enters. ANGELA: You b*at up a g*ng leader? BRENNAN: Booth told you that? ANGELA: You did. (sitting down) You got into a fight with a gangbanger. BRENNAN: You're mad at me? ANGELA: The guy's a k*ller, Brennan. BRENNAN: Angela, relax. We were in the FBI building. ANGELA: Look, I know you're all about self-reliance and fighting your own battles and standing up for yourself, but now, as your friend, and knowing how much you hate psychology here, you need therapy. BRENNAN: I'm sorry I upset you. It's just that I've dealt with him before. ANGELA: With who? BRENNAN: People who get what they want through fear. Gangbangers, members of death squads... ANGELA: I know it's psychology again, but you said "him", like one guy. BRENNAN: I didn't mean Ortez specifically, I meant people like him. On my last trip to El Salvador... ANGELA: Yeah, I remember, I tried to get you to go to Italy with me. BRENNAN: (continuing) I was in a tent set up by one of the grave sites. I was working with the remains of a young girl, maybe 13. She'd been sh*t in the head and dumped into a well. This cop shows up and he might've been a solider...it's not easy to tell. I thought he was there to guard me, but he told me to stop. When I refused, he called in two others. They put a bag over my head and tossed me into a cell with a dirt floor and no windows. ANGELA: (upset) For how long? BRENNAN: Later I found out it was three days. But, I thought it was a week, maybe more. He came in every day and made me believe I was going to die. He said that he'd sh**t me and toss me into a well and that no one would ever know who I was or what became of me. I promised myself if I ever had the chance, I'd get even. (Angela nods her head in understanding) That doesn't mean I need therapy. HODGINS: (walking into the office) I identified the type of wood in the w*apon that k*lled Maria. (Looks around at the two of them) Am I interrupting a female moment? BRENNAN: (shakes head) No, what was the wood? HODGINS: Quarter-sawn cumuru. Definitely not from a shovel handle. ANGELA: What is made out of quarter-sawn cumuru? HODGINS: Very expensive furniture. BRENNAN: Senatorially expensive? HODGINS: (smiling) Most definitely. Senator Corman's home. Booth and Brennan are talking with the Senator, Mrs. Corman and Hector inside the house. MRS. CORMAN: I don't recognize her, no. (looking at Angela's sketch of Maria.) CORMAN: Neither do I, I'm afraid. BOOTH: How about you, Hector? BRENNAN: Her name was Maria. HECTOR: She used to work as a maid here. She had papers. BOOTH: Fake ones, probably supplied by our friendly neighbourhood g*ng. CORMAN: Hector couldn't possibly be expected to identify forged papers. BRENNAN: What happened to Maria? HECTOR: One day, she didn't show up for work. That's all. BOOTH: Did she interact with anyone here besides Jose? HECTOR: (chuckling) I don't know about that kind of thing. BOOTH: (narrowing in) What kind of thing, Hector? HECTOR: I don't know anything. CORMAN: What do you mean, Hector? BOOTH: Was Maria involved with the senator? CORMAN: (shocked) What? Of course not! HECTOR: No. No, not the senator. MRS. CORMAN: Well, tell the truth Hector, this is the FBI. HECTOR: Logan. She was involved with Logan. (Shocked faces from the Cormans) BRENNAN: What kind of "involved"? Logan's room, where they are talking to him. LOGAN: I'd rather not say. BRENNAN: Maria's d*ad, Logan. LOGAN: Ma...Maria's d*ad? (looks shocked, sits down on bed) Yes, of course that changes things. (Brennan is looking at his bed frame, getting up on the bed to examine the posts.) Maria and I were... BOOTH: What? Were lovers? (sees Brennan on the bed) Bones, what the hell are you doing? BRENNAN: How long have you had this bed? LOGAN: Uh, since I was, like, 15. Why? BRENNAN: Do you know what kind of wood it is? LOGAN: Curu...cumuru, something like that. Why? BOOTH: Because Maria's skull was banged in by something made out of cumuru wood. BRENNAN: (looking at the top of the bed post) There's dried blood and skin on this post. FBI interrogation room where Booth is talking with Logan, who has his lawyer sitting next to him. LOGAN: I caught Maria dancing once, in the hallway. She thought no one was watching, but I was watching. I'd noticed her before (looking at pictures of her on the table) She was, uh, very pretty. More than what these pictures tell you. LAWYER: Logan, I will say again that I do not advice answering questions. You're not under arrest. BOOTH: Perhaps you'd like to check with the senator and see if he'd rather I'd officially arrested Logan before asking these questions because, you know, I'm sure the press would love that. (Turns back to Logan) When did you start having a sexual relationship with Maria? LOGAN: Perhaps six months ago. BOOTH: You kept it a secret? LOGAN: Maria was certain that if my parents found out, she'd be fired. BOOTH: Were you aware she was in this country illegally? LAWYER: I advice you, do not answer that question. BOOTH: Were you aware that she was pregnant? LOGAN: (looks up) M-Maria was pregnant? (Booth nods head) LAWYER: Logan, there's no proof that you were the father. LOGAN: No...shut up. Of course I'm the father. (breaking down) Oh, God. FBI office hallway. Booth and Brennan are walking and talking towards the elevators. BRENNAN: What about the father? BOOTH: A powerful man with a lot to lose. But, I mean, why k*ll her? Why not have her deported in the middle of the night? BRENNAN: That leaves Hector. BOOTH: He's responsible for hiring the servants. I mean, one of 'em gets pregnant, he feels like it's his mess to clean up. BRENNAN: (pushes the button for the elevator) We still can't figure out how Maria's skull was fractured by the bedpost. BOOTH: Well, that's sort of your line of work, Bones, ok? So go have fun. (She enters the elevator.) At the lab, Brennan is standing next to the Angelator as Angela is entering data into it. ANGELA: Your top three suspects are Senator Corman, 6'1", Logan Corman, 5'10" and Hector Santiago, 5'6". BRENNAN: And Maria was 5'1". (Figures of Maria and suspect appear.) ANGELA: The bed is a California king with seven-foot posts. BRENNAN: And assuming that they argued near the foot of the bed... ANGELA: Given their relative heights, the angle of impact doesn't match. Her skull connects well below where you found the traces of blood. BRENNAN: What if they were standing on the bed? ANGELA: Well, it's high enough, but her head struck the outside of the post. BRENNAN: How tall would her assailant have to be to fit the evidence? (Angela enters data, and the image of the assailant stretches to above the height of the bed post) That...that's tall. ANGELA: 7'8". Somebody you'd notice around the house. BRENNAN: Let's think outside of the box. ANGELA: (chuckling) What do you mean? Like, go nonhuman? BRENNAN: No. What else explains striking the bedpost in that manner? ANGELA: I guess falling. BRENNAN: Falling. Maria was a maid. Do you have a schematic version of the room? (Angela pulls it up) If she fell backwards... ANGELA: But it doesn't explain the damage done to her skull. BRENNAN: Ok, what force does explain the damage? ANGELA: 206 pounds per square inch, which means she would've had to have fallen from a height of...it's no good. (The image of Maria on a ladder would have placed her above the ceiling of the room.) BRENNAN: I know what happened. She was yanked off the ladder. ANGELA: You mean somebody pulled her off? BRENNAN: Yes, the missing 84 pounds per square inch can be explained by a hard yank from a full grown man. (scenario is recreated) I don't know if it's m*rder, but someone is definitely responsible for Maria's death. Jose's hospital room. Booth and Brennan are trying to talk to him again. BOOTH: This is not about the g*ng. The g*ng had nothing to do with her death. BRENNAN: Maria was pulled off that ladder. BOOTH: Who are you protecting? JOSE: I got nothing to say. BOOTH: What did the senator offer you, huh? Asylum for the whole family? BRENNAN: I know what happened. Your father died of cancer around the same time your wife was pregnant. You wanted your child to be born an American citizen so you couldn't report your father's death for fear of being deported. You buried him yourself in the garden. And when your sister died, you buried her in the same place. JOSE: As my father died, he said to me: "You take care of your sister." BOOTH: You joined Mara Muerte so you could get fake papers, so she could work for the senator. JOSE: (smiling wistfully, chuckling) Maria...Maria, man, she was so angry. She would...she'd get so angry. Sometimes, she just doesn't speak to me, you know? BRENNAN: She didn't understand what you had to do for her and your family. JOSE: It was the only way for me to keep my promise to my father. (tearing up) Look at me now, huh? All because I wanted to give my sister and my father a beautiful place to rest. It's near...it's near a pond. It's beautiful, huh? (shakes head) It's all for nothing. My family's ruined. Corman house, where Brennan and Booth are talking with the Cormans in Logan's room. BRENNAN: She didn't fall. CORMAN: No, she was pushed. BRENNAN: No, Senator, actually, she was pulled probably off that ladder. (Hector walks in with the ladder, coming next to the bed.) MRS. CORMAN: Pulled? Pulled by who? BOOTH: Perhaps by your son or the senator. CORMAN: Oh, my God! I do not pull maids off of ladders. BOOTH: Hhmm. Will you please open that up? MRS. CORMAN: And why would they do something like that? BOOTH: Because Maria was pregnant by your son. MRS. CORMAN: (shocked) What? CORMAN: Even if that were true, that is not how we would handle the situation. BRENNAN: (scoffs) Yeah, you'd have her deported in the middle of the night. CORMAN: It would be handled, and not by pulling her off a ladder. BRENNAN: (climbing up on the ladder) Senator, would you mind reaching up? CORMAN: What is that gonna prove? BOOTH: You refusing, sir? BRENNAN: I'm trained in kinesiology, the study of human movement. CORMAN: Oh, and you're gonna be able to tell who pulled her off the ladder? BRENNAN: Absolutely, yes. MRS. CORMAN: Oh, for God's sake, Alan, just do it. Just do it. CORMAN: (approaching the ladder) Fine. (Pulls Brennan's arm) Well? Was it me? BRENNAN: Hector? HECTOR: Si? BRENNAN: Would you please pull me down off this ladder? HECTOR: No, no I won't. CORMAN: Hector, just do as she asks. (Hector hesitates) MRS. CORMAN: Hector? BOOTH: How did it happen, Hector? You told her to stay out of Logan's room, didn't you? You didn't approve. You knew what was going on. CORMAN: Hector? BRENNAN: If it wasn't you, just pull me down. (Hector shakes head) BOOTH: Maria defied you. She went to Logan's room, you got angry. You pulled her off the ladder. BRENNAN: (getting down from the ladder) It was an accident. HECTOR: (looks around, reluctantly) Yeah, it was an accident. (Cormans look shocked) BRENNAN: I can't believe that worked. BOOTH: Psychology Bones, it's a very powerful force. HECTOR: I have her $500 and I drove her home. I thought she was gonna go to a doctor. BOOTH: She was afraid she'd loser her job and get deported. MRS. CORMAN: You should've told us. HECTOR: You don't wanna know. You don't wanna know about any of this. I know my job, I know what you want. BOOTH: Hector Alvarado, I'm placing you under arrest for the suspicion of manslaughter (walks behind him to cuff him.) FBI office, another Agent approaches Booth in the hallway. AGENT: Booth? BOOTH: Yeah? AGENT: Message from the g*ng Task Force Unit. (looks down at paper) Mara Muerte has put a h*t out on your lady scientist. BOOTH: (looks at file) Oh, man. AGENT: You got a response? BOOTH: Yeah, just tell 'em...tell 'em I got the message and tell 'em thanks. AGENT: Sure. (Booth sits down on a bench, looking troubled.) At a cemetery, there is a small gathering for Maria and Augustine's funeral. Among those attending are Jose, his wife, baby and Logan. Brennan and Angela are present too. PRIEST: (speaks in Spanish welcoming everyone and beginning the ceremony.) ANGELA: (to Brennan) This is nice of you, not many people would pay for a funeral like this. BRENNAN: (looking around) Where's Booth? He said he'd come. Street where Ortez is walking. Booth is watching him from his car as Ortez turns into an alley. Booth follows him and pushes him from behind into an empty doorway. ORTEZ: Are you crazy? This is my neighbourhood. BOOTH: (getting into his face) You put a h*t out on my partner? ORTEZ: She's not FBI. BOOTH: (punches him in the face and grabs him by the throat as he points his g*n right at his throat.) I never said anything about FBI. She's my partner, ese. (Menacing) And if anything happens to her, I will find you and I will k*ll you. I won't think twice. Come here, look in my eyes. (Pushes barrel of his g*n into his mouth, and cocks it) Look at my face. If anything happens to her, I will k*ll you. This is between you and me, and nobody sees, nobody knows. You got nothing to prove, understand? You understand? ORTEZ: (grunting) Yeah. BOOTH: Yeah, I thought so. Ok, now if you don't mind, I'll leave first because I have somewhere I have to be. Pulls his g*n back and turns to leave, but before he does, he turns back to Ortez and aims his g*n right on his forehead, giving one final look before leaving. Back at the funeral, which has now ended. Jose and his family approach Brennan and Angela. JOSE: (to Brennan) I will pay you back for this funeral. BRENNAN: Don't worry about it. JOSE: It's my family, it's my duty. ANGELA: Aren't you leaving for El Salvador tonight? JOSE: Well, my child is an American. He's...he's not gonna grow up the way that Rosa and I did. ROSA: (speaks Spanish) JOSE: She says that we're gonna bring him back. BRENNAN: I understand. One way or another, your son will have a better life than you did. ROSA: Gracias. JOSE: Gracias. They both turned to leave as Booth runs up to them. BOOTH: Am I in trouble? ANGELA: You're late for a funeral, of course you're in trouble. BOOTH: Sorry. (Brennan gives him a dirty look) I apologize, I...everything ok here? BRENNAN: Where were you? BOOTH: I had something to do. BRENNAN: More important than a funeral? BOOTH: I thought so at the time. (The three of them leave the cemetery.) End.

{"type": "series", "show": "Bones", "episode": "01x13 - The Woman in the Garden"}

foreverdreaming

"The Man on the Fairway" Episode 1x14 Written By: Hart Hanson Directed by: Tony Wharmby Transcribed by: Cassie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Begin with Brennan driving a golf cart and Zack riding g*n to what can only be assumed as a crime scene at a golf course] BRENNAN: We'll be meeting with agents from the FAA, the NTSB, and local police. ZACK: Usually Booth handles those people. BRENNAN: Plane crashes don't belong to the FBI. ZACK: Why not? FAA stands for Federal Aviation Administration. The NTSB stands for National Transportation Safety Board. That sounds Federal to me and FBI stands for Federal Bureau... BRENNAN: Zack. ZACK: This is the third time in a row we've investigated without Booth. I don't like it. BRENNAN: Why? He mostly ignores you. ZACK: Ignoring me is Booth's way of acknowledging my presence. It's a guy thing. BRENNAN: Here we are. [Brennan slows the cart as they reach an area cordoned off by yellow police tape protecting what looks to be a small plane crash] DYSON: Dr. Brennan? BRENNAN: Yes. DYSON: I'm Ian Dyson with the NTSB. BRENNAN: This is my assistant, Zack Addy. DYSON: At approximately zero four hundred last night, a private jet with five passengers on board reported horizontal s*ab trouble, two hundred miles southeast of Norfolk. Yeager Airport in Charleston tracked them for thirty minutes until they dropped off the radar screen at zero four thirty. The plane tried to make an emergency landing here when it clipped some trees and slammed to the ground. We found another mostly intact body over near the trees. The rest is bits and pieces. ZACK: What makes this one of our cases? DYSON: I beg your pardon? ZACK: We're kind of special. We're elite. We don't sort though just any set of bodies. DYSON: It was a state department flight with a bunch of VIP's on board. Is that special enough? ZACK: I apologize if I have offended you. Usually we have an FBI Agent who mediates our interpersonal encounters. [A woman dressed in a Jeffersonian Medico-Legal Lab coverall walks up to Zack and Brennan] WOMAN: We found another skull. ZACK: Two skulls, those pieces are from two different skulls. DYSON: I'll leave you super elite types to it. BRENNAN: Zack, we don't need Booth to mediate our interpersonal encounters. [Leaning down, she examines what's left of the cockpit of the plane] Okay, pilot, copilot, brings our count to six. Three mostly intact sets of remains, one partial, and two fragmented. ZACK: Obviously bodies are burnt to a crisp but no dermis, very little soft tissue, indications of high impact trauma, burst fractures to the lower thoracic and lumbar vertebrae consistent with injuries caused by the vertical impact of the falling aircraft. Should I keep talking as though you are paying attention? BRENNAN: [Picking up a fragment of bone] What do you make of this? ZACK: Femur fragment. BRENNAN: No charring. ZACK: You think this fragment doesn't belong to the plane crash. BRENNAN: What are the odds? ZACK: A crashing plane falling directly on a human being? One in ten million. [Cut to the Jeffersonian, Dr. Goodman's office. Angela and Brennan are seated opposite of Dr. Goodman who is standing behind his desk. Zack and Hodgins are standing behind Angela and Brennan.] DR. GOODMAN: The information that I'm about to tell you must not leave this room HODGINS: I am philosophically imposed to institutional secrecy in all its forms. DR. GOODMAN: Fine, get out. [Hodgins scoffs] DR. GOODMAN: Two communist Chinese trade attachés were on that plane when it crashed both high ranking party men. HODGINS: Well obviously we sh*t it down. DR. GOODMAN: [Sitting down at his desk] The FAA and the NTSB can prove that it was an accident. Also on the manifest was an American business man, a pilot and a co- pilot, five people. ZACK: Dr. Goodman, we found six sets of human remains on that airplane. BRENNAN: Not to mention, three bone fragments which were not on the plane. DR. GOODMAN: Is there any chance those bone fragments were on the plane? ANGELA: What, you mean as carry on luggage? BRENNAN: No, everything on the plane b*rned. They were untouched by f*re. DR. GOODMAN: Hmmm. Then forget about the bone fragments for the time being. The state department is extremely anxious to find the identity of that sixth person. No one wishes this to become an international incident. Therefore, this is our only priority. BRENNAN: I disagree! DR. GOODMAN: For the love of God, why? BRENNAN: Because the plane crash was an accident. The bone fragments were not. DR. GOODMAN: How do you know? BRENNAN: Zack found unusual cut marks. ZACK: Cut marks congruent with dismemberment. DR. GOODMAN: People, one hour ago I received a call from the secretary of state requesting that the unidentified extra passenger be our first priority. BRENNAN: So now politics are more important then m*rder? DR. GOODMAN: I'm not saying please. I'm not being reasonable. I'm making the decision. First and foremost identify that sixth body! [Cut to the lab with Brennan holding up a bone fragment and looking at Booth] BRENNAN: You got it or do you want me to explain again? BOOTH: No, I got it okay. The plane goes down, Kablooey, there's an extra body on board which you really don't care about because you're more interested in these bone fragments that you found on the ground. BOOTH: Hmmm. Is this all you got? BRENNAN: So far, a piece of skull, a chunk of vertebrae, part of a femur. BOOTH: Not much to go on. BRENNAN: These fragments come from a person who was hacked. BOOTH: [Wincing] Hacked to little bits. BRENNAN: No, medium sized bits. I'm not sure how it turned into little bits yet. BOOTH: Okay and I'm here why? BRENNAN: Dismemberment, little bits, it's a m*rder. BOOTH: Well FBI doesn't have jurisdiction at a golf course. BRENNAN: Well who does? BOOTH: I don't know. Try the PGA. [Smiling knowingly] Uh huh. You know you've done a couple of cases without me and you miss me. BRENNAN: Zack misses you not me. BOOTH: Zack and I don't even talk. BRENNAN: He seems to think it's a male bonding ritual. BOOTH: Maybe he's right? BRENNAN: No he's not. BOOTH: Could be? BRENNAN: You told him that so you wouldn't have to talk to him. BOOTH: Well it was nicer then sh**ting him. BRENNAN: [Frustrated] Mmmm. Goodman has ordered me to investigate the other extra body. BOOTH: Well then you better get on that. Next time you know, you miss me pick up the phone call me we'll do lunch or something. BRENNAN: I do not miss you! BOOTH: Yeah you miss me. C'mon. BRENNAN: I do not miss you! BOOTH: Say it. Security Guard: [Interrupting] Dr. Brennan, Agent Booth, you have a visitor. BOOTH: You miss me. BRENNAN: [Walking away] No I don't. BOOTH: You miss me. You miss me. [Cut to Booth and Brennan entering her office to see a man waiting for them] JESSE KANE: Dr. Temperance Brennan. BRENNAN: Yes. JESSE: Special Agent Seeley Booth, I'm Jesse Kane. BOOTH: You're Jesse Kane? JESSE: You've heard of me? BRENNAN: I haven't. BOOTH: Jesse here is sort of an expert in missing person's cases. JESSE: I've done some writing on missing person laws and investigative techniques, inner agency cooperation, jurisdictional dispute, that kind of thing. I heard about the bones you found at the golf course. BRENNAN: I can't really talk about that. JESSE: I don't mean the Communist Chinese on the plane. BOOTH: Whoa, whoa, whoa, Communist Chinese... JESSE: The other bones, the fragments. BOOTH: How did you hear about the Communist Chinese? JESSE: [Ignoring Booth speaking to Brennan] Those pieces of bone you found at the golf course, I'm pretty sure that's my dad. [Roll Intro.] [Cut to Kane, Booth, and Brennan all sitting at a table in the middle of Wong Foo's] JESSE: My expertise in missing person's investigations derives from one thing, my search for my father. He went missing five years ago during a trip to his cottage in Virginia Beach. BRENNAN: What makes you think these bone fragments come from your father? BOOTH: Alright, you know there is a question of National security here that is my jurisdiction. [To Brennan] He's not supposed to know about the Chinese. JESSE: My investigations lead me to conclude that my father was m*rder in the area and his body disposed. BRENNAN: What did the police say? JESSE: They gave up four years ago. BOOTH: Because there was no evidence of foul play. JESSE: The investigation was bungled. The city police didn't have the manpower, the state troopers said it was a federal matter, and you guys suggested a private investigator. BOOTH: It was not bungled, okay, because there was no evidence of foul play. It's a common story, okay? A guy goes in for a pack of cigarettes and ends up renting out snorkeling gear in Guam. JESSE: He doesn't know what it's like to loose a parent you do. BOOTH: [Pissed] You want to back down a jot there buddy? BRENNAN: How do you know about that? JESSE: No offense, Dr. Brennan but you're a writer. You're a well know scientist, it's out there plus you're one of us. BRENNAN: One of us? JESSE: People who's loved ones have simply vanished, in your case both parents. BOOTH: Okay, how do you know about the Chinese? [Kane ignores him and Booth snaps in his face and puts his hand in front of Bone's face] Do not look at Dr. Brennan, okay? Whether you like it or not, this is an issue between you [Brennan moves his hand away] and the FBI. JESSE: If body parts are found in roughly the area where my father disappeared, I'm going to know about it. Radio chatter, the internet, the local law enforcement, that's all I'm prepared to tell you. [To Brennan] Do you mind if I ask you how many bone fragments you found? BRENNAN: Yes I do. I don't discuss ongoing investigations. BOOTH: She doesn't discuss ongoing investigations. JESSE: Fair enough, Dr. Brennan. [Referring to a box beside him] These are my notes from the last five years, every lead, every clue; every person I have ever talked with is here. BOOTH: And why would Dr. Brennan care about that? JESSE: Cause it will least give her a candidate to eliminate. BRENNAN: He's got a point. JESSE: My father's medical records, pictures, last known whereabouts, even a connection to the golf course. Also my phone number but don't worry if I don't hear from you, you'll hear from me. BOOTH: Wow! Pushy. BRENNAN: Well maybe he discovered that being pushy is how you get cops to pay attention. BOOTH: What are you hawking at me for? BRENNAN: The Chinese, the plane crash, that's geo politics. This is m*rder. Will you help? BOOTH: Well you know I guess if you're uh, really asking me, I guess I could uh you know fudge it with my boss to make it look like it was attached to the Chinese plane crash thing. [Cut to Jeffersonian where Brennan is looking at the three bone fragments. Angela walks in with Zack and Hodgins.] ANGELA: We've made some progress on the mystery passenger. BRENNAN: Fill me in. ZACK: Nasal ridges indicated she was a Caucasoid female approximately 5'10" epiphyseal fusion puts her age somewhere between twenty to twenty-five. ANGELA: I have a theory. HODGINS: Femme fatal assassin. ZACK: Unregistered flight attendant. ANGELA: Young, beautiful girl, doesn't appear on the in flight manifest, group of how powered politicos. HODGINS: Oh. ZACK: Wait. What? What? BRENNAN: Someone on that flight might have been doing his daughter or girl friend a favor. ANGELA: Ugh, you're so sweet, honey. You really are. ZACK: Oh, you think she was the in flight entertainment. ANGELA: Yeah... [To Brennan] Anything you want to tell us about the bone bits you care about? ZACK: Supra orbital margin is rounded suggesting a male. BRENNAN: Yes and there are signs of osteolytic liping or polish on this piece of vertebrae. HODGINS: Arthritis. ANGELA: So middle aged guy. BRENNAN: Weathering and discoloration suggests these bones have been out there for approximately five years. I'm going to ask you guys to help me on this. ANGELA: You mean after the Communist thing? BRENNAN: No, immediately. HODGINS: I'm in. ZACK: You want us to defy Dr. Goodman. HODGINS: I'm in. BRENNAN: Not defy per say, do both jobs but keep one a secret. HODGINS: I'm in. ANGELA: We get it. You're a rebel. BRENNAN: Zack, I need you to analyze the cuts on the bone. ZACK: I was kinda hoping to keep my job. ANGELA: There's not enough skull here for me to do a reconstruction. BRENNAN: If I gave you a picture, you could tell me if the skull piece doesn't match? ANGELA: Ah, I could construct a schematic and see if the shard fit the general shape of the skull, if I had a picture. HODGINS: Has anyone noticed that I was the first to offer help and apparently I'm useless. BRENNAN: Not true. You are the one that's going to keep Goodman from finding out. HODGINS: I'm in. [Cut to Brennan sitting at a diner counter with Kane] JESSE: So the bone fragments were the same sex and age of my father. BRENNAN: Yes. JESSE: Thank you. BRENNAN: It's a long way from conclusive. JESSE: Yeah I know at times like these not to get hopeful but on the other hand you've got to have hope. BRENNAN: Even after five years? JESSE: People are found after decades, Dr. Brennan, after centuries. You've done some of the finding. BRENNAN: Booth says you've made a living off of the disappearance of your father. JESSE: About six months after my father disappeared, I found out nobody was actually looking for him. Next thing I knew I was an expert in motivating the police, victims rights, becoming well known is a by product of my search for my father not the goal of my search. You should understand my motivation better then most people in law enforcement. BRENNAN: I'm not really interested in bonding over the loss of my parents. Booth is looking over your file now. JESSE: I wasn't looking for his help. BRENNAN: We work together. Booth knows that the bone fragments are evidence of foul play. That's all the motivation he needed. JESSE: You didn't have to lean on him? BRENNAN: [Smiling] Not at all. JESSE: If you say so. [Cut to Medico-Legal Lab on the platform. The camera pans over the six bodies lined up next to each other on tables. Each has a picture to identify the body except for the last one. Hodgins, Zack, and Angela are looking at the bone fragments on a computer screen.] ZACK: Well, one of the bone fragments has distinctive ridge mark indentations. HODGINS: Kn*fe mark. ZACK: Yes, specifically a carving Kn*fe. ANGELA: What about the other ones, the jagged marks? ZACK: Some kind of machine blade. ANGELA: What like a jigsaw or a chainsaw? DR. GOODMAN: [Clearing his throat to make his presence known] Are you suggesting one of the Chinese diplomats was wielding a chainsaw? HODGINS: Ah, good one sir, very droll. Zack knows much more about this then I do but we weren't discussing a literal chainsaw cut but rather the pattern it leaves on the bone. Right? Zack? [Zack just stares at Dr. Goodman with his mouth open.] ANGELA: You know blades move in several distinctive ways. HODGINS: Several distinctive ways. ZACK: Circular elliptical segmented, chainsaws are designed to cut soft materials at high speed when cutting hard materials like bone they create wave marks by the action of the blade. This pattern is too organized, too linear. HODGINS: Therefore, no Chinese chainsaw m*ssacre scenario. DR. GOODMAN: Hmmm, yes, fascinating. What has it got to do with the victims of the plane crash? HODGINS: We not only have to reassemble each of the plane crash victims but figure out how their remains were scattered. ZACK: Not by being cut up, that's for sure. HODGINS: Now we've eliminated blades. [Dr. Goodman rolls his eyes and walks away.] HODGINS: [To Zack] Never. Freeze. On. Me. Again. ZACK: I find Dr. Goodman scary. ANGELA: Well, I'm never trusting any of us again. We're that good at lying, huh? HODGINS: We're going to do much better. [Cut to Brennan and Booth driving in his SUV] BOOTH: Well, you know, I have to admit Jesse Kane's file on his father is both well organized and complete. Yep, his main suspect is his fathers' girlfriend. BRENNAN: Karen Anderson. BOOTH: No alibi and since they were living together at the time of the disappearance she remains in the house and has access to their joint accounts. BRENNAN: Well how much money are we talking about? BOOTH: Max Kane, he was a stockbroker, he was worth millions but you know, after seven years missing the courts will declare him officially d*ad but you know, by that time she could have siphoned out half of the money so I say we go visit Miss. Anderson and we'll know pretty fast if she's a suspect. BRENNAN: How? BOOTH: How? Subtle psychological indicators, Brennan. BRENNAN: I looked those up on the internet, body language, sweat, tonal quality, shifty eyes. BOOTH: Hey you know what? I don't go poking around your bone stuff, okay. Just leave the human stuff to me. [Cut to Booth and Brennan sitting across from Karen Anderson and another gentleman, Karen's boyfriend Eddie, in Karen's home] Karen: Why has Max's disappearance become a matter for the FBI? BOOTH: Max's disappearance is not an FBI matter. Eddie: You're an FBI agent. BRENNAN: Human remains were found in the course of a Federal investigation. Agent Booth is taxed with the job of identifying them. BOOTH: I'd like to eliminate Max Kane as a possibility and just move on all together. Karen: So this is a proforma interview? BOOTH: Yes, yes, absolutely. Karen: Because I know Max's son Jesse accuses me of Max's m*rder. BOOTH: Why do you think he suspects you? Karen: Because of the age difference between me and Max, because I'm still living in the house, because after five years I dared to fall in love with someone new. Who knows. BRENNAN: Some people find it harder then others to get over the loss of a loved one. BOOTH: Bones. BRENNAN: What? Karen: Jesse got to you, didn't he? The dimples and the sad smile, and melancholy on a mission to find his beloved father, you know all that. BRENNAN: Jesse didn't love his father? Karen: Max and Jesse didn't speak for the two years before Max disappeared and that was before I came into his life. BOOTH: What do you think caused the riff? Karen: Max cut Jesse off financially. Max thought Jesse was lazy running around New York doing nothing with his life and well Jesse was furious. [Cut to Medico Legal Lab with Brennan, Hodgins, and Zack discussing the bone fragments. Angela is by the door, watching for Goodman] ZACK: The hack marks were caused by a Heidal carving Kn*fe. HODGINS: The osteological profile suggests evidence of post mortem freezing. BRENNAN: Max Kane disappeared mid winter. What about the jagged cut marks? ANGELA: This is the part that makes me queasy. ZACK: The victim was frozen, dismembered, and fed into a wood chipper. HODGINS: And spread over a golf course. ANGELA: Either talk loudly enough so I can hear all the way or whisper so I can't. ZACK: Maybe if we told Goodman what we know, he'd authorize a change in priorities. ANGELA: Or he'd suspend us all for defying him. BRENNAN: Angela's right. ZACK: [Hopeful] So we're going to drop this and get back to what Dr. Goodman told us to do in the first place? BRENNAN: [Smiling] No, we are going to keep doing what we are doing behind Goodman's back. HODGINS: [Excited] That's the spirit! [Cut to Booth's office where he and Brennan are questioning Jesse Kane about the rift with his father] JESSE: Yeah it's true. My father cut me off financially so I take it that means you talked to Karen. BOOTH: Is there anything else you failed to mention to us? BRENNAN: Why didn't you tell us? JESSE: I know I didn't k*ll my father so I'd rather you didn't waste your time on that line of investigation. BOOTH: Too late so what happened between you and your father, hmm? JESSE: About five years ago I was enrolled at NYU. All I really did was go clubbing and have a good time. My father was right to cut me off. I was a disappointment to him. BOOTH: But, you know, if he could see you now. JESSE: I'd like to think he can see me now. BRENNAN: Your father is d*ad. A d*ad person can't see anything. JESSE: Maybe that's true, maybe it isn't but either way at least I know my dad would be proud. BOOTH: Bones, tell Jesse what happened to the victim. BRENNAN: Really? JESSE: What? BRENNAN: [To Booth] It's just that usually you tell me not to tell people. JESSE: It can't be worse then some of the things I have imagined. BRENNAN: The victim was frozen, dismembered, and fed through a wood chipper. BOOTH: Brennan has figured out what type of wood chipper was used. We're going to trace it to the manufacturer and see if one was sold in Virginia Beach. JESSE: I can't believe someone would do that to my dad. BRENNAN: We haven't positively identified the victim as your father. I have our artist comparing the skull fragment to pictures of your dad. JESSE: Could I see the bone fragments? [Cut to Medico Legal Lab where Brennan is showing Jesse the fragments] JESSE: This is all? BRENNAN: Yes. I mean...it's all of somebody. JESSE: He was a big man, my dad. It's hard to believe that this is all that is left of him. How can you get anything from three small bits of bone? BRENNAN: It's more then a lot of people get. JESSE: I know where my dad was right before he disappeared. I know my dad met with a client at the North Star Grill in Virginia Beach. I know he had meatloaf. I know he was supposed to meet Karen at the pier but he didn't show up. I know she waited two days, before reporting him gone. I have a good timeline and I have three small bits of bone. You don't have any of those things and I realize how hopeless you must feel. BRENNAN: Come with me. [Cut to Brennan's office where she hands a file to Jesse] JESSE: This is all you have? BRENNAN: Yes, you were right about how little it is. JESSE: No, I mean this is simply your copy of the official file. BRENNAN: Yes, what else would there be? JESSE: You never tried to hire any private investigators, did any poking around by yourself? BRENNAN: Well I'm pretty new at field work. I've mostly been a lab rat my whole career plus I trusted the authorities would do what they could. JESSE: The authorities have rooms filled with files like these, warehouses. BRENNAN: I'm the authorities, Booth is the authorities. JESSE: Did you ever show this file to Booth? BRENNAN: No, no. [Kane leans in to kiss her and she backs up.] This is where I work. ANGELA: [Interrupting] Uh which is my cue? BRENNAN: Uh, um, Angela, come in. This is Jesse Kane. ANGELA: Hello. JESSE: Hi. ANGELA: Hi, Angela Montenegro. BRENNAN: [Referring to a piece of paper in Angela's hand] What's that? ANGELA: Oh, uh nothing that can't wait. JESSE: Is it about my father? ANGELA: In as far as I know, which is quite far believe me, no one has tried to kiss Brennan in this office and lived to tell about it. BRENNAN: Angela. JESSE: Would one of you please tell me what that piece of paper is? ANGELA: It's a uh, it's a schematic comparing the skull fragments we found on the golf course to pictures of your father. JESSE: And? BRENNAN: It doesn't not match your father. JESSE: So it could be him? ANGELA: Yeah there's a pretty good chance. JESSE: I knew it. [Cut to Angela and Brennan walking through the lab] ANGELA: Are you hooking up later? BRENNAN: We didn't arrange anything. ANGELA: Why not? BRENNAN: Cause you were right there! Hovering . ANGELA: I was not. I was being your wing man. BRENNAN: What's that? ANGELA: I was rendering assistance and enabling where needed. BRENNAN: Booth thinks he might be a suspect. ANGELA: Oh now you're just looking for excuses not to get involved. [Cut to Angela's office. Brennan, Goodman and Angela are gathered around the Angelator reviewing the victims and their profile from the plane crash] ANGELA: Plane crash victim number four, captain Jacob Howard, pilot, age forty-seven, height five foot six, weight approximately one hundred and sixty seven pounds. BRENNAN: [To Angela] Overlay the photograph. Frontal zygomatic sutures line up, cranial meninges are in sync. DR. GOODMAN: Excellent that's one more off our list. ANGELA: Victim number five, Shen Ru Fong, age fifty-six, height five foot six, weight approximately one hundred and forty pounds. DR. GOODMAN: Yes that's terrific except we knew all of these people were on the plane. What the state department wants to know is the identity of our mystery woman. I hope I can count on your full energies on this Dr. Brennan. BRENNAN: If I could be completely honest sir... HODGINS: [Walking in and interrupting] Toxicology reports came back from all six victims. Pilot and co-pilot were clean. Our two Chinese nationals had elevated levels of alcohol and Sildenafil more commonly know as Viagra and our mystery girl showed traces of alcohol and cocaine. So will the cover up start now or somewhere between here and the State Department? DR. GOODMAN: [To Brennan] You were saying about being completely honest? BRENNAN: Yes sir. Regarding the bone shards.... ZACK: [Interrupting] Uh, the prost*tute was six inches taller then anyone else on the flight and she had occupational stress markers. DR. GOODMAN: Let's not call her a prost*tute yet, Mr. Addy. What occupational markers? HODGINS: Eh, it's a foot thing. DR. GOODMAN: She was a fetishist? ZACK: Both her Cuboid and Medico Malleolus show signs of wear. BRENNAN: You can relax Dr. Goodman. She wore extremely high stiletto heels. ANGELA: I reconstructed her face from the partial skull. [Angela enters data and a blonde woman's upper torso shows up.] HODGINS: She was hot. DR. GOODMAN: [To Brennan] What's our next move? BRENNAN: I suggest we try to match this reconstruction with escort ads both internet and print in the DC area. ZACK: [Quickly] Oh, I'll do that. Was that overly enthusiastic? DR. GOODMAN: Thank you for the update. This case continues to be your top priority, correct? BRENNAN: If I could suggest... HODGINS: Dr. Brennan has been very clear about your priorities on this, Sir. [Cut to Jeffersonian parking lot] BRENNAN: What's that? BOOTH: It's the only Black Mantis wood chipper in Virginia Beach. I subpoenaed the records from the manufacturer and traced it back to the town equipment yard. Uh, my people they uh, couldn't find any blood residue. BRENNAN: That makes sense if the corpse was frozen. BOOTH: Yeah not to mention this puppy here has grinded up about ten thousand trees, you know. Hey I figured you could match the blades to the cuts in the bones, right or do something I haven't though of much more confusing and scientific? ZACK: [Approaching Both and Brennan] Booth, nobody told me you were working this case. BOOTH: [Ignoring Zack and speaking to Brennan] Only two people have had access to this machine in the past seven years, a city maintenance foreman and a city maintenance worker by the name of Ray Sparks. Sparks has got a jacket so... What do you say, huh? You want to come with me to go talk to him? ZACK: [To Brennan] Told you. It's a guy thing. BRENNAN: [To Booth] Um, yes I'd like to come. BOOTH: Alright, here we go. BRENNAN: [To Zack] Let Angela do the escort matching. I have something a lot more interesting for you and Hodgins. BOOTH: What's more interesting then escorts? BRENNAN: I need you guys to run a dispersal pattern test on the chipper. ZACK: Using what medium? BRENNAN: Assume the victim was frozen solid when he was fed into the chipper. ZACK: No way. BOOTH: [To Brennan] The correct response would be [whispers] yes way. BRENNAN: Oh. [To Zack] Yes way. [Cut to Spark's house, Booth and Brennan walk up the front porch to the door.] BRENNAN: You ignore Zack to make him think that you've got some special bond. BOOTH: Yeah but it works doesn't it? I'm happy. He's happy. BRENNAN: It's not the truth. BOOTH: [Knocking on the door] But it works. Ray Sparks I would like to have a word with you please. BRENNAN: Zack wants to fit into the real world more then anything. You're not helping. BOOTH: [Knocking again] FBI, Special Agent Booth. [Both here a loud crash from inside] BOOTH: He went out around the back. [Booth takes off down the porch steps and heads left around the house. Brennan follows him and bumps into him at the corner. Booth stops for a second and looks at her] BOOTH: No, no, the other way, Bones! BOOTH: FBI! Freeze! [Sparks turns and tries to run the other way. Brennan comes out from her side of the house and grabs him by the throat and shoves him backwards. Sparks falls on his back on the ground in front of her grunting. She puts her foot on his throat to keep him down] BOOTH: [Muttering] Bones... [To guy on the ground] Ray Sparks? Sparks: Hey, I didn't do nothing wrong! BRENNAN: [To Booth] I feel like kicking him. BOOTH: [Pulling out handcuffs] That's normal after a pursuit. We try not to do that. BOOTH: [To Sparks] Come on, up. [Cut to Jeffersonian parking lot. There is yellow security tape roping off the area with the wood chipper inside. Hodgins and Zack roll out a gurney holding something large and completely covered] ZACK: [Looking around] Too many people. How are we going to keep this from Dr. Goodman? HODGINS: Ah, he's having lunch with the President of Harvard. ANGELA: [Walking up and noticing the scene] What's going on? Why is every guy from the Jeffersonian out here? HODGINS: They're scientists, this is a fascinating, scientific inquiry. ANGELA: Oh my God! They're all out here because you're going to feed something through this wood chipper. HODGINS: Not just something. [Removing the sheet from the gurney] Ta da! A frozen pig. Ha ha! ANGELA: [Disgusted] Oh, ugh. ZACK: The morphology of pig bones is almost identical to human bone. HODGINS: By feeding the pig through the wood chipper we'll be able to determine the dispersal pattern of the fragments. ZACK: By comparing the pulverized pig remains to the fragments we found at the golf course we'll be able to tell if this is the actual wood chipper the victim was fed through. ANGELA: Liars! You just want to see what happens when you toss some frozen pig into a wood chipper. HODGINS: Ready? [Everyone counts with him] One, Two, Three! [Zack and Hodgins throw the pig into the chipper. It grinds it up and sh**t it out into the air.] HODGINS: Yeah. [Everyone is clapping and cheering as they watch pieces of the animal fly through the air. Angela is disgusted and throws a hotdog she had gotten for lunch, into a nearby garbage can. Zack notices Dr. Goodman standing a little ways behind Hodgins. Hodgins turns to see Dr. Goodman flicking pieces of the shredded pig off his lapel] [Cut to interrogation room with Booth and Ray Sparks] BOOTH: [Smacks Sparks in the back of the head with the file and sits] Okay. What do we got here? Break and Enter, as*ault, Drunk and Disorderly...Wow! Sparks: Yeah, I've been keeping myself out of trouble for the past four years now. BOOTH: How long have you been a maintenance worker for the city of Virginia Beach? Sparks: Since 92. BOOTH: You ever meet a guy by the name of Max Kane? Sparks: No. BOOTH: Karen Anderson? Sparks: Yeah, I know her. BOOTH: How? Sparks: She bartends at the golf course. BOOTH: [lGrinning] You don't strike me as a golfer, Ray. Sparks: [Chuckling] City land is right across the creek from the course and I...I go to the club house a couple times a week to have lunch. BOOTH: Hey, how did you pay for that house you live in Ray? I mean that's... that's pretty nice. Sparks: You got a hard time sticking to one topic, huh? My mom left me the house. She left it to me and my brother Frank, five years ago. BOOTH: Five years ago Max Kane disappeared, Karen Anderson's boyfriend, so you know you can see how my suspicions might be a little aroused. Sparks: Yeah but the thing is I didn't live in Virginia Beach five years ago. I was in South Hampton Correctional Center doing six months for skipping out on a DUI warrant. Guess I don't need a lawyer, right? [Cut to Medico Legal Lab with Hodgins sitting at a computer typing] DR. GOODMAN: There's no way that wood chipper experiment is connected to the plane crash at the golf course. HODGINS: Look. DR. GOODMAN: Don't say anything. Just listen. Your primary job is to do what I say failing that your job is to fool me. You failed to fool me, Dr. Hodgins. HODGINS: I'd have fooled you if you would have gone to lunch as planned. DR. GOODMAN: I'll find some administrative ways to punish you, parking, dining room privileges, budget reviews, that sort of thing but if it happens again. HODGINS: I got it. DR. GOODMAN: No you don't. [Leaning in] You think I'm a kind and fair man, ego less, balanced, ruled by intelligent reflection but I do have an ego. I can be vindictive and petty. I will take you down even if it means striking at you through your friends and co-workers. [Hodgins looks shocked] Now you understand. [Dr. Goodman turns to leave with a sly smirk on his face] [Cut to Booth's office with Brennan from Kane and Booth standing next to him] BOOTH: Ray Sparks was in jail when your father disappeared. JESSE: He might have acted as a go between, put Karen in touch with the h*t man. BOOTH: One of the things that you lecture about is that the simplest theory usually turns out to be true. JESSE: Usually, not always. BRENNAN: What's the simplest theory in this case? BOOTH: Disowned son realizes that his father may remarry, loose his inheritance. BRENNAN: Booth, are you accusing Jesse of m*rder his own father for money? BOOTH: Did you ever hear of the Menendez brothers? JESSE: I came to you about the bone shards saying it might be dad. BOOTH: Hey look, your father is declared d*ad, you get your inheritance before Karen Anderson spends it all. [Kane doesn't react] Well, you don't seem too upset about the accusation. JESSE: Agent Booth. For four years I have been making enemies with law enforcement, attacking me is a pretty typical response. BRENNAN: Booth, is this one of the times when you just poke and prod to get reactions? BOOTH: Listen Bones, we have to treat him like a suspect. He is not a member of the team. JESSE: [To Brennan] Look, I'm like you. I need the truth. BRENNAN: [Upset] I have to get back to the lab. [Cut to Medico Legal Lab. Angela is sitting at a computer and Brennan is sitting next to her. There is a overhead picture of the golf course on the screen with three red dots on it.] ANGELA: Satellite imagery of the golf course. These three dots show where the bone fragments were found. BRENNAN: Can you show me the results of the wood chipper test? ANGELA: The V shape indicates the maximum distance from the point of origin a bone fragment could have traveled given similar wind speeds and ambient temperatures. BRENNAN: Okay and remove the plane crash it's irrelevant to this. ANGELA: The question is, in order to use the guy's pig grinding experiment, where do we place the wood chipper? BRENNAN: I bet the m*rder aimed the wood chipper over the stream. ANGELA: So the evidence would wash away... BRENNAN: [Points to a clear section of the map] What's that? ANGELA: That is a small access road for maintenance vehicles. BRENNAN: Try putting the wood chipper there. [Angela enters the data] ANGELA: [Looking pleased] Ooooo, sweet smell of success... BRENNAN: We should see if we can find anymore bone fragments here and here. DR. GOODMAN: [Entering Angela's office] Are we any closer to identifying our mystery woman? [Angela clears the previous information from the screen] BRENNAN: [Startled] Um, I'm not ...I'm not certain. ANGELA: Brennan is still waiting for an update. [Hodgins enters] HODGINS: [Enters Angela's office as well] I saw you come in, Sir and I have an update. I have a list of possible matches on our Geisha in the sky. BRENNAN: She is Caucasian, our mystery woman is definitely Caucasian. HODGINS: We sent a list to the FBI and they're checking it out. DR. GOODMAN: [Sarcastically] Ah, well in that case you might want to turn your attention back to the bone fragments. [Cut to Jesse's motel room] BRENNAN: [Knocks then comes further into the room] I came for the file on my parents. JESSE: [Passes the file to her] You think I might have k*lled my father. BRENNAN: No, it's just...I asked the wrong person to help me and... JESSE: What? BRENNAN: I just don't think it's healthy what you are doing, putting your whole life into this. JESSE: And I suppose what your doing, putting nothing into solving the disappearance of your parents, I suppose that's healthy? BRENNAN: We're searching the golf course for more bone fragments. [Cut to the Golf course. Somewhere a Clock is Ticking by Snow Patrol is playing. There is an area roped off in red where lab workers from the Jeffersonian along with the team are scouring the area for more bone fragments. Booth is nearby the area watching them. Booth turns and sees Kane standing up on a hill top behind. Brennan turns and also sees Kane and he hangs his head.] [Cut to Medico Legal Lab] HODGINS: Amazingly we found a finger with a nail still attached and underneath that nail... ZACK: Polyurethane, the tough stuff. The victim must have been scraping at something before he died. I... I can't identify this bone anomaly. It's full of osteoids, thick, maybe part of the mandible? BRENNAN: Human, something odd with the cell structure. HODGINS: A wood chipper wouldn't do that damage at the cellular level. BRENNAN: It's a non-malignant bone tumor. I need the most recent bone scans from Max Kane's medical records. HODGINS: [Picks up phone that's ringing] Hodgins. [To Brennan] It's Booth. The locals just arrested Jesse Kane for attacking Karen Anderson. [Cut to Booth and Brennan driving in Booth's SUV] BOOTH: The local Sheriff's say Jesse Kane showed up at Karen Anderson's house to confront her. He was ranting about the m*rder of his dad. Eddie tried to throw him out. The two of them they exchanged punches. The fact that Jesse confronted him doesn't mean that he isn't the k*ller. BRENNAN: I know. BOOTH: Alright, you know what? He might have done this just to make us think that he was angry at her, alright? He's smart. BRENNAN: No poking and prodding, do you think Jesse m*rder his father? BOOTH: You know Bones, all I'm saying is we get into these things, we look into m*rder, and we can't let our heart strings get all plucked. Okay? We got to poke at people wounds, we got to make them bleed a little, we got to make them tell us things that they normally wouldn't want to tell us. Alright? We got to be willing to be hard on them is what I'm trying to say, even when we know that we're no different then them. BRENNAN: You didn't answer my question. BOOTH: Well I have an opinion. You want to know? If I had to bet, I'd say he didn't do it. BRENNAN: Me too. BOOTH: I'm going off my gut. I mean what...what's persuading you? BRENNAN: The bone fragments at the golf course, they didn't come from Max Kane. BOOTH: That's great. You knew that when you asked me what I thought. You testing out my instincts, Bones? BRENNAN: Poking and prodding. I learned from the best. [Pinches his cheek and Booth laughs] [Cut to local police station holding room. Brennan is sitting across a table from Kane who is in handcuffs and a dark blue jump suit. Booth is standing in the corner of the room.] JESSE: It's not my dad? BOOTH: No. We don't know who it is yet. JESSE: How can you be certain? BRENNAN: We found a juxtacordical chondroma, a non-malignant bone tumor. Your father's x-rays showed no sign of such a tumor. JESSE: Maybe he got it after the x-rays? BRENNAN: The x-rays were taken two months before he disappeared. It's a slow growing tumor. It would have taken years to get to the size and density that we found. BOOTH: Look, I'm going to see if I can get this as*ault stuff to go away and get you out of here. BRENNAN: I'm sorry Jesse. JESSE: For what? Suspecting that I k*lled my own father? BRENNAN: No, I'm not sorry for that. I know what it's like not to know what happened. I know how painful that can be. And I'm sorry for you. [Cut to Medico Legal Lab with Booth leaning on a railing playing with a lighter] HODGINS: If the bones don't belong to Max Kane, who's our d*ad guy? BRENNAN: We can send out a description of the chondroma to area hospitals. See if it leads to any missing patients. BOOTH: Yeah, we can do that. [To Zack] List the pertinence. ZACK: Me? Are you talking directly to me? BOOTH: Yeah, you can tell because my eyes are looking at you. My mouth is aimed in your direction. ZACK: But what about our guy thing? If you're speaking to me, then does this mean I'm not on the team? BRENNAN: Zack, lets concentrate on the work. ZACK: Pertinence... BOOTH: Pertinence. ZACK: The victim died. We...we don't know how. He was then frozen, dismembered with a Heidal carving Kn*fe, and pushed through a black mantis 1200 wood chipper. ANGELA: The exact wood chipper you fed the frozen pig through. BOOTH: The exact wood chipper that Ray Sparks had access to. ZACK: But Ray Sparks was in jail. HODGINS: Sparks was in jail when Max Kane disappeared. BRENNAN: But our victim isn't Max Kane. ANGELA: Well who else would Ray Sparks have motive to k*ll? ZACK: The victim is a middle aged male... BOOTH: His brother. HODGINS: What motive? BOOTH: They both inherited the house. Okay, you guys, you look at that tumor and Brennan and I will go talk to Sparks. Come on. ZACK: While you're there, look for a large freezer. BOOTH: Why? ANGELA: The body was frozen. ZACK: Polyurethane is a common insulating liner in freezers. HODGINS: We found it under the victim's finger nail, like he was scratching to get out. [Cut to Spark's house. Booth and Brennan are in the basement looking for evidence] BRENNAN: [Looking into a chest freezer] The detectives who picked up Sparks say he claims his brother was alive and well the last time he saw him. BOOTH: Well, he might have been for about thirty minutes until he ran out of air in here. My guys found claw marks on the inner linings on both sides. BRENNAN: What kind of person could lock a living human being in a freezer? BOOTH: What is that? BRENNAN: That's a finger nail. BOOTH: His own brother. [Cut to Jesse's motel room. Jesse is packing up his things as Brennan appears at the open door] JESSE: Hey. BRENNAN: Booth got you out. JESSE: Twelve hundred bucks bail, I promised to stay away from Karen and Eddie. BRENNAN: I solved the case. I'm sorry it's not your father. We identified the victim. His name was Frank Sparks. I'm sorry I couldn't help you Jesse. JESSE: How do you live with it? BRENNAN: What, the disappearance of my parents? JESSE: The fact that nobody's looking. BRENNAN: I never thought about it that way until I met you. There's a Zen Koan, it says that if you want to find something, you have to stop looking. JESSE: I can't do that. My dad's watching and I don't want to disappoint him again. [Hugging Brennan] Even if you don't believe it, I know your parents are somewhere proud of what you do. BRENNAN: It's not rational but, I love the thought of that. [Cut to Wong Foo's. Booth is sitting at the bar with squints in a booth behind. Brennan enters and goes straight to Booth] BOOTH: How did Jesse take it? BRENNAN: Like an orphan. [Catching Booth's stare] What? BOOTH: [Chuckling] That's just, that's a little poetic for you. BRENNAN: I didn't mean it that way... I want to ask you another favor. BOOTH: Oh geez, another favor. BRENNAN: I wonder if you wouldn't mind taking a look at this. BOOTH: The file on your parents? Yeah okay. BRENNAN: Do you want to think about it? It's a pretty big favor. BOOTH: You'd do it for me. BRENNAN: Yeah I would. BOOTH: I'm proud you asked, Temperance. ZACK: [Interrupting] Ah, Dr. Brennan, Angela wants to know if we should order anything for you. BRENNAN: No, I'm not staying. Thanks Zack. ZACK: [To Booth] Guess we caught another one, right? [Booth ignores him.] All for one and one for all. BOOTH: [To Brennan] I'll take a look at this and see what they didn't give you and I'll get back to you. Okay? [Zack smiles and walks back to his table.] BRENNAN: You're back to ignoring Zack? BOOTH: Alright look, I know you don't approve but you know, it works for us; it worked for him so... BRENNAN: Yeah I get it and it, it's kind of sweet. BOOTH: Hey, you know, your people are my people. BRENNAN: What I have people? Hey, I have people. [Brennan smiles, gets up and leaves. While Look After You by The Fray plays, Booth opens the file and looks at a picture of Brennan's parents and a picture of Brennan as a little girl. Staring at it a slow smile spreads across his face] End.

{"type": "series", "show": "Bones", "episode": "01x14 - The Man on the Fairway"}

foreverdreaming

"Two Bodies in the Lab" Episode 1x15 Written By: Stephen Nathan Directed by: Allan Kroeker Transcribed by: Cassie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Open in Brennan's office at the Jeffersonian with Brennan sitting at her computer chatting online. Pan to a sh*t of her computer screen showing a site called sensiblepartners.com. She is online as Doc206 talking to Firstimer34551 and we see the text below] <Firsttimer34551>: It's been two weeks of typing; I think we're ready to have a meal, if only to give our fingers a rest. <Doc206>: I'm enjoying the anonymity. <Firsttimer34551>: Oh God, don't tell me your picture was a fake. <Doc206>: Just carefully lit. How about yours? <Firsttimer34551>: I Photoshopped out my third eye. I'll meet you at 7 at Nolita's on K Street. [Brennan pauses thinking about what to say.] <Firsttimer34551>: Still there? [Dr. Goodman enters her office.] DR. GOODMAN: Temperance. BRENNAN: [startled] Oh... DR. GOODMAN: I startled you... BRENNAN: Yeah, I was just chatting with a friend online. DR. GOODMAN: Sorry but we have a new delivery, top priority. [Brennan turns back to her computer to type in "I'll be there. 7." Then ends the conversation while Dr. Goodman waits.] DR. GOODMAN: Sounds like a good friend. BRENNAN: Yes, it's fascinating how interests and intimacy can be cultivated online. DR. GOODMAN: So you've never met this friend? BRENNAN: I've done enough Googling to schedule a dinner. You said there was a delivery? [Cut to the Lab Platform. There is skeleton on the exam table with Hodgins and Zack looking at it. The skeleton has what appears to be cement blocks on its feet. Brennan and Dr. Goodman walk up and she puts her hair up.] ZACK: The bones washed ashore on Chesapeake Bay. HODGINS: Judging from the algae, he's been fish food for quite awhile. BRENNAN: They ate through both tibia. ZACK: The remains show evidence of b*llet wounds. HODGINS: Which would explain why he has all those holes in him. ZACK: Looks as though they weren't made by a thirty-two, maybe a thirty-eight? ANGELA: [Joining the group] Heard you might need a face. DR. GOODMAN: The FBI is pretty certain this is James Cugini. They're looking for evidence that could lead them to the k*ller. HODGINS: Wow, Jimmy Cugini. BRENNAN: I don't know who that is. ANGELA: It's a mob boss who disappeared six years ago after his daughters dance recital. HODGINS: Cement shoes, pretty trite. BRENNAN: Why mess with the classics? ANGELA: Hmmm. BRENNAN: Did they find any of the b*ll*ts? ZACK: No. BRENNAN: They really are quite good at this. HODGINS: Should we really be involved in mob stuff? I mean they're really into to the whole k*lling thing. DR. GOODMAN: I can provide you with a job description if you've forgotten what we do here, Dr. Hodgins. BRENNAN: After you clean him up Zack, I want you to x-ray the bone for any b*llet fragments. Be very careful cleaning the exit and entrance wounds. I want to recover any markings the b*llet left as it passed through the bone. ZACK: Yeah, I can have them ready about eight tonight. BRENNAN: Uhhh, can't work tonight. Tomorrow morning is fine. ANGELA: You have a date tonight. BRENNAN: It's not a date, it's a meal. HODGINS: With a man? ANGELA: Did you meet him on the website I told you about? BOOTH: [Swiping his card, he and another man come up onto the platform] You're dating online? BRENNAN: Well it's a practical way of objectively examining a potential partner without all the game play. ANGELA: That comes later if it works out. [Looking at the man with Booth] Hi, I'm Angela. KENTON: Special Agent Jamie Kenton. Hi. Dr. Brennan. BRENNAN: Hey. ANGELA: You two know each other? BRENNAN: Well, I was at the Bureau when Booth took his coffee cup. Apparently their both the worlds greatest FBI Agents. BOOTH: That's right. Kenton is working the Cugini case. He's one of the original investigators. This is Brennan's brain trust. BRENNAN: [Leading them to the table] Your victim is over here BOOTH: So what if your computer date's a psycho? ANGELA: Only about a billion people date online. HODGINS: Yeah, I have. BOOTH: You know, what ever happened to seeing someone across a crowded room, eyes meeting, that old black magic gets you in its spell... BRENNAN: There's no such thing as magic. BOOTH: Oh there's magic. BRENNAN: Are you here for a reason because Kenton is handling this. BOOTH: We have some remains to look at. BRENNAN: I'm already looking at them. BOOTH: Nope, no, not the Cugini case. Kenton will baby-sit him. These are fresh. BRENNAN: Well I was told that our friend in the cement shoes took precedence. BOOTH: That was before we found someone tortured and ripped apart by dogs. [Cut to an abandoned warehouse. Brennan, Booth, and Zack are inside surveying a rather gruesome crime scene. There's a body with its wrists tied to a pole above its head and large dogs in cages all around the room barking and growling] BRENNAN: [Speaking into a voice recorder] Ninety percent of the flesh is missing because of mutilation and post mortem anthropophagi caused by canine scavenging. ZACK: [To Booth] They have to stay here? BOOTH: We're waiting to see if you need them for anything. BRENNAN: No, not now. Ask him to save the excrement for Hodgins. BOOTH: Lucky Hodgins. What about the eyes? BRENNAN: Gone. BOOTH: Gouged out? BRENNAN: Yes, you can see the scrapings in the orbital cavities much rougher then the Kn*fe scaring. It was done with a different w*apon. BOOTH: Son-of-a-bitch. BRENNAN: You've seen this before. BOOTH: Yeah, two years ago we found a seventeen year old girl in a tool shed bound, slashed, eyes gouged out, nothing for her parents to identify. Suspect was Kevin Hollings, everything pointed to him but couldn't get the hard evidence so the DA refused to prosecute. He's twisted, Brennan. You know, it's like a game to him. BRENNAN: He used dogs before? BOOTH: No, he's making the killings more elaborate. It's like he's testing us. BRENNAN: Until he goes to far and he gets caught. Isn't that the expected pathology. BOOTH: Yeah. BRENNAN: Well I can determine the kinds of w*apon, time of death. Hodgins might find something useful in the dogs... [Bone's cell phone rings and she goes to her bag to answer it.] BRENNAN: [Answers ringing call phone] Brennan? Just working. [An arm fall off the victim, Brennan instructs Zack] Bag that. [To her date] Yeah of course. I'm starving. Seven thirty, okay, yes. I'll meet you there. Okay. Bye. [To Booth] My reservation just got pushed by a few extra minutes. BOOTH: [Ever the smart ass] Oh, a few extra minutes. Great. BRENNAN: What? BOOTH: Nothing. BRENNAN: You disapprove? BOOTH: I said great. BRENNAN: With attitude. BOOTH: Don't go overboard with psychology. It's not your thing. BRENNAN: Look, I am an adult Booth. I see men. I go out with them on occasion. I sleep with them. BOOTH: Hey, you know what? That's cool but you don't even know who this guy is that you're meeting. BRENNAN: I have trekked through Tibet avoiding the Chinese army. I think I can handle meeting someone for dinner. BOOTH: Fine, you know what? You have fun with Dick431 or whatever his handle is. BRENNAN: Yeah I will. BOOTH: Good. BRENNAN: Thanks. BOOTH: Fine. BRENNAN: Good. [To voice recorder] Victim is female, late teens to mid twenties, Kn*fe mark on the bone evidence of deep cuts probably to open up the flesh make it more appetizing for the dogs. [Cut to a restaurant named Nolita's. Brennan is standing outside waiting for her when her cell phone rings] BRENNAN: David, hi. Yeah I'm here well I guess I'm two doors down. No, I know the traffic on the beltway can be brutal. Okay. Bye. [She accidentally drops the phone and bends to pick it up. sh*ts whiz by her and she runs to duck behind a car to avoid getting sh*t.] Guy: Get down! You there! Are you alright? [Intro. Rolls] [Cut to the Jeffersonian. Brennan is examining the d*ad girl while Angela, Hodgins, and Zack gather around.] BRENNAN: Need enlargements of the super orbital notch. [to Hodgins] Have you examined the dogs' excrement? HODGINS: I'm doing the fecal floatation now. I don't get to say that a lot. BRENNAN: Check for fibers the FBI might have missed as well. ANGELA: You've already told him, twice. Are you sure you don't want a drink? ZACK: You know it wouldn't be difficult to someone to encode a secure data strip implant it on an ID card with a correct digitally encoded authentication data and sneak in here. HODGINS: That is possible. BRENNAN: Are you two going to help or not? ANGELA: You know Booth's pissed that you came here. He had more questions for you at the scene. [Zack and Hodgins walk away.] BRENNAN: He just doesn't want to come here because he has to park in the structure. I need her face as quickly as you can. [Brennan goes over to look at the bones that Zack has cleaned.] BRENNAN: Zack these b*llet holes haven't been cleaned. ZACK: I worked on them for hours, Dr. Brennan. BRENNAN: [Angry] Then that wasn't long enough was it? BRENNAN: [Noticing the look on Hodgins face behind Zack, she softens] I'm sorry but... You take a sinus probe, you put a little cotton swab on the end of it. You dip it in water and you dab it inside the wound until it's clean. The Sistine Chapel took thirteen years to clean properly. ZACK: I didn't think we had that kind of time. BOOTH: Bones! What the hell are you doing? BRENNAN: Working. Why does everyone find that so odd? BOOTH: Why? Oh, I don't know. Why? Because maybe an hour ago someone tried to k*ll you. [Angrily swiping his card and barging up the stairs to the platform] I don't think it's a good idea for you to continue to work these cases. BRENNAN: This is what I do Booth. BOOTH: Alright look, whoever k*lled these victims wants to make sure you don't finish your investigation. BRENNAN: Hundreds of criminals would like me to stop what I do. Are you suggesting that I just give up my career? BOOTH: Just be reasonable. BRENNAN: Fine. Logic suggests that the sh**t is involved in one of these cases so I should find out who k*lled them before he tries to sh**t me again. Did Forensics recover the b*ll*ts that were meant for me? BOOTH: Ballistics is running tests on them right now. BRENNAN: And have you picked up the suspect in the young woman's m*rder? BOOTH: Hollings, I don't want to spook him until we have enough evidence but I've got guys watching him. BRENNAN: Did you get a list of woman missing age eighteen to twenty... BOOTH: Eighteen to twenty-five, yes. They are on your server. Brennan, everyone is doing their job. ANGELA: [walks up] Okay I will see if any of them match the victim. [sits at a computer] BRENNAN: Well what about the Romano family? Hodgins says they were feuding with the Cugini's. BOOTH: Kenton is pulling all the files on the case on all mob activity six years ago. Brennan there is one other person we have to look at, your date. BRENNAN: Well I spoke with him, Booth. He was in his car in traffic and why would he want to k*ll me? BOOTH: Why would somebody want to k*ll your victim over there? Look Brennan, I know it's hard for you to admit you're wrong about something but I really don't care about your feelings right now, I'm more concerned with your life. So they're bringing your date in for interrogation, grab your coat. BRENNAN: I'm working. BOOTH: Brennan! I'm not letting you out of my sight until I find out who is trying to k*ll you. [Cut to FBI Headquarters. Booth and Brennan enter an interrogation room where Brennan's date, David, is sitting at the table] DAVID: Temperance. BRENNAN: [Shaking hands] David DAVID: Someone sh*t at you? BRENNAN: [Referring to the rip in her jacket] Yeah. DAVID: Oh my God. BRENNAN: I know. DAVID: What can I do? BOOTH: Excuse me, I'm special Agent Seeley Booth. I'll be asking the questions. You want to sit down? DAVID: Sure, I mean I didn't see anything. When I got to the restaurant I saw the cops but I had no idea that it had to do with you. BOOTH: You're an investment banker, good looking guy but yet you find your women online. DAVID: Excuse me? BOOTH: Can't you find any woman at work? DAVID: Well she was online too and she's a great looking doctor. Your picture doesn't do you justice by the way. BRENNAN: [smiles] Thank you. Yours either. The resolution must not be very good online. BOOTH: [Brennan moves to sit next to David.] Bones! BRENNAN: Oh he's a Luddite. BOOTH: Hey! BRENNAN: [To Booth, comfortingly] That's someone who's afraid of technology. BOOTH: I know what a Luddite is. So are you saying that you were stuck in traffic? DAVID: What? You think I sh*t at her? I'm a fundraiser for the Brady campaign against g*n v*olence. [To Brennan] Do you think I tried to k*ll you? BRENNAN: He has to do this. BOOTH: Yeah I have to do this so what time did you leave work? DAVID: About six forty-five. BOOTH: Any witnesses? DAVID: Yeah, yeah, my assistant; Margaret Jenson, the client I was with, the valet that saw me pull out of the parking garage. I mean unless they are all suspects too. BOOTH: We'll be talking to everyone. DAVID: Well did you check the traffic report? It was a mess. BRENNAN: He did. [To Booth] You did. DAVID: Do I have to get an attorney? BOOTH: Just stay close in case we need you for anything else. DAVID: Yeah, sure. I mean anything I can do to help. [David gets up to leave] BOOTH: So this whole online thing, how long does it last because if it's just a way to, [whistles.] hook up. I gotta tell you. It's pretty low. DAVID: You know one of my partners met his wife online. BRENNAN: You're kidding? DAVID: No, they've been married for five years. BOOTH: Doesn't mean it's not creepy. DAVID: Okay, I'm sorry. Did I miss something cause I don't want to get in the way or between... BRENNAN: What? Uh, no. BOOTH: [Scoffs] No. BRENNAN: No. BOOTH: God. DAVID: Well then maybe we could reschedule dinner? BOOTH: [Booth turns away muttering] No. BRENNAN: Sure. DAVID: Great. BOOTH: You know I think someone needs this room. Let's go. [he escorts David out of the room putting himself between David and Brennan.] DAVID: Ah yeah sure. Well I'll email you. Stay safe. BOOTH: She will stay safe. [David leaves and Booth stops in the doorway of the room. Brennan is looking around Booth at David.] BRENNAN: He's nice. Don't you think? BOOTH: Yeah, he's nice as a suspect. [Notices Brennan staring after David.] What? [Waves a hand in front of her face.] Hello? [Moves in front of her to block her view.] [Cut to Brennan's office] ANGELA: [Handing Brennan a photo] Hey. The victim was Penny Hamilton, nineteen. She was a student at American who disappeared walking back to her dorm. She was about to go to Haiti to work at a medical clinic. BRENNAN: Booth is going to think that this is his fault. ANGELA: He knew her? BRENNAN: The k*ller has done before. Booth couldn't get the evidence he needed. The guy promised Booth he never would. ANGELA: Where is Booth anyway? Thought he wasn't going to let you out of his sight. BRENNAN: Gave him the positive ID on Cugini. He's calling it in to Kenton. ANGELA: So how do you like David? It's not often you can interrogate a guy on a first date. BRENNAN: I like him. Booth still doesn't approve but I told him to mind his own business. ANGELA: Hey, Booth is a big strong hot guy who wants to save your life. I mean you actually have a knight in shining FBI standard issued body armor, so cut him some slack. BOOTH: Kenton heard the Romano's were pissed that they were reopening the I investigation. They get pissed, they sh**t. ZACK: [At the doorway] I cleaned the bones Dr. Brennan. You could eat off them. BOOTH: Is this her? BRENNAN: Yeah. [Cut to Brennan examining the cleaned bones on an exam table] BRENNAN: Nice work Zack. You can see some of the markings left on the bone where the b*llet passed through. BOOTH: I can? BRENNAN: [Referring to an enlargement on the computer screen} Yes. Here and here on the outer compact brow. Do you think you could use a computer to recreate the complete imprint the b*llet left? ANGELA: I don't know if I have enough here to work with. BOOTH: What are you getting at? BRENNAN: Well after it's discharged every b*llet has a distinct pattern etched into it from the barrel of the g*n, right? BOOTH: Mm. Hm. BRENNAN: That same pattern would be etched into the bone as it passes through. If we can recover that pattern, we can reverse engineer the b*llet. BOOTH: Then you'd be able to tell which w*apon was used, its make, model...the whole shebang. ZACK: I've never heard of that technique. BRENNAN: It's a theory I've been working on. I thought this would be a good time to test it. BOOTH: Great. Knock yourself out. [To Zack] Alright, anything more about the girl? ZACK: The Kn*fe marks were made by a non-serrated blade consistent with a pocket Kn*fe like this one. I found additional Kn*fe marks on C-5 indicating that the throat was slashed. BOOTH: What about her eyes? ZACK: The grooving in the eye sockets doesn't match anything on the Kn*fe. BOOTH: And Hodgins is playing with dog poop so everyone's got something to do. [To Brennan] Let's go. BRENNAN: What? BOOTH: Kenton is putting together everything he's got on Cugini's disappearance. BRENNAN: I'm probably more valuable here. BOOTH: No, you're definitely more valuable alive. Alright? I'm not leaving you alone. Come on. ZACK: If it's so dangerous here why are you leaving us? BOOTH: [Punches Zack in the arm] Big strong guy like you, huh? You'll be able to take care of yourself. ZACK: [Grimaces] Ahhh. [Cut to Booth's office. He and Brennan are talking with Kenton.] KENTON: I worked undercover with the Romano's for two years, never got very high in the organization. I left when I thought my cover was being blown. BOOTH: So you think someone from the Romano's did this? KENTON: It had to be, hard to tell who though. They use a lot of different guys for a job like this. This is Frank Lombardi; he's been seen in the area, suspected of k*lling more then twenty-five people, sh**ting mostly. Although he likes the occasional garroting. BOOTH: So you think they tried to do away with the good doctor here. KENTON: Well they are trying to look more legit. They don't want any ancient history resurfacing, bad for business. BRENNAN: You don't know it's them. KENTON: I still have my sources. They tell me the Romano's know you're working this case and they know you're the best. I recommend you walk away. BRENNAN: [To Booth] Is that why you brought me here, to scare me into giving up? BOOTH: I want you to get real, alright? These people you are dealing with. BRENNAN: We don't know who we are dealing with. It could be them. It could be Hollings. KENTON: No, no, no. Serial K*llers, they follow a pattern. They don't bind and t*rture and then start picking people off with a high powered r*fle. BRENNAN: You said Hollings promised no one would ever find enough to get him. Maybe he knows that I can. KENTON: Either way, too dangerous. BOOTH: You almost caught a b*llet in the skull. BRENNAN: I can give you answers, Booth. I can help you get Hollings. You really want me to walk away because it's dangerous? KENTON: Sorry man, I tried. BRENNAN: Any word back from ballistics on the b*ll*ts that were meant for me? KENTON: Yeah it was a military issue, Colt AR 15. [Brennan cell phone rings and she turns in her chair and answers it.] BRENNAN: Brennan. [Hodgins is in the lab looking through a microscope while Zack is looking on. They talk on speaker phone to Brennan.] HODGINS: Fasciola hepatica, it's a parasite found in beef liver. I found their eggs in the dog excrement. The dogs were strays that were starving so someone must have lured them to the scene with liver scraps because there was no evidence of any liver found at the scene. BRENNAN: So if we find any traces of liver parasite we can tie them to the dogs. HODGINS: It's possible. ZACK: I also found that the cut marks on her bones showed that the pocket Kn*fe had a knick in the blade. BRENNAN: Okay, thanks. [Cut to Hollings apartment. Booth knocks at the door and Hollings answers] HOLLINGS: Agent Booth, long time no see. BOOTH: Hollings, I was wondering if we could take a look around your place. HOLLINGS: Do you have a warrant? BOOTH: No, but you enjoy being cooperative if I remember. HOLLINGS: Come in, please. You must be, uh, Dr. Brennan. I read about the incident the other night. You must have had quite a fright. BOOTH: Don't play with her Hollings. HOLLINGS: Oh, I hope you don't think I was being insensitive. Maybe you could tell me what you are looking for and I could help? BOOTH: We just want to look around that's all. HOLLINGS: Be my guest. [Brennan and Booth walk farther into the apartment. She notices a Swiss army Kn*fe sitting in a metal bowl on the coffee table and picks it up.] BRENNAN: Can I open this? HOLLINGS: Of course. [She opens it up and inspects the blade while Booth steps into another room off to the side.] HOLLINGS: Is this about the girl they found the other night? Terrible thing. I hope you don't think I'm involved in this one too, do you Agent Booth? BRENNAN: [To Booth] Blades are clean, no nicks. HOLLINGS: I guarantee that whatever you are looking for you're not going to find here. [Brennan goes into the room Booth is in. It has several glass jars on shelves and table full of keys.] BRENNAN: What we need might be locked up someplace. BOOTH: Wow. There are dozen of keys here. HOLLINGS: Tens of thousands. BOOTH: [Whistles] Maybe we'll just take them down to the Bureau and look through them. HOLLINGS: That's a private collection. I'm afraid without cause or a warrant... BOOTH: [Picking up a key with the tip of his pen] Oh, you see I do have cause. You see this key here is from a federal building it says do not duplicate and the other one looks like it was used in a burglary just around the corner and oh since you did allow us into your home. HOLLINGS: This is very rude, Agent Booth. I opened my home to you and this is how... BRENNAN: Before anything is removed we should photograph everything. How he's arranged the items in the room could be very important. HOLLINGS: [Sighs] If you would excuse me I would like to call my attorney. BOOTH: Games not so fun now is it, Hollings? [Cut to interrogation room with Hollings and his attorney sitting across the table from Booth. Brennan is watching on from the other room through the double mirror.] ATTORNEY: I have a court date tomorrow morning at ten you had no right to confiscate his collection. BOOTH: Well there were burglaries in the area. Those keys, they could give us some answers. ATTORNEY: My client can't be tied to any of those burglaries. BOOTH: You're probably right but you see I have a job to do and Mr. Hollings here has always been so understanding of that in the past. HOLLINGS: Oh I do understand. I've given you a statement, explained where I got the keys... ATTORNEY: And since you haven't charged him with anything... BOOTH: Yet, but I'm really looking forward to charging him with this. [Whistles] Look at that, hmm. [Booth pulls out photos of the crime scene] HOLLINGS: I imagine it must be very frustrating when you uh, when you can't solve a crime. ATTORNEY: My client is a respected researcher with Whitney Chemical. He hasn't missed a day of work in the past two weeks unless you have evidence to hold him... BOOTH: Can't stop looking at it, can you Hollings? Hmmm? What does it do to you? Does it make you hot? KENTON: [Entering the room with a box] Is that the psycho? BRENNAN: He's brilliant. He knew we were looking for a pocket Kn*fe so he left one in plain site, the wrong one. KENTON: If you don't find anything concrete, he walks again, right? BRENNAN: I don't know if Booth could live with that. Those keys have to lead somewhere. KENTON: [Handing Brennan a file] I have all the files we have on all the suspects. People we knew who worked for the Romano's six years ago, you've got physical descriptions, blood types, everything we had. It might come in handy if you find anymore evidence on the body. BRENNAN: Thanks. After we recreate the b*llet we can track the angle of entry based on height and... KENTON: I don't get it. You don't have the physical round that was sh*t. BRENNAN: I'm trying to make one based on the wounds. It could give us the m*rder w*apon. KENTON: Sweet. BRENNAN: If it works. KENTON: Well you let me know if there's anything else I can do for you. BRENNAN: Sure. [Kenton leaves and Brennan goes back to watching the interview.] BOOTH: I can and I will. ATTORNEY: You're fishing. No judge is going to let you keep that collection, Agent Booth. You have to know that. We'll have it back by tomorrow. HOLLINGS: Nice try. [Cut to Medico Legal Lab on the balcony, Booth is walking with Dr. Goodman.] BOOTH: I got the keys on pretty shaky ground. The judge is going to release them in less then eighteen hours unless we can find something tangible so Brennan thought maybe you could help. DR. GOODMAN: I don't see how I'm an Archeologist. BOOTH: [Handing Goodman a photo] She thought maybe you could look at it as though some kind of historical site. DR. GOODMAN: Uh, I suppose that's a reasonable assumption. A person's environment is a reflection of who he is. BOOTH: He's a predator, very smart, enjoys the game, you know feels like he's untouchable. DR. GOODMAN: The room is centered around this chair. You can see how he surrounds the back and sides by the bulk of keys. If this were an innocent collection it would be facing it. This configuration, he's displaying it. BOOTH: Well a guy like this, you know his kills are prizes. The bureau is searching through these keys know to see if they can match one to a storage locker or another apartment but there's just too many of them. DR. GOODMAN: Mayan rulers kept souvenirs of their kills. They called the display a tzompantli. It was believed it showed their strength and power and would strike fear into anyone who saw it. BOOTH: He's a loner. DR. GOODMAN: Yes but his gave him enough power and security that he let you into his home. He's right handed, correct? BOOTH: Yeah, right. DR. GOODMAN: Well the bulk of the keys are on his right side. Those of the greatest value to him would be in reach. They hold his power. I would look at any of the keys in the containers on his right side over here. [Cut to Brennan and Zack looking over the skeleton of the woman.] ZACK: I thought it could be a saw blade of some kind. I compared the damage with these. [Referring to various blades] But the crenulations form a regular pattern. They don't match what we see in the orbital cavities. BRENNAN: And what if she were struggling? ZACK: Lack of hemorrhage in the surrounding eye tissue suggests she was already d*ad before the eyes were removed. BRENNAN: We need to look for something smaller, maybe a surgical instrument. HODGINS: [Joining the group] The concrete used to sink Cugini is composed of class F fly ash instead of Portland cement which is very exciting. ZACK: Not yet. HODGINS: Each concrete company has its own unique mixture, certain building codes have to be met. But after that it's up to each company. [Hands Brennan a file] These people were cutting corners by using fly ash which is much cheaper. Tapford Construction, six years ago it was owned by Carlo Romano. [Cut to interrogation room where Carlo Romano is waiting patiently to be questioned. Booth, Brennan, and Kenton are in the adjoining room looking at him through the two way mirror.] BRENNAN: Romano doesn't seem very worried. BOOTH: That's hubris. BRENNAN: Good word. BOOTH: Thank you. He won't seem so smug after we've talked to him. KENTON: I'm running the names of everyone of his employees from his construction company six years ago, pulling sales invoices. It's going to be a lot of stuff to sort through. BRENNAN: Hodgins is going to try to see if there's any skin or fingernail in the concrete to pull DNA from. It's another remote possibility. [Booths phone rings and he picks it up.] BOOTH: Booth. Yeah. [Sighs angrily and hangs up] Judge order a release of Hollings possessions, there's no grounds to hold him. BRENNAN: How many keys have they made it through? BOOTH: Well the lab had to match key types, serial number, you know cross reference those to the locks, compare the crenulations. BRENNAN: The crenulations. BOOTH: We haven't even been through the first five hundred, Brennan. So I don't think... BRENNAN: There is no lock. Those keys don't open anything. BOOTH: What are you talking about? BRENNAN: The crenulations, the grooves, carved into the bone around the victims eyes, they were irregular like ....like the grooves of a key. [she holds up her key ring.] BOOTH: Brennan, how many keys do you need? BRENNAN: Car, house, lab, morgue, I need a lot of keys. KENTON: [Clearing throat] Grooves? BRENNAN: He must have used a key to gouge out the eyes and he kept it near him in his apartment. That was his souvenir. How much longer can you keep the keys you confiscated? BOOTH: He's on his way to reclaim them right now. BRENNAN: So you have at least a half an hour maybe more? BOOTH: At least. BRENNAN: Ok so tell forensics to forget about matching them to any locks. Have them image each key and send those to Zack so he can find a key that matches the grooves on the bone. That shouldn't take long. BOOTH: Image keys, send them to Zack. Right. KENTON: She's good, huh? BOOTH: Told ya. [Cut to Brennan's apartment. Brennan walks in with Booth behind her.] BRENNAN: Romano didn't give us anything so I should probably be back at the lab. BOOTH: No you're squints can handle it. You haven't slept in over a day, Alright? You need to get some rest. I'll sleep on the couch. BRENNAN: You think you're staying here with me? BOOTH: Yeah. Nice place by the way Brennan. BRENNAN: No, I'm locked in here, Booth. I'll be fine. BOOTH: Okay look I want you to stay away from your windows too, okay? A sn*per has a clear sh*t from any of these surrounding buildings. BRENNAN: I could have just stayed at the lab. The security is tight there. BOOTH: Then you would have worked. You would have gotten tired and you would have been more vulnerable when you did go out. Trust me this is the best, alright? So, where's the TV? BRENNAN: I had one but it broke. I'm...I mostly just read and listen to music. BOOTH: [Smiling] So let's listen to some music. Huh? [Booth walks over to her stereo and begins to look through the CD holders for something to listen to.] BOOTH: Music, what do we got, Bones? Wow! World music. Oh, there's a shock. [Picking up a CD] Tibetan throat singers. Rock on, Brennan. BRENNAN: That's mostly for work so... [Booth moves over to the other CD holder and starts browsing through it.] BOOTH: Kanye West, Cat Power...Oh, oh. Look at this! Man, lots of jazz. Wow! I think all that free-form stuff would be a little bit too unpredictable for you. BRENNAN: No, I love it. The artist has to live within a set tonal structure and trust his own instincts to find his way out of an infinite maze of musical possibilities and the great ones do. [Booth smiles at her] What? BOOTH: Oh nothing, I just...I just never expected that you would, you know. BRENNAN: That I would love music? Well I don't usually get to talk about it but since you brought it up I thought... BOOTH: No, hey. I didn't mean to make you feel self conscious or....[sees a CD lying in front of her stereo] Whoa, what's this? Ha. BRENNAN: What is it? BOOTH: Nice. BRENNAN: Booth. [He plays the CD and it's the song Hot Blooded by Foreigner.] BRENNAN: Uh, how did that get there? BOOTH: Oh please everybody loves Foreigner. [Booth starts to bob his head to the music.] BOOTH: Hot Blooded? Talk about a guilty pleasure. Check it baby. [Booth starts to sing and play air guitar to the music. Brennan stares at him for a minute then smiles. She starts to join him by singing and pretending to play guitar too. After a few minutes Brennan's phone rings and she runs to pick it up. Booth doesn't turn down the music. He just keeps dancing and singing.] BRENNAN: Brennan. David, Hi. I'm fine thanks. Booth, yeah. I'm still under lock down until we solve these crimes. Yes, Foreigner. Okay I'll. Okay sure. I'll talk to you tomorrow. Okay, thanks for calling. Bye. [Brennan hangs up the phone and walks over to Booth. He stops dancing and looks at her for a moment.] BOOTH: Wait, I hope he didn't think. BRENNAN: No. BOOTH: No cause I ...I wouldn't want to uh, you know ruin things for you, or ruin anything. BRENNAN: Not a problem. BOOTH: Hey, you got a soda, juice? BRENNAN: Yeah in my fridge. I'll get it. BOOTH: No, no, no. You know what? I'm... I'm not your guest. You don't have to wait on me. I'll get it. Wait, do you want anything? BRENNAN: That's okay. BRENNAN: Oh, there are uh glasses in the cupboard to the right of the fridge. [Booth grabs the refrigerator with his left hand while reaching over with his right to open the cupboard. As he opens the refrigerator door, there's an expl*si*n which blows Booth backward. He lands on his back unconscious with the refrigerator door covering his lower half. Brennan turns shocked but breaks in to motion right away running to him grabbing a blanket off her couch. When she reaches him, she attempts to put out some small flame and tries to remove the refrigerator door. Cut to Booth sitting up in a hospital bed covered with bruises, his arm in a sling, and a brace supporting his collar bone. Brennan is sitting in a chair next to the bed reading through his medical file] BOOTH: Kenton is on his way over. You have to promise me that you are going to stay with him. BRENNAN: I will. BOOTH: Did they gather all the evidence from the expl*si*n? BRENNAN: Yes. BRENNAN: You're sure? BRENNAN: Yes. Booth, I was there. They were very thorough and I was very annoying. BRENNAN: Sorry, Booth. It's should be me lying in that bed. BOOTH: I'm fine. You know, I...I don't even know if...if I have to stay here. You know? BRENNAN: You got blown up. BOOTH: I've been worse. BRENNAN: You have burns, lacerations, two broken ribs, green stick fracture of the clavicle... BOOTH: Okay, I got blown up. BOOTH: Can you...Can you hand me one of the puddings? [Brennan stands up and grabs one, opens it, then hands it to him.] BOOTH: Oh man. Thanks, Brennan. Look at that. BRENNAN: You know on your x-rays, there's a history of multiple fractures on your feet consistent with beating. It's a common method of t*rture in the Middle East, beating the soles of the feet with pipes or hoses. BOOTH: Yeah I know. BRENNAN: And there are indications of injuries sustained while you were shielding someone. BOOTH: How the hell can you tell something like that? BRENNAN: The scaring shows that the rib cage spread in such a way that... BOOTH: Yeah, okay. A buddy of mine, he lost his w*apon and I uh, I tried. He didn't make it. You know you shouldn't be looking at my x-rays. BRENNAN: Sorry. KENTON: [Standing at the door] Hey. BOOTH: Yeah. KENTON: You look like crap. BOOTH: Yeah well a little bit more of this pudding and I'll be just fine, you know. Stick with her. KENTON: Yeah if you want me to. BRENNAN: Don't you think I should be consulted. BOOTH: [To Brennan] No. [To Kenton] Keep her close. KENTON: Don't worry. [Cut to the Medico Legal Lab. Brennan, Angela, and Zack are looking at a computer screen with Kenton standing behind them.] ZACK: It could have been you. BRENNAN: Yes, Zack. I know ZACK: The only reason he survived is that he was reaching for the glass. BRENNAN: I know. Can we change the subject? ANGELA: Let's talk revenge, bloodlust. BRENNAN: The cathartic release we are looking for can only be achieved when we successfully gather enough evidence to neutralize the person or persons responsible for putting Booth in that hospital. ZACK: Neutralize can mean either k*ll or arrest. BRENNAN: Yes, it can mean either. KENTON: I don't get it. What exactly are you doing? ANGELA: I'm using a digital enhancement program to fill in the missing markings made by the b*llet when it passed through the bone. Impressed? I have so many more tricks. There's no ring, Single or Gay? KENTON: Gay? Why would you say gay? ANGELA: Brokeback baby, gotta ask. KENTON: Not gay. BRENNAN: Angela. ANGELA: We'll talk later. KENTON: So you match a digital replica of the b*llet with any recovered b*ll*ts the FBI has? BRENNAN: Yes so we can cross reference crime, suspects, w*apon. KENTON: Amazing. HODGINS: [Joining the rest] I just finished working with Forensics at the FBI, analyzing the chemical compositional of the expl*sives. The isotopes and the sulfur are like a fingerprint. It is a perfect match to the sulfur manufactured by the chemical company Hollings works for. [Cut to Hollings apartment] AGENT: FBI! Go, go! Show yourself! Clear! KENTON: He took off. BRENNAN: [Finding a map in a drawer[ He marked the same part of town we found the other victim. KENTON: He's going after someone else. [To Swat Team.] I want all this bagged. AGENT: Right, let's go. BRENNAN: [Phone rings] Brennan. ZACK: We found the key. FBI said Hollings never returned to claim them. It matches the bone damage exactly. BRENNAN: And it's definitely one of Hollings keys? ZACK: Yes, Hodgins tried to retrieve DNA from it but he says it was dipped in some kind of chemical bath to remove anything organic. BRENNAN: Good work. ZACK: Maybe you should come in now, Dr. Brennan. BRENNAN: I'll be fine, Zack. Any luck with the b*llet? KENTON: [Walking up behind Brennan] Do you want to go back to the lab until we get any other news? It will be safer there. BRENNAN: [To Zack] Actually Zack, I'll see you in a few minutes. [Cut to Booth's hospital room] HODGINS: Hey. BOOTH: [Confused] Why are you here? [Panicking] Is Brennan alright? HODGINS: Sure, yeah no. She's with your compadre. I came by to see how you are. BOOTH: Oh. HODGINS: [Beelining for the pudding] Pudding, I still remember this stuff from when I got my appendix out. BOOTH: [Booth slaps his spoon on top of the container] Yeah and that's as good as you remember. The key fit? HODGINS: Yeah and they found a map of the neighborhood where the other body was found and some more keys. BOOTH: Found a map? No we didn't...we didn't catch that before? HODGINS: No, I guess not or maybe your k*ller is getting sloppy. BOOTH: That's not like him. HODGINS: Well it wasn't like him to use expl*sives either. People change. It's the wonderful thing about life. Now we can get him before he gets Brennan. [Snatches a pudding] Can I have this one? HODGINS: You okay? BOOTH: Huh? Yeah, yeah. I'm just thinking people don't really change. We like to believe they do but they don't. HODGINS: You're thinking that it's the mob guys we're after. BOOTH: I'm just thinking that things, they don't make sense. HODGINS: You're feeling something a little more devious more like a frame up. Oh I like it, very conspiratorial. BOOTH: Things are just too neat. You know Hollings would never leave a map there. HODGINS: Go with me on this. Mob guys know you're closing in and want to throw you off by making it look like the psycho, and these guys have been involved in conspiracies a lot more complicated then this. They set up Lee Harvey Oswald, worked with the CIA to k*ll Castro. Forget about what they did to Marilyn Monroe. BOOTH: Someone planted that evidence so that we'd find it. Someone who knew what we were up to. HODGINS: Someone at the lab works for the mob. I can see it. There's not much difference between a corrupt corporate government and organized crime. BOOTH: [Throws the spoon down on the table] You're right. HODGINS: Excuse me? BOOTH: The only way that this could unfold [Takes off the blood pressure cuff] is if someone on the inside was orchestrating things. HODGINS: People never tell me I'm right. They only say I'm crazy. Love you, man. [Booth starts to sit up to get out of bed.] HODGINS: What the hell are you doing? BOOTH: You're driving. HODGINS: Cool. [Cut to Kenton and Brennan driving in Kenton SUV] KENTON: [On cell phone] Yeah? Okay, make sure there is backup. [To Brennan] They spotted someone taking a woman into those old abandoned buildings off Hunter Boulevard. I'll drop you off at the lab. BRENNAN: No, I'm coming. KENTON: Booth said it was pointless to argue. BRENNAN: He is a smart man, Booth. I'll just call Zack.[gets her cell phone] I think I know how to complete the b*llet. [dials] Even if we only have one side if we can approximate the spin as it was fired [brings phone up to her ear.] KENTON: [Leveling a g*n on Brennan and knocking the phone from her hand] You really are the best. It's too bad... [Cut to Booth and Hodgins in Hodgins Mini Cooper] BOOTH: [Waiting on the phone] Work with the FBI and they put you on hold when you want get information. Kenton was working organized crime at the same time that Cugini was k*lled. Alright, he was the only one who knew the details of both Investigations so he takes what he knows about Hollings to throw suspicions off himself. HODGINS: [Grimacing as Booth groans when they h*t a pot hole] Maybe that nurse was right to be pissed that you were leaving. You don't seem good, Booth. BOOTH: You know if we weren't in a toy car... [To the phone] Yeah. Listen to me Bobby. Just get some units out there now, okay? I want to know about any activity in the abandoned buildings on that map. HODGINS: Brennan is not picking up her cell. BOOTH: Kenton, he never called for backup or surveillance or anything. Geez, how can I be so stupid? Everything pointed to him. HODGINS: Hey, it is not your fault. BOOTH: How could it not be my fault? It was my job to protect her instead I hand her over to him. [Cut to abandoned warehouse. Kenton pushes Brennan in at g*n point] KENTON: There are certain crimes you just got to let slide. A death like Cugini's, it's an internal issue, doesn't affect anyone else. BRENNAN: You k*lled Cugini? KENTON: You don't get rich working for the FBI. When I was undercover the Romano's were very good to me. When you accept their generosity; you have no choice but to do what they ask. BRENNAN: Is that how you live with yourself if you take choice out of the equation. KENTON: It's no different then Booth taking out someone from the other side when he was a sn*per in the Gulf. BRENNAN: That was a w*r. His actions saved lives. [Entering a room, Brennan sees dogs on metal chains along the walls] KENTON: You don't think getting rid of Cugini ended a street w*r? BRENNAN: So my death will be justified now? KENTON: The Bureau keeps a shell from every w*apon it issues. You match that slug it points to my w*apon and I go down and the Romano's make sure I don't talk. BRENNAN: Well at least then I'm dying for a good reason. [Brennan elbows Kenton in the stomach causing him to move back. She follows it up with a kick to his hand knocking his g*n to the floor. As he comes towards her, she kicks him backwards knocking him to the floor. She tries to run however, he gets up quickly and grabs her from behind. She ducks and swings out of his grip, then kicks him again. She then head butts him, knocking him over top of an old table. Seeing the g*n on the floor, Brennan does a shoulder roll, grabbing the g*n as she rolls over it. Kenton is behind her as she gets up and he wrestles the g*n out of her hands forcing her to the ground. As she kicks him in the knee, he falls again and she wraps her legs throwing him flat on the ground. When he attempts to get back up, she kicks him again then wraps her legs around his neck to choke him. Kenton reaches for the g*n and p*stol whips Brennan, knocking her out cold. Cut to Booth and Hodgins still in the car] HODGINS: You know maybe you're wrong. I mean Hollings is missing, right? BOOTH: Convenient huh? Kenton planned the lead so that we would find her and go after Hollings who we would never find. HODGINS: Because he is d*ad? BOOTH: Because he's d*ad. HODGINS: This conspiracy thing is a lot more intense when you're in the middle of it. BOOTH: [Phone rings] Yeah? Yeah, okay. [To Hodgins] Look an Agent talked to a witness who saw a couple go into a building off of North 23rd. HODGINS: Oh. A building. Oh yeah that's really specific. BOOTH: Well crack heads aren't that detailed oriented. Step on it. [Cut to Kenton and Brennan. Kenton has Brennan bound and gagged with her hands held up by a hook in the middle of thee room] KENTON: They're not going to find Hollings. Uh uh. You know he used to slit their throat like they were cattle. He told me he used the key to unlock the soul behind their eyes. That's one sick bastard the world ain't going to miss. [Cut to Booth and Hodgins outside warehouse. An agent walks up to Booth] AGENT: We used thermal imagery to see what activity there was inside the buildings, found a crack house, a couple of squatters, was about to move in here next. BOOTH: No, no, no. He hears noise; you know he could freak out and k*ll her. We got to be careful. AGENT: There's no we, Booth. BOOTH: Yeah, I'm going in with you. AGENT: You can barely stand. BOOTH: [Not Joking] I said I'm going with you. Give me my g*n. AGENT: [Hands Booth a g*n and yells to another Agent] Bring me that vest for Booth. AGENT: [Passing the vest to Booth] Wear this. BOOTH: Yep. Alright, you know what? [Throws it to Hodgins.] You can come too. Alright, put that on and you stay back. HODGINS: I can do that. [Cut to Kenton and Brennan] KENTON: [As he prepares the Kn*fe] I'm sorry. I really am. [Cut to Booth and Hodgins. They break open a chain fence doorway and enter in further to the warehouse] HODGINS: [When Booth groans] Maybe you shouldn't have had all that pudding. [Cut to: Kenton and Brennan.] KENTON: [Pulls out his g*n to h*t Brennan and knock her out] I'm not like him at all. The things I have to do to you, you'll be gone first. You'll never know a thing. I never expected anyone to find out. [Booth enters and takes a sh*t, hitting Kenton] BOOTH: [Hurrying to Brennan and pulling off the gag] Alright. Okay, Alright. Hold on. [Ducking his head under the hook between her arms, he lifts her off the hook and they both fall to their knees holding onto one another] Oh, it's okay. I'm right here. It's all over. Okay. Shh. I'm right here, alright. It's all over. Shh...alright. BRENNAN: [With her arms still around his neck, she moves back a bit to look at him] How d id you get out of the hospital? BOOTH: [Wincing] Hodgins gave me a ride. Maybe...maybe you could give me a ride back though, huh? [Brennan grabs him and hugs him tightly again] [Cut to Booth's hospital room.] BOOTH: Kenton is telling us everything. I mean I guess he figures there's nothing to hide. He's finished anyway. BRENNAN: Better late then never, huh? BOOTH: Yeah, I guess. You know, I let you down, Brennan. I'm sorry. BRENNAN: You saved my life. BOOTH: Yeah but you know, I shouldn't ...it shouldn't have gone down like that. BRENNAN: What a pair. BRENNAN: [Phone rings] Brennan. Um, I'm leaving right now. [To Booth] David. We're finally having our dinner. BOOTH: [Smiling] Well I figured you didn't dress up for me. BRENNAN: You sure you don't want anything? BOOTH: Nah, I'll be fine. I'm just going to you know, flip around the TV here. BRENNAN: Okay I'll see you tomorrow. BOOTH: Yeah, have a good night. BRENNAN: Thanks. [Booth flips through stations and stop on The Grape of Wrath. He looks down thinking and when he looks back up, Brennan is standing at the foot of his bed] BRENNAN: I rescheduled. My...my head still hurts. BOOTH: Well you can watch TV if you'd like. BRENNAN: Sure. [Sitting back in the chair next to his bed, Brennan leans in toward Booth] BOOTH: Bones, arm. [Brennan sits back up] Thanks. End.

{"type": "series", "show": "Bones", "episode": "01x15 - Two Bodies in the Lab"}

foreverdreaming

"Woman in the Tunnel" Episode 1x16 Written By: Greg Ball, Steve Blackman Directed by: Joe Napolitano Transcribed by: killmotion Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. ACT ONE (Open: Booth and Brennan are walking through a sewer system with various and usual law enforcement personell, etc. at the scene of a crime.) BRENNAN: Where are we? BOOTH: Apparently, this was an access shaft to an underwater aqueduct which has never been activated. BRENNAN: No, no, I mean where are we geographically? BOOTH: Oh, somewhere beneath Wisconsin and Massachusetts Avenue near the National Cathedral. ZACK: How far down? We seem very far down. BOOTH: Oh, about 60 feet so far. ZACK: Is there any other way? BOOTH: It's a giant maze down here, but this was the fastest way to get to the body. BRENNAN: I've done plenty of climbing. These lines have low tolerances that are more than adequate. ZACK: What about shock tolerance? The rope jerks, pounds-feet of kinetic energy increases and snap- we fall to our deaths. BOOTH: Oh... Okay. I say we just stop the chatter. (Cut to: A badly decayed body covered in rats, feeding on the rotting flesh.) COP: Two city workers found it. DC public works are under federal jurisdiction, so this is your party. BOOTH: Oh... Any idea what's at the top of that shaft? COP: Utility tunnel for accessing steam pipes. BRENNAN: May I borrow your g*n? BOOTH: Why do you want my g*n? BRENNAN: I'm not going to sh**t anyone. I promise. BOOTH: It's not a hammer or anything. BRENNAN: We've been working together for months, Booth. A little trust would be nice. BOOTH: Careful. BRENNAN: Here. Hold this. (sh**t the g*n a few times at the rats, then hands it back to Booth.) BRENNAN: Now they'll eat each other and leave our remains alone. BOOTH: You know, you do know I have to file a report with the review board each time I discharges a round from my w*apon. BRENNAN: Pictures, Zack. The rats scattered the remains, so give me a five-meter radius. The velocity of the fall shattered her body on impact. Tibia's and fibula's broken below the knees, vertebrae compressed and shattered... BOOTH: Her? BRENNAN: Yeah. I just hope that she was d*ad before the rats got to her. BOOTH: Oh, God. Any idea how long she's been down here? BRENNAN: We should have some answers when Hodgins analyzes the bugs, but rats can strip a body in days. BOOTH: Shirt, pants, but no jacket or shoes. No way rats can carry that off. BRENNAN: Excuse me! Sir? Sir! BOOTH: Hey, what the hell? Bones! Easy! Bones, what the hell are you doing? Bones! (Catches up with her.) BOOTH: You don't just go running after guys into the dark. BRENNAN:He didn't need any light. He knew exactly where he was going. BOOTH: Yeah, that's creepy. BRENNAN: He lives down here. ACT TWO (Cut to Medico-Legal Lab with Zach, Hodgins, Brennan and Booth.) BRENNAN: Her name is Marni Hunter, 24. 1.7 meters tall, left-handed. Documentary filmmaker. BOOTH: Fiancee reported her missing ten days ago. BRENNAN: The police find the guy? BOOTH: Your mole man? No. HODGINS: I've heard of those people. They patch into electrical grids down there. Some can even tap cable. I'd set time of death at about ten days, when the Missing Persons Report was filed. BOOTH: You sure? HODGINS: See the ratio of fly larvae to Silphidae beetles? BOOTH: Yeah. Ten days. I believe you. BRENNAN: She fell approximately 40 feet and landed feet first, which explained the crushed tibias. BOOTH: That what k*lled her? BRENNAN: Not necessarily. Her skull sustained traumatic injuries that are inconsistent with a feet-first fall. ZACK: We found blood traces and bone chips on pieces of exposed pipe and rebar jutting from the side of the ventilation shaft. BOOTH: So that's what k*lled her? BRENNAN: No, not necessarily. ZACK: The fingernails are totally clean. BRENNAN: If she were falling, she would claw at the wall to slow her descent. It's an instinctual response. BOOTH: So she was d*ad before the fall. BRENNAN: No. Not necessarily. BOOTH: Bones. Please. Just tell me. BRENNAN: She may have simply been unconscious.(Cut to: Booth's office.)BOOTH: Mr. Garfield, why did you wait two days to file the Missing Persons Report on your fiancee? GARFIELD: Marni is a documentary filmmaker... or was. She was very dedicated to work. She immersed herself in each project. It's not odd for her to stay out in the field without coming home. BRENNAN: You get invested in your work, time has a way of getting away from you. GARFILED: That's what Marni... always said. BOOTH:You didn't worry about her down there? GARFIELD: She's been all over the world. Rwanda, Latin America, the Balkans, the Middle East. I was just glad to have her home. BOOTH: You two were engaged. GARFILED: And we'd finally set a date. BOOTH: I'm very sorry for your loss. BRENNAN: Was it her work that took her down into the tunnels? GARFILED: Her latest project the last couple of months is about the maze of tunnels beneath the city. That's what she'd cut together so far. (Booth hits the remote which shows footage of what Marni had recorded.) GARFIELD: I told her to be careful. You know, a lot of those guys are pretty nuts. BRENNAN: That's fascinating. A fully functional shadow society. Did you ever go down there with her? BOOTH: Who did she work with? GARFIELD: Marni worked alone. She did her own camerawork and sound. It was very raw. That's her style. She never appeared on camera in her own work. She thought the documentary should be about the subject, not the filmmaker. BRENNAN: That's true. As an anthropologist, you try to immerse yourself in a culture without distorting it with your own presence. It's another reason to work alone. BOOTH: So you found her at the bottom of an air shaft? GARFIELD: You think that one of these people... BRENNAN: Her skull has some unexplained damage. The shattering on the right... BOOTH: We're still investigating, Mr. Garfield. (The tape is still playing and Brennan notices something.) BRENNAN: Wait a minute. Wait! Freeze. That's the man I saw in the tunnel. BOOTH: Marni ever mention this particular guy to you? GARFIELD: No. The blonde woman is Helen something. She's a social worker, I think in the shelter over on 26th. (Cut to: the sewers again with Helen, Booth and Brennan.) HELEN: Marni came to the shelter. She heard I worked with what she called "the mole people. " She asked me to introduce her to them. BOOTH: Spend a lot of time down here? HELEN: Mmm. It's kind of my b*at, I guess you'd say. BRENNAN: Did you resent Marni's intrusion? HELEN: Why do you ask? BRENNAN: It's an ordered society. Marni and her cameras might have been disruptive in some way. HELEN: Well, these people are here for a reason. And in my opinion, they have a right to their privacy. I respect that. I'm not sure a documentary filmmaker does. BOOTH: She disruptive enough to make any enemies? HELEN: Perhaps. It's tough to know these people. BRENNAN: Well, isn't that what Marni was trying to do? Get to know these people? Explain them to the rest of the world? HELEN: Well, no offense, Doctor Brennan, but I find that a bit naive. Her job was to sell her films. What she was doing was exploitive. Maybe one of these people agreed with you. There's the man you're looking for. Harold Overmeyer. Marni called him "the mayor of Mole Town". I imagine she thought that was clever. BRENNAN: He's mediating a dispute. He has alpha male status. BOOTH: How did Harold respond to her? HELEN: My impression was he liked her. But again, nobody really knows these people. (They walk down the stairs towards the man Brennan saw earlier, Harold.) HELEN: I brought you some food, Harold. HAROLD: Eh... I have enough food. What do you want? BOOTH: I'd like to ask you a few questions. HAROLD: Well, I'm not required to answer any questions. I'm not required... HELEN: That's correct. Harold has rights. BOOTH: Ms. Bronson, you want to please take a step back? You're interfering with a criminal investigation. (Talks to Harold) BOOTH: Did you know Marni Hunter? You saw what happened to Marni, didn't you? HAROLD: You guys are trespassing. Go away. BOOTH: Okay, buddy, that's it. Let's go. BRENNAN: Whoa... Booth. This man is obviously someone important down here. BOOTH:Important? He lives in a cardboard box underground. BRENNAN: In this society he has status. Give him his due. Treat him with respect. BOOTH: Okay, Mr. Overmeyer. We got off on the wrong foot. I'm Special Agent Seeley Booth from the Federal Bureau of Investigation and I would appreciate it very, very much if you would grant us the advantage of your expertise as we investigate Marni Hunter's death. HAROLD: Fair enough. BOOTH: Oh. BRENNAN: Mr. Overmeyer, I saw you in the tunnel over near where we found Marni Hunter's remains. HAROLD: Checking the tunnels. BRENNAN: Checking the tunnels, or checking on Marni? HAROLD: I warned her. BRENNAN: So... you two were friends beyond being observer and observed? HAROLD: You talk like her. Are you making a documentary, too? BRENNAN: No, but there are things I need to understand. (Booth walks to observe Harold's things.) HAROLD: That's my stuff. BOOTH: Bones. Harold, is this, uh, Marni's video camera? HAROLD: You'd better go now. You can go now! BRENNAN: Booth, this clothing has blood all over it. BOOTH: Give him his due, huh? BRENNAN: I think it belonged to Marni Hunter. BOOTH: You know what? Afraid you're going to have to come with us, pal. HAROLD: What?! No! I- I can't leave! BRENNAN: Bone fragments. HAROLD: I can't leave! BRENNAN: Let's get this back to the lab. HAROLD: No! You don't understand! She would have wanted me to have that stuff. She would have wanted me to have that. (Cut to: Interrogationroom with a lawyer and Booth along wth Harold.) HAROLD: You know, I find scrap metal. That's all. That's why I go deep. LAWYER: You don't have to say anything you don't want to, Mr. Overmeyer. BOOTH: You're not here because you scavenge. You know that. HAROLD: I- It's too bright in here! Too- too bright in here! BOOTH: I know you have a distinguished military record, Harold. 10th Special Forces Group. You know, I was with the Rangers. HAROLD: What, so, you... you gonna tell me, uh, "Harold, I know what you been through. I been there, too, you know? I know how you ended up how you ended up". You telling me that? BOOTH: Yeah. I'm telling you that. HAROLD: I k*lled people. BOOTH: You saved five of your men. HAROLD: By sh**ting a pregnant woman. BOOTH: She had a grenade in her hand. HAROLD: She had a child in her arms. I sh*t her and... the grenade went off. She died right away. That kid...took awhile. He kept looking at me, but I... BOOTH: You did what a soldier had to do. HAROLD: Yeah. You know... I was a good soldier- I was a very good soldier-but a pretty bad human being. Pretty bad human being. BOOTH: What happened to Marni? HAROLD: I... I hadn't seen her in days, you know? That's why I went to go take a look. Rats were all over her, man. All over her. BOOTH:How did you end up with her things? HAROLD: Oh, you know, I was going to sell them. I mean, she would have wanted me to have those. BOOTH: So you had nothing to do with her death? HAROLD: I, um... I... I gave her something. And that's why she died. BOOTH: What did you give her? LAWYER: Mr. Overmeyer, I'm advising you not to say anything else. HAROLD: You know what? I think it's best, um...I not talk about this anymore. Not cause any more trouble. I... I got to go. BOOTH: No, Harold, you can't, all right? Not yet. You got... HAROLD: Too bright in here! I got to go! BOOTH: Harold... (Harold tries to leave, but Booth slams him chest-first onto the table.) HAROLD: I never wanted her to die. She wouldn't listen! I warned... (Cut to MEdico-Legal Lab. Music plays as the Squints woek on their tasks. Music fades as Angela walks to Brennan's office.) BRENNAN: I finished the skull. We still have some pieces missing, but we should be able to determine cause of death. ANGELA: You haven't eaten anything all day. Now, I have some k*ller yellowtail here and spicy tuna rolls. BRENNAN: Time gets away from me sometimes. WHAT What? ANGELA: The victim used to say that. You think that homeless mole-guy k*lled her? BRENNAN: Booth does. ANGELA: Well, he had her camera and her bloody clothes. Plus, he's k*lled people before. BRENNAN: As a soldier. Socially sanctioned. ANGELA: Booth has k*lled people as a law enforcer. What if, from mole-man's point of view, Marni was a criminal? BRENNAN: Marni Hunter was an observer-by definition, passive. ANGELA: Like you? BRENNAN: Yes. Exactly. Are you getting at something? ANGELA: Just that I wish you were a little more scared, Brennan. BRENNAN: I'm careful. ANGELA: Running after a m*rder in the dark is not being an observer. BRENNAN: Booth told you about that? ANGELA: More and more of your work is outside of this lab, running after bad guys. Just promise me you'll be careful. BRENNAN: Every society has its fringe dwellers, and every society fears its fringe dwellers. Usually because they are the example of what happens when you fail in that society. But they are seldom dangerous in reality. ANGELA: Brennan, I understand that this is what you do when things get too close to home You get all analytical and academic. I just want you to know that maybe Marni Hunter did the same thing. And now she's d*ad. (Cut to the Medico-Lehal Lab with Zach and Hodgins.) ZACK: We got most of the skull. There's just a piece missing about the size of a quarter. HODGINS: Why are missing pieces always the size of quarters? Why are tumors always the size of grapefruits? ZACK: Those are rhetorical questions I'm not supposed to answer, right? These are not simply random abrasions. HODGINS What are they? ZACK: Marni's skull was fractured by a midair impact during her fall. That's evidenced by the radiating fractures centered above her right temporal bone, but this damage is isolated on the left side of her skull. HODGINS: A girl can't bang both sides of her head as she falls down a shaft? ZACK: From the fracture pattern, it appears to be a sharp, pointed w*apon. HODGINS: Brennan mentioned that Harold said he had given the victim something he wished he hadn't. Could this have been it? ZACK: Fragments of Latin. HODGINS: Roman numerals. ZACK: You know who knows about that kind of stuff? HODGINS: You show it to him. ZACK: No. I am not taking possession of that piece of evidence. You show it to him. GOODMAN: Armor- a Roman cuirass. Doric columns common to Rome around the first century BC. HODGINS: Crazy mole-guy gave something to the victim he thinks could have gotten her k*lled. Of course, he's crazy. GOODMAN: This could be valuable. Let's have Ms. Montenegro X-ray it. Stress from the initial pressing should provide a clear picture of what's been worn away. HODGINS: I was hoping you'd take possession of this piece of evidence. GOODMAN: And the paperwork that goes along with it. I wasn't born yesterday, Dr. Hodgins. (Cut to: Angela's office with Angela, Hodgins, and Goodman.) HODGINS: Well, you don't really need me for this. ANGELA: Yes, I do. HODGINS: Why? ANGELA: Because I have not taken official possession of this piece of evidence. GOODMAN: Fascinating. ANGELA: 1778. GOODMAN: It appears to be an official seal of some kind. Oh, my God! ANGELA: Aren't you going to go after him? HODGINS: Nope. ANGELA: Why not? GOODMAN: Because he is now officially in charge of that medallion. (Cut to: Brennan's office with Goodman, Brennan and Booth.) BRENNAN: Treasure? GOODMAN: It's an official vault seal, manufactured by the w*r Office. It was established in 1778. The Latin sigal and thesaur tie it to the treasury. BOOTH: A bank vault kind of a vault. GOODMAN: Much better. The w*r Office established several vaults under the city to safe keep cultural treasures. BRENNAN: They must all be empty by now. GOODMAN: No, no. Several were unaccounted for after a series of cave-ins and mudslides in the early 1900s. BOOTH: So you're saying this seal came off a vault full of treasure buried beneath the city? GOODMAN: It could contain currency, gold ingots, paintings and engravings. The original draft of Lincoln's inaugural address was never recovered. This could be an extraordinary find. We have to find these artifacts before they're stolen or sold off. BOOTH What's the monetary value of this thing? GOODMAN: Priceless. You can't put a value on our cultural heritage. BOOTH: Well, I think someone did. That's why Marni's d*ad. ACT THREE (Cut to: interrogation room with Harold, Booth and Brennan.) BOOTH: Harold, was this what you gave Marni Hunter? HAROLD: Yeah. She liked it. BOOTH Where did you get it? HARLD: Beyond the perimeter. BRENNAN Harold? Harold, you have to trust us. We just want to find who k*lled Marni. And you can help. You k*lled people. Maybe this is your chance to put that right. You said you wish you hadn't given it to her. Why? BOOTH: Did you take it from someone? HAROLD: The blonde. It was hers. And I shouldn't have taken it. BRENNAN: A blonde k*lled Marni? HAROLD: Marni went too deep. That's the blonde's territory. BOOTH: Does the blonde woman have a name? HAROLD: People around me die. Marni died. BOOTH: There's always going to be casualties, Harold. The important thing is to recognize the enemy, and take him out so more people don't get hurt. BRENNAN: Can you take us down there, Harold? HAROLD: No. It's beyond the perimeter. I took Marni beyond the perimeter. I'm not going to make that same mistake again. Won't make that mistake again. (Cut to: Booth and Brennan in Booth's SUV.) BOOTH: The social worker. BRENNAN: Why? Because she's a blonde? BOOTH: Yeah. I mean, come...Why didn't she want Marni poking around? BRENNAN: Because she thought the documentary was exploiting the homeless. BOOTH: You buy that? BRENNAN: Well, obviously, you don't. BOOTH: You know what? You want to know what a better reason for not wanting somebody poking around is? BRENNAN: A mythical treasure? BOOTH: All right, look. You ever see Treasure of the Sierra Madre? It doesn't matter if the treasure is mythical or not. People will still k*ll if they think it exists. BRENNAN: It did exist. BOOTH: What? BRENNAN: In the movie, it's gold dust. People think it didn't exist, so it blew away, but it did exist. BOOTH But no one got it, is the point. Huh! All of a sudden, you know a movie. BRENNAN: Everybody knows that movie. (Answers her phone.) BRENNAN: Brennan. HODGINS: It's Hodgins. Your victim was in some other tunnel system before she died. BRENNAN: Facts before conclusions, please. HODGINS: Her clothing shows traces of diamond dust. That suggests a much older system of tunnels than the one in which you found her. Industrial diamonds were used in blast-hole drilling in the 19th century. BOOTH: It's near a vault. It makes sense. (Booth hangs up before saying goodbye.) HODGINS: Good job, Hodgins. What would we do without you? BRENNAN: So Marni was k*lled near a vault, and then dragged to the shaft. BOOTH: Harold will know where that vault is. BRENNAN: Okay, maybe you could try the "Hey, we're brothers in arms" thing on him. BOOTH: Okay, that, what you just said right there, Bones- that was cynical. It was glib and cynical. BRENNAN: Really? BOOTH: Yes, really. I know what that guy has been through. BRENNAN: You k*lled a pregnant woman who was holding a child? BOOTH: Look, if you really want to know what I've done, I'll tell you, but you better be ready for the truth. (She relents from asking more.) BOOTH: Good choice, Bones. HELEN: Harold is afraid of me? BOOTH: Does he have any reason to fear you? HELEN: Oh, Harold is afraid of the world. Why do you think he lives underground? BRENNAN: Because he's paying penance. BOOTH: What? BRENNAN: You catch m*rder to pay off your penance. Harold lives underground. Did you ever tell Marni that you found her documentary exploitive? HELEN: Of course I did. I'm an honest person. I told her I wouldn't help her. BOOTH: Which is when she turned to Harold as a guide. HAROLD: Yes, and those two other guys. BRENNAN: What... what two other guys? HELEN She took climbing lessons-how to use ropes- all that stuff. BRENNAN: When you told Marni that you thought she was exploitive, how did she react? HELEN: Well, she said that showing the truth couldn't possibly be exploitive. BRENNAN: I agree with her. HELEN: Truth doesn't mean the same thing to everyone, Dr. Brennan. Harold said he was afraid of me? BRENNAN: Booth Said he was afraid of a blonde. HELEN: How do you know it wasn't Charlize Theron? BRENNAN: Who's that? BOOTH: An actress. She's being sarcastic. Thank you for your help. Appreciate it. You know, you amaze me, you know? You know Treasure of the Sierra Madre but you don't know Charlize Theron. You know who you are? You're my grandmother. (Cut to ANGELA'S work area with the 3D imager.) ANGELA: Here's the recreation. Here are the wounds. ZACK: Those skull fractures are centered above the left parietal lobe. ANGELA: Okay, the lasers can measure the angle of the att*ck and the amount of damage that was done to the living bone of the skull; 3.3 millimeters indentation into the bone at the deepest point which trailed off to 0.04 millimeters. ZACK: A glancing blow. ANGELA: Yeah, she saw it coming. The angle of the att*ck was between 50 and 53 degrees. ZACK: Meaning the attacker struck from above. And from the victim's right. ANGELA: So the attacker was left-handed. ZACK: She was only struck once. ANGELA: Sometimes that's all it takes. (Cut to: a park where Brennan and Booth are walking towards two men; KYLE MONTROSE and DUKE DIALLEL. DUKE: Good job, bro. Take care. BOOTH: Kyle Montrose and Duke Diallel? DUKE: Yeah. BOOTH: We're from the FBI. We have credit card receipts showing that you gave Marni Hunter climbing lessons. KYLE: If anyone could talk the FBI into getting a refund, it's Marni. BRENNAN: She's d*ad. KYLE: What? Oh, my God. DUKE: What happened? BOOTH: She was found in a ventilation shaft beneath the city. KYLE: Did she fall? DUKE: We told her not to go down there. It's way too dangerous. KYLE: Marni's d*ad? That's... God. DUKE: We gave her some climbing lessons and rappelling, but definitely not enough for her to go spelunking on her own. BRENNAN: Did you ever go into the tunnels with her? DUKE: No, no way. The whole point of rock climbing is to head for the sky, right? BOOTH: She ever ask you to? KYLE: Yes, yes, she did. She was doing some sort of documentary and...God, she fell? BRENNAN: That's what we're investigating. BOOTH: You seem pretty shook up. KYLE: Well, yeah, somebody you know dies, that's... BOOTH: I'm sorry, sir, but I got to ask. Were you and Marni intimate? KYLE: Yeah, we-we had a thing, but we broke up. She had a fiancé and I was always very clear that I didn't want to marry anyone. But... I liked her. God, this is terrible. BOOTH: Did her fiancé know about you? KYLE: I don't know. I can't believe this. (Cut to: BOOTH's office, with BOOTH, BRENNAN, and GARFIELD.) GARFIELD: Yes, I was aware there was another guy. Marni was never sneaky. BRENNAN: Did you know who it was? GARFILED: No. She told me it was over. BOOTH: Romantic triangle- it makes for a pretty compelling motive. GARFIELD: You mean for me? I didn't k*ll Marni. BRENNAN: She was sleeping with another man. BOOTH: Why didn't you tell us that your wedding was called off? GARFIELD: Because it's humiliating. BOOTH: Make you angry? GARFIELD: Of course it made me angry and depressed, made me question my manhood, all that. What do you want from me? I didn't k*ll Marni. She always came back to me. BOOTH: But this wasn't the first time she found someone else. GARFIELD: No. (Cut to: BOOTH and BRENNAN walking down an FBI hallway, BOOTH coffee in hand.) BOOTH: Okay, Bones, the fact that she was sleeping around, that's going to make it tougher. BRENNAN: Why? BOOTH: Mythical treasure versus actual jealous men? BRENNAN: That's stupid. BOOTH: No, it's not stupid, Bones, okay? Jealousy is probably the oldest motive for m*rder in the world. BRENNAN: Any man getting involved with a woman like Marni should know that she's adventurous and independent. BOOTH: Man, that's horrible coffee. (Throws horrible coffee in garbage can, as they walk into BOOTH's office.) BOOTH: Yeah, with a cheating heart? BRENNAN: Well, if she didn't hide anything. She was direct and honest. BOOTH: Bones, I mean you do realize that you are discussing motive right now? Psychology, not hard evidence. BRENNAN: It won't happen again. (Cut to: Investigation room with HAROLD, BOOTH and BRENNAN.) BRENNAN: We really need you to show us where you got this, Harold. HAROLD: It's only safe on this side of the perimeter. BOOTH: Then just take us there. Take us to the perimeter and you point the rest of the way. HAROLD: No. BRENNAN: Harold, those people you live with, they depend on you. What about them? It's up to you to keep them safe. (Cut to: sewers with BOOTH, BRENNAN and HAROLD.) BRENNAN: You know, you don't have to live down here. There are alternatives. HAROLD: No, not for me. BRENNAN: You're hiding. You have to face your demons. HAROLD: Living here, this is the only way I can pay so I won't have to go to hell for what I've done. BRENNAN: Harold, there are programs that help people like you. HAROLD: And what are people like me? BRENNAN: ment*lly ill. BOOTH: Whoa, Bones, simmer down, all right? You might want to just, you know, sidle up to the issue a little easier. HAROLD: I like it. Someone's honest, says the truth. You don't lie, I guess. BRENNAN: No, I don't lie. Agent Booth and I would be glad to help you. HAROLD: This is as far as I go. BRENNAN: It doesn't have to be that way. BOOTH: No, Bones, he means this is the perimeter. This is as far as he agreed to take us. HAROLD: Beyond this it's not safe. BRENNAN: How much farther to where you found the medallion? HAROLD: You'll see. It's down there. BOOTH: You stay here, all right? Between one soldier to another? You got my back. HAROLD: I never left my men. (BRENNAN and BOOTH walk, proceeding down past the "perimeter".) BOOTH Hmm, cave-in. d*ad end. We came all the way down here for nothing. (Notices skeleton on the ground.) BRENNAN: Not quite. ACT FOUR (Medico-Legal lab platform with BRENNAN, ZACK, HODGINS, and GOODMAN surrounding the skeleton Brennan found.) BRENNAN: This is a very old skeleton. ZACK: Male, mid-30s. BRENNAN: There's no clothing because it simply rotted away. HODGINS: Buttons. Bone for the shirt, pewter for the pants. GOODMAN: Brass eyelets for the boots. Belt buckle also pewter. This is a half-inch button from the Union Army Corps of Engineers. ZACK: By Union Army you mean... GOODMAN: Civil w*r. BRENNAN: That plus the fact that Hodgins found diamond dust on this skeleton, too? I think Marni Hunter was k*lled in a Civil w*r era tunnel. HODGINS: These pellets are commonly known as bird sh*t. Pellet size 12, 0.73 inches in diameter, made of lead. GOODMAN: Also Civil w*r vintage. The spread pattern suggests not a g*n, but a muzzle-loaded p*stol like a LeMat. If you don't mind some conjecture. BRENNAN: You're the boss. GOODMAN: This fellow knew something of value was being stored. HODGINS: Came down with an accomplice. I apologize. I've been hanging around Booth way too much. BRENNAN: It's a valid hypothesis. No doubt one of many. ZACK: They argued. One k*lled the other for the treasure. Doesn't that mean the vault will be empty when we find it? Oh, my God, they got me, too. GOOMAN: If the vault had been looted years ago, the artifacts would have surfaced, been sold off. It must have still been down there. I'll pull all the city plans from the mid-19th century to the present. We have to save what we can. Is there any way to discover who these bastards are? BRENNAN: Zack, take a cast of Marni Hunter's skull. See if we can be specific about the m*rder w*apon. (Cut to: BRENNAN's office with ANGELA.) BRENNAN: Booth thought Harold could give you enough for a sketch of the blonde woman. ANGELA:You said he was suspicious. What if I can't get him to trust me. BRENNAN: You nervous? ANGELA: I'm not nervous. I'm scared. I don't know how to talk to crazy people unless I'm dating them. BRENNAN: I'm not sure he's actually clinically insane. ANGELA: Okay. I don't know how to talk to people who live underground and who might have tossed a documentary filmmaker down a hole. BRENNAN: Just be honest with him, Ang. Treat him with respect. You're good at that. (Cut to: ANGELA in the investigation room with HAROLD.) HAROLD: You're scared of me. ANGELA: Yes. HAROLD: Why? ANGELA: You live underground. HAROLD: Yes, I find it very bright up here. (ANGELA walks to the window and closes the blinds and sits back down.) HAROLD: How does this work? ANGELA: Um, you tell me what the blonde looks like and I draw her. HAROLD: You mean, like height, weight, hair color? ANGELA: Yeah. Yeah, but more. HAROLD: More? ANGELA: Yes, you know, how she seemed to you. You know, your, uh, your impressions. HAROLD: Her eyes are d*ad. Like she sees you and doesn't at the same time. You mean like that? ANGELA: Yeah. HAROLD: Her mouth was small. Stern. Little... (Cut to: ZACK'S section of the lab.) ZACK: The mold filled in the missing sections of the skull. BRENNAN: It shows the entry point of the injury has a very distinctive shape. Enlarge the image. ZACK: It's a "T." It's not a Kn*fe or a hammer that I've seen before. BRENNAN: Okay, make a list of possible implements using the size and force of the damage. (BOOTH opens the door with evidence in hand--a videotape.) BOOTH: Marni Hunter's fiancee found some raw footage of her documentary. (Cut to BRENNAN'S office where BOOTH BRENNAN are watching the tape.) MARNI, ON TAPE: A dark labyrinth, a warren of tunnels and fissures, forgotten coal cellars, sewer lines, storm drains, sub-basements, access shafts, easements and crawlspaces, some as old as the city itself. Why would anyone venture down here? BOOTH: Bones, I thought she worked alone. BRENNAN: Who's running the camera? MARNI, ON TAPE: ...shelter for a place to hide from the evils of the world. Others are looking for treasure. BRENNAN: Look, she might have started out to make a documentary about the homeless, but she wound up using Harold so that she could loot the treasure. BOOTH: Doesn't mean she deserves to die. MARNI, ON TAPE: And who are these treasure hunters? Not the homeless who scrounge for bits of metal. Some are Civil w*r enthusiasts. (Camera pans up to KYLE and DUKE.) KYLE: And some are remarkably handsome adventurers. I am so sorry. BRENNAN: They said they never went underground. BOOTH: This son of a bitch, he's lied to us, huh? ACT FIVE (Cut to Medico-Legal lab, with ZACK, BRENNAN, BOOTH.) ZACK: The m*rder w*apon is a kind of sharp-edged instrument with a handle, not a hatchet. BOOTH: Those climbers haven't been back to their apartment since we talked to them last. BRENNAN: I think the m*rder w*apon was a climbing ax. BOOTH: How about this: while exploring those tunnels with Marni Hunter, those climbers, they find something valuable. Marni wants to put it in her film, those climbers, they want to take it for themselves. Wham on the head, smack down the shaft. BRENNAN: Logical to think they're down there now emptying out that vault. (ANGELA enters.) ANGELA: That was a total bust. BOOTH: Harold couldn't provide you with a description? ANGELA: Yeah, he provided me with a description all right. (Holds up drawing to show an 18th century-looking woman depicted.) BOOTH: That's the blonde that Harold keeps seeing in the tunnel? ANGELA: See, this is what happens when you ask for information from the ment*lly ill. (GOODMAN enters.) GOODMAN: Where did you get that? ANGELA: I drew it. (GOODMAN talks and goes to the computer and pulls up the image that ANGELA drew.) GOODMAN: That, Ms. Montenegro, is a Raeburn. Sir Henry Raeburn painted a number of these studies, extremely rare now. Very valuable. There. ANGELA: Hmph. Damn, I'm good. GOODMAN: Miss Eleanor Urquhart painted in 1793 by Sir Henry Raeburn. Missing since 1862. Worth over $200,000. If Harold saw that underground, he's seen the inside of the vault. BOOTH Let's go. (BOOTH begins to leave.) BRENNAN: Booth. It's a labyrinth down there. You can't blunder around in the dark looking for them. GOODMAN: Maybe you won't have to. (Cut to: ANGELA'S 3d rendering station with ANGELA, BRENNAN, BOOTH and GOODMAN.) ANGELA: I entered all the modern and historical city plans, including ventilation shafts and tunnels, plus the newer schematics. GOODMAN: There's also oral accounts of tunnel construction and underground passages. BOOTH: Ooh, wow, All that exists under the city? GOODMAN: Yes. What we can corroborate. BOOTH: Good point, Bones, you know, not rushing off to find those guys. BRENNAN: How accurate is this? ANGELA: Blue is modern, near 100% accurate. Yellow is historical. GOODMAN: Estimate 80%. ANGELA: Red represents less exact renderings from stories, memoirs, accounts from city workers... GOODMAN Unfortunately, if this treasure exists, it probably exists in one of the red tunnels. BOOTH: Well, we found that Civil w*r victim near a cave-in. Maybe the treasure's on the other side? GOODMAN: Inductive, reductive or deductive? BRENNAN: Deductive. GOODMAN: As you wish. Ms. Montenegro, please remove all tunnels containing power, cable or utility lines. BRENNAN: And fiber optics. ANGLEA: Yes...also steam tunnels and transit access? BOOTH: Oh, what about diamond dust? You said that there was diamond dust in the old tunnels. There was also diamond dust on the Civil w*r guy...So... what? I'm not allowed to help now? GOODMAN: That's inductive logic. BRENNAN: We agreed on deductive. BOOTH: I'm sorry, I'm just, you know, trying to think outside your box. BRENNAN: Can you indicate where we found Marni Hunter's body and the Civil w*r victim? BOOTH: 'Cause, you know, if Marni was k*lled near the treasure and moved, and the Civil w*r guy was m*rder by his accomplice... ANGELA: Mm, gotcha. BRENNAN: Can you connect the two bodies? BOOTH: This one's the closest. GOODMAN: There's no way to get there. BOOTH: Wait, can you put some more blue lines back in that area? It's just a guess. Throwing it out there. Sue me. BRENNAN: And connect where Marni Hunter's body was found. Somewhere along that line is where the treasure is. BOOTH: What's that blue line? ANGELA: Storm sewer. H-15B. (ZACK enters.) ZACK: The w*apon was a Hanks climbing ax. (Cut to: BOOTH and BRENNAN in the sewers.) BRENNAN: This is one of the situations where I need a g*n. BOOTH: No, you don't, okay. We're going to have six highly-trained FBI Tac Team members do the dirty work. We're just going to watch. What's your 20, Tac Team Three? TAC TEAM GUY: According to this map, we're with you? BRENNAN: They aren't with us. BOOTH: I realize that, Bones. Re-orient, Tac Team Three. TAC TEAM GUY: Suggest you wait for rendezvous, Booth. BOOTH: Ten-four, Tac Team Three. BRENNAN: Okay, I bet tick-tock team is here, two levels above us. BOOTH: Don't call them tick-tock team, okay? They're Tac Team. It's short for tactical. BRENNAN: Can I just have a g*n at least until they get here? It's not for sh**ting rats. It's for psychos with climbing axes. BRENNAN:So what do we do, just wait? BOOTH: We just, uh, we reconnoiter. In. (BOOTH leads BRENNAN into another tunnel.) BOOTH: Easy. Watch yourself. Wow. What do we got here? Tac Team Three, this is Booth. What's your six? TAC TEAM GUY: Stand by, Booth. BRENNAN: They're lost. (BRENNAN notices something on the ground as they advance through the tunnel.) BOOTH: They're not lost. What's that, lucky quarter? BRENNAN: This could be the missing piece from Marni Hunter's skull. BOOTH: Okay. Think she was k*lled here? BRENNAN: That's a plausible conclusion. BOOTH Don't get all gushy on me. Tick Tock Three. TAC TEAM GUY: Did you just call us Tick Tock? BOOTH: Tac Team Three, standby. BRENNAN: Do you hear that? BOOTH: Yeah. (They hear clinking and then see an opening to a room with glorious old treasures of the past.) BRENNAN: That's the blonde woman. BOOTH This is locked. You know what, we got to get in there. BRENNAN: Are we waiting for Tick Tock Three? BOOTH They might not find us for a week. If we go after them, these guys will take off. I want to catch them in the act of stealing. BRENNAN: All right, we can go in through here. BOOTH: Bones, we go in there, you are responsible for whoever is on your left. Okay, you put your g*n on him. BRENNAN: Okay. How will I know whether or not to sh**t? BOOTH: Wondering whether or not to sh**t, you sh**t. BRENNAN: And let you do the talking. BOOTH: Yeah, well, I took that one for granted. (Cut to KYLE and DUKE looting gold bars among other various treasures.) DUKE: We should've brought bigger bags. (BOOTH and BRENNAN enter.) BOOTH: FBI. Hands in the air. BRENNAN: Yeah, hands in the air. DUKE: We're not armed. KYLE: Everybody relax. They don't sh**t people for trespassing. BOOTH: They do for m*rder. Put your hands on your head. Do it. KYLE: m*rder?! What m*rder? BOOTH: Kyle, I'm throwing you these restraints. Put them on Duke. Now. DUKE How are we supposed to climb out of here in handcuffs? BRENNAN: Would you rather go out in body bags? Put on the damn restraints. Let you do the talking. Got it. KYLE: You think we k*lled Marni? BRENNAN: She was k*lled with a climbing ax. BOOTH: Duke, sit down. Bones, give me your g*n. Take the restraints out of my belt, and put them on Kyle. That's not cocked, is it? Because where that's pointed... BRENNAN: You're safe. KYLE: Marni was k*lled with a climbing axe? BRENNAN: She knew about this treasure, she was going to put it in her documentary, would've cost you guys a fortune. So one of you k*lled her. Who's left handed? BOOTH: Bones, you know, it's best to have this sort of explanation after the bad guys are incapacitated. BRENNAN: Why? (KYLE lifts some heavy artifact and hits DUKE.) KYLE: You k*lled her for this? BOOTH: That's why. BRENNAN: Yeah, well, I'll try to remember that for next time. ACT SIX (GOODMAN, BOOTH and BRENNAN in BRENNAN's office.) GOODMAN: You single-handedly regained one of the great cultural finds of the century. A glimpse of Civil w*r life. BRENNAN: Marni Hunter wanted to document the treasure, not steal it. BOOTH:So Duke k*lled her and threw her down a bottomless pit. BRENNAN: Kyle wasn't so innocent himself. He h*t Duke in the crypt with a candlestick. BOOTH: Kyle h*t the Duke with a candlestick in the crypt. GOODMAN: That's very good. Very good. BOOTH: Right? BRENNAN: What? What's the joke? BOOTH: Wha...? BRENNAN:Clue? What clue? What clue? BOOTH: Unbelievable, Bones. ANGELA: What's funny? BRENNAN:I have no idea. ANGELA: Harold's being released. GOODMAN: You found a place for him? BRENNAN: Yes. (Music montage, as BOOTH, BRENNAN, ANGELA walk HAROLD to the sewers. The team stands with Harold at the entrance to a section of tunnels. They bid him inaudibly farewell. BOOTH gives him a flashlight. HAROLD leaves them as he enters the only world he knows and trusts while they watch then leave.) END

{"type": "series", "show": "Bones", "episode": "01x16 - The Woman in the Tunnel"}

foreverdreaming

"The Skull in the Desert" Episode 1x17 Written By: Jeff Rake Directed by: Donna Deitch Transcribed by: m Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Medico Legal Lab - Forensics Platform. Zack and Brennan examine remains, Hodgins uses his computer) ZACK: The victim was s*ab upward of 30 times. Every rib is marked. Vertebrae sternal, vertebrae costal. BRENNAN: What kind of w*apon? HODGINS (looking at pictures on his computer of Angela's vacation): Who vacations in the desert? It's like lunching at the dump. ZACK (distracted by the pictures of Angela on Hodgins's computer monitor): Uh, pointed, with no cutting edge. Like a giant ice pick. (Hodgins changes pictures on his monitor to one of Angela in a bikini) HODGINS (Grinning at the picture): Whoa. Angela. BRENNAN (Focused on the remains): Or a sharpened screwdriver. HODGINS: We warned her about the sun, right? We told her to cover up, avoid melanoma? ZACK (seeing the new picture Hodgin's has switched to: Angela kissing a man in front of a rocky hill): Who's the guy? HODGINS: Her boyfriend Kirk. ZACK: Angela has a boyfriend? BRENNAN: Every year for three weeks, Angela has a boyfriend and a vacation, HODGINS: Whoa, whoa, whoa. Playing house in a post-boho rustic artist's cabin in the desert with her overpaid pseudo-celebrity photographer boyfriend-that is not a vacation. BRENNAN (Bent over the remains): Eight months to a year d*ad, correct? HODGINS (Distracted): Yeah, yeah. Pupae casings, maggots, blah, blah, blah. Eight months of a year. (Hodgins opens a videoconference with Angela on his computer) HODGINS: Angela, we're betting. Are you using Crisco or butter for sunscreen? ANGELA (Looking troubled): Hey, Brennan, could I talk to you in private, please? (Cut to: Brennan's office. Brennan is on the telephone with Angela. The scene will shift between Brennan's office and Angela's desert retreat.) ANGELA: You're gonna think I'm crazy. BRENNAN: What's up? Boyfriend trouble? ANGLEA: No, I, I'd just send it to you, but the sheriff won't let me. BRENNAN: Send what? ANGELA: Somebody left a human skull in a box on the sheriff's porch. He says it was probably a Navajo who respects the d*ad, but doesn't want to get pulled into the whole white justice system. The thing is is that Kirk went out into the desert five days ago on a photo sh**t, and he hasn't come back. Nobody can find him or his guide. BRENNAN: You think the skull's Kirk's? ANGELA: No, no. Kirk's always going out into the desert for days at a time. BRENNAN: You're really sending me mixed messages, Ange. ANGELA: Yeah, well, I'm freaking out, I guess. I'm sorry. Look, I'm sorry. I shouldn't have called. Pretend I didn't call. I'll just, I'll talk to you when Kirk gets back. Sorry. (Angela hangs up. Brennan looks dumbfounded.) (Cut to: Medico Legal Lab. Brennan and Dr. Goodman are walking and meet Zack and Hodgins, leaving the forensics platform. Brennan heads for the exit with a packed bag.) GOODMAN: You're taking a vacation in the desert with no notice? HODGINS: I don't get the attraction. I really don't. Snakes, scorpions- BRENNAN (Over Hodgins): It should only be for a few days. HODGINS: Buzzards and snakes. GOODMAN: What about the s*ab victim? BRENNAN: Zack identified the w*apon and the victim. Our job is done. (Brennan passes through the sliding glass doors, leaving the three men in her wake.) (Cut to: A desert road - in Angela's jeep.) ANGELA: I mean, it's not like I actually think that the skull is Kirk's. But, I mean, if you could just look at it and just tell me it isn't, then I could stop worrying about him being d*ad and just be mad at him for being a flaky artist. (Brennan turns on the radio and is greeted with static.) ANGELA: You won't get anything out here. We're about a hundred miles past where Jesus lost his sandals. BRENNAN: I assume that's a way of saying we're extremely isolated? ANGELA: Yeah. That's why we come out here every year. It's like you stand still, and the whole universe just comes at you. BRENNAN: At 110 degrees. ANGELA: You know, Kirk was out with a good guide. Our friend Dahni. I mean, he said he'd be back. He said we'd go out for nachos and beer. And this is a man who's serious about his beer. (Cut to: The Sheriff's Office. Sheriff Ben Dawes is reluctant to include Brennan in the investigation) SHERIFF DAWES (on the telephone): I got the Navajo police looking between Dano Ona Canyon and the Otero Bluffs. ANGELA (Frustrated, interrupting the Sheriff's phone call): Hey, Ben. Dr. Brennan is a forensic anthropologist with the Jeffersonian Institution. BRENNAN: I spend most of my time helping the F.B.I. conduct m*rder investigations. SHERIFF DAWES: Angie, I kinda got my hands full getting searchers out to look for Dahni and Kirk. SHERIFF DAWES (into the telephone): The state police said they would lend us a chopper, but only if we narrow down a search area. (Sheriff Dawes hangs up the phone) SHERIFF DAWES (Sighing): They gotta be running low on water. I don't give them more than a couple of days. ANGELA: Ben, if you could just show Dr. Brennan the skull. BRENNAN: Or point me toward the morgue. (Sheriff Dawes bends to retrieve a box from under his desk. He places it on his desktop and removes a plastic bag from inside, and places it on top of the box for Brennan to see.) SHERIFF DAWES: Welcome to the Merville County Morgue. (Brennan and Angela exchange glances as Brennan adjusts her gloves and reaches to open the bag and remove the skull.) BRENNAN: Prominent brow ridge indicates the victim is male. BRENNAN (Gestures at the desk to Sheriff Dawes): You mind? SHERIFF DAWES (He moves to hand her his breakfast): Be my guest. ANGELA: No, no. She wants the plate, Ben. Not the muffin. (Sheriff Dawes flick the food off the dish and hands Brennan the plate. Brennan uses it to rest the skull on while she analyzes it.) BRENNAN: Cranial shape and nasal features suggest Caucasian. ANGELA: Died in the last several days. SHERIFF DAWES: Critters been at it pretty good. BRENNAN: Pattern of basilar suture fusion puts age 30 to 35. ANGELA: Well, it doesn't look like Kirk. SHERIFF DAWES: It doesn't look like anyone, Angie. (Brennan takes a scraping from the skull and sniffs it.) BRENNAN: Putrescine. Early stages of decomp. ANGELA (Uncomfortable): Cause of death? SHERIFF DAWES: A man gets caught unawares out in the desert, he could be d*ad in a few hours. (Brennan examines the skull with a magnifying glass.) BRENNAN: Uh oh. ANGELA: What? BRENNAN: The base of the skull here detached from the spinal cord. See these little bevel marks? Para-mortem contact g*n. It wasn't the desert who caught this man unawares. It was someone with a g*n. ACT I (Cut to: Angela's Bungalow - Angela and Brennan discussing the skull.) ANGELA: You can't say that it's Kirk. BRENNAN: I know. ANGELA: You want some tea? BRENNAN: I'd rather have a beer. (Angela nods slightly and goes to Brennan's drink. Brennan notices some photos on the coffee table, including one of a Navajo woman.) BRENNAN: This woman modeling in these pictures, is this Dahni? ANGELA: Yeah. Dahni Webber. It's Kirk's guide in the desert. BRENNAN: She's beautiful. ANGELA: Dahni's lived here her whole life. You know, Ben says that she knows the desert better than anybody. Look, there's no way that she gets lost or she runs out of water. There's just no way. (Brennan moves to touch Angela's shoulder.) ANGELA (Shrinking away): No. BRENNAN: What? ANGELA: Brennan, if you hug me and you be all caring it's because you think Kirk is d*ad or because he was sleeping with Dahni. BRENNAN: No, it's because...I'm sorry that my friend is upset because someone she loves is missing. ANGELA (Sighing): All right. I can buy that. (They hug.) ANGELA: If you don't mind, um, I'm just gonna head to bed. BRENNAN: Good night. (Cut to: Brennan's office. Booth is standing at her desk. His cell phone rings.) BOOTH (Answering his phone): Okay. Booth. BRENNAN: How far are you from Dulles? BOOTH: As far as your office is from Dulles. BRENNAN: Why are you in my office? BOOTH: I need your findings on the Richmond case. Listen, Zack, he won't tell me where they are unless you give him permission. BRENNAN: There's a 9:15 flight to Denver. Then there's an 11:35 flight to Santa Fe. You'll have to run to make the connection. BOOTH: Forget it. BRENNAN: Booth, please. Angela's boyfriend is missing, maybe d*ad. It-it took all of my charm- BOOTH (Over Brennan): All of your charm? Oh, boy. BRENNAN (Unfazed): Just to get the sheriff to let me look at the skull. When I asked him to let me send the skull to the Jeffersonian he told me that I am not a cop and that I don't have any jurisdiction. BOOTH: Which is true. Okay, what, what do you want me to do? BRENNAN: I want you to get federal on his ass. BOOTH (Smiling): Oh. (Booth flips shut the phone) (Cut to: Angela's Bungalow, the next morning. Angela walks into the living room, where Brennan sleeps on a fold-out couch. Booth arrives with donuts and coffee.) (Booth chuckles from outside the glass doors. Angela opens the door for him.) BOOTH: Hey. ANGELA: Hey. (They hug.) BOOTH: You know, people in the desert, don't have actual addresses. What's up with that? BRENNAN (Waking up.): Booth, you made it. BOOTH: Yeah, I'm touring the hottest places in the universe. Next stop- (Booth flings a bag onto Brennan's bed) BOOTH: There you go-Hell. BRENNAN (Holding the duffel bag, annoyed): I'm not really awake yet. (Brennan throws the bag out of bed.) BOOTH (Walking toward Brennan with coffee cups in his hands): Last night before I left, I used my F.B.I. powers to force the sheriff to send the skull back to the Jeffersonian. Talked to him this morning. You know, he seems a little resentful. BRENNAN (Reaching for her watch on the end table as Booth puts down a coffee cup): What time is it? BOOTH: Let's go. Drink that on the way. BRENNAN: On the way where? BOOTH: You know, to go check out the model, guide, whatever's place. ANGELA (Nodding): Dahni. Can I come with you? BOOTH: No, no, we can ask tougher questions if you're not there. (Angela nods, disappointed) BRENNAN: Wait outside while I get dressed. BOOTH: No, uh uh. The suns's been up for an hour out there. It's already the surface of Mercury. I can stand here, close my eyes, eat my doughnuts. Best I can do. Okay. (Booth covers his eyes with one hand to demonstrate, then removes it to bite into a donut with his eyes closed.) (Brennan looks to Angela, her irritation obvious.) (Cut to: Brennan and Booth exiting an SUV and walking toward a trailer. BRENNAN: What tougher questions can we ask without Angela being here? BOOTH: Well, you know, things like, did her boyfriend run off with the model, guide, whatever. BRENNAN: Angela and I discussed this. She said it couldn't happen. BOOTH: Okay, no offense to Angela, but she doesn't even really know this guy. She's only with him what, only three weeks out of the year? BRENNAN: No offense to you, but you are a stodgy traditionalist when it comes to relationships, buddy. BOOTH: Stodgy? Stodgy? Okay, okay, here's the deal- BRENNAN: Yes, stodgy. (They arrive at the door of the trailer.) BOOTH: Here's the deal, Bones. We find out that the skull isn't Kirk. We go home. We let the locals handle it, okay? BRENNAN: Of course. (A man approaches quietly from behind Brennan and Booth. He has a r*fle trained on them.) BOOTH: You know what? You say "Of course." But then you get all caught up in it. And then- (Brennan sees the man approaching them and taps Booth's shoulder.) BOOTH (Turning): What? Oh. (Booth raises his hands) ALEX JOSEPH: What do you want? BOOTH: F.B.I. We're looking for Dahni Webber. BRENNAN: Who're you? ALEX JOSEPH: I'm the guy holding the big g*n. BOOTH: Yeah, on the federal agent, which I've been very nice about so far. BRENNAN: Let's rush him. He can't sh**t us both. BOOTH: How about I just show him my badge so we both survive, all right? (Booth holds up his badge) BOOTH: See? ALEX JOSEPH (Squinting to read the badge from his short distance away): Name's Alex Joseph. This is me and Dahni's place. BOOTH: Where's Dahni Webber? ALEX JOSEPH (Lowering the g*n): Missing. In the desert for almost a week. I've been looking for her. BRENNAN: You point your g*n at everyone who comes by? ALEX JOSEPH: Maybe I'm nervous. BOOTH: Anything in particular you might be nervous about? Maybe something Dahni got caught up in? ALEX JOSEPH: Nothing I can think of. BRENNAN: Can we look in the trailer? ALEX JOSEPH: Not without a warrant. BOOTH: You have a problem with law enforcement? (Alex Joseph walks to the trailer) ALEX JOSEPH: You could say that, I guess. (He flings open the door to the trailer and goes inside, leaving Brennan and Booth in the sun) BRENNAN: Model runs off with a handsome photographer. Jealous boyfriend with a g*n finds them in the desert. BOOTH: He's definitely twitchy about somethin'. BRENNAN: What if he's escaping out the back door? BOOTH: You don't spend a lot of time in trailers, do you? No... (Alex Joseph emerges from the trailer, shoves a picture at Booth and slams shut the trailer door.) BOOTH (Glancing at the picture): Whoa. BRENNAN: What? (Booth holds out the picture for Brennan. It's a photo of Dahni Webber and Sheriff Dawes sitting next to each other in a restaurant. The Sheriff's arm is around Dahni's shoulder.) BRENNAN: That's Sheriff Dawes. BOOTH: Yeah, he definitely has a problem with law enforcement. (Brennan and Booth look awed by this revelation.) (Cut to: Medico Legal Lab - Forensics Platform. Hodgins is listening to headphones, examining something under a microscope. Zack enters.) ZACK: Dr. Brennan doesn't like us to listen to music while we're working. HODGINS: Dr. Brennan is not here. ZACK: She thinks the work deserves our full concentration. I need the skull now. HODGINS: Well, I'm still finding particulates. And since you're only Dr. Brennan's assistant without her, you don't carry all that much weight around here. ZACK: I'm telling Dr. Goodman. (Zack leaves. Hodgins grins and turns back to the microscope.) (Cut to: The Sheriff's Office. Brennan and Booth confront Sheriff Dawes.) BRENNAN (Sliding the photo across the sheriff's desk): Why didn't you mention your relationship to Dahni Webber? BOOTH: Dahni Webber drop you for the photographer, the Indian guy, or both? SHERIFF DAWES: Moron. Dahni's my sister. Half-sister. Mostly, I raised her. You can check with Angie. BOOTH: Okay, we got that one wrong. I pretty much don't like the look of your sister's boyfriend, Alex Joseph. SHERIFF DAWES: as*ault, narcotics. He bootlegs for the reservation. Yeah. Dahni could do better. BOOTH: Any chance that Dahni got caught up in something ugly because of him? SHERIFF DAWES: Until I find out otherwise, I'm assuming that Dahni and Kirk are lost in the desert. BOOTH: Alex Joseph, is he bad enough to hurt 'em if he finds them out in the desert together? SHERIFF DAWES: It's on my list of nightmares, yeah. (Brennan's cell phone rings.) BRENNAN (Into the phone): Brennan. HODGINS: DNA results are in. The skull is definitely Kirk Persinger. BRENNAN: Poor Angela. HODGINS: Also, the hair tests off the charts for lophophora williamsii derived mescaline. BRENNAN: What's that? ZACK: Peyote. BRENNAN: Anything on the cranial scoring? ZACK: I haven't really had a good crack at the skull yet. Hodgins hogged it. The markings trace to several desert-dwelling species. It seems a full-grown male coyote did the most work on it, but one with a malformed jaw. Very unusual bite formations. BRENNAN: Okay, ask Dr. Goodman to find a naturalist. (Brennan clicks off the phone.) BOOTH: Kirk Persinger? BRENNAN: Yes. They found traces of peyote. BOOTH: Drug-related. sh*t to the spine, execution-style. So, Sheriff, do you still think this is a simple missing persons case? (Sheriff Dawes look at the photo of himself and Dahni) BRENNAN (to Booth): I have to tell Angela. BOOTH: Listen, Sheriff, I'm sorry for the concern you must be feeling for your sister. SHERIFF DAWES: Yeah. (Cut to: A desert road - in Booth's SUV.) BOOTH: I will call the F.B.I. office in Albuquerque and I will officially take over the investigation. BRENNAN: I wouldn't do that. BOOTH: Why? BRENNAN: Desert dwellers are very insular. Mongolians, Bedouins of the Sahara, the Himloa of Kanana. Good hosts, but extremely distrustful of outsiders. BOOTH: Bones, this is the United State of America. It's not Outer Mongolia. BRENNAN: The only reason Sheriff Dawes talks to us at all is because we know Angela. Alex Joseph held a g*n on us. BOOTH: I admit I've met friendlier people. BRENNAN: If a bunch of outsiders come in from Albuquerque, led by an outsider from D.C. I promise you, the people here will close ranks and shut up until we go away. Then they'll take care of it in their own way. BOOTH: Okay, who are you, Dr. Phil? BRENNAN: Who's Dr. Phil? Some kind of expert? BOOTH: He likes to think so. Okay, look. I'll take what you say under advisement. In the meantime, we need to go find out who supplied Kirk with his peyote. BRENNAN: Well, how are we gonna do that? BOOTH: Talk to his girlfriend. (Cut to: Angela's Bungalow. Angela is sitting, stunned, on the couch with Brennan next to her. Booth is across the room.) BRENNAN: I'm so sorry, Angela. We both are. ANGELA: I knew it was Kirk. That's why I called you. We have to find out what happened to Dahni. BOOTH: Angela, I'm going to have to ask you a couple of difficult questions. Okay? (Angela nods.) BOOTH: What-what can you tell me about Kirk's drug use? ANGELA: Kirk didn't do drugs. BRENNAN: Well, Hodgins found peyote in his hair. ANGELA: I though-I thought that you meant "drug" drugs. The peyote wasn't recreational. Kirk took part in some Native Indian rites. BOOTH: While high on drugs? (Angela sighs.) BOOTH: Did you do peyote with Kirk? ANGELA: The peyote has nothing to do with anything. BOOTH: Angela, you may have come into contact with Kirk's k*ller without even realizing it. What was his connection? ANGELA (Shrugging): He's Kirk's friend. BOOTH: I need the name. ANGELA: Wayne. Wayne Kellogg. He's an important local artist. (Brennan grabs Angela's hand. Angela rests her head on Brennan's shoulder.) (Cut to: Wayne Kellogg's home. Brennan, Booth and Kellogg walk from his backyard into the house.) KELLOGG: I don't deny having participated in the peyote ritual on several occasions. Utterly spiritual experience. BRENNAN: You're not Indian. KELLOGG: Not by birth, no. But as you can see from my artwork, I have a deep spiritual connection to the Navajo. BRENNAN: You sell a lot of your work? KELLOGG: I sell very well overseas, enough to keep this place and a beach house in Los Angeles. Why? BRENNAN: Why not buy Navajo art created by actual Navajos? BOOTH: Peyote is only legal if you're a member of the Native American Church, which means you and Kirk bought it illegally. Buying illegal drugs involves drug dealers. I mean, you can follow my train of thought here, can't you? KELLOGG: Look, I realize Kirk's missing. BOOTH: Kirk's not missing. BRENNAN: He's d*ad. KELLOGG: What about Dahni? BOOTH: Dahni Webber remains unaccounted for. KELLOGG: God, this is terrible. BOOTH: I need the name of your drug connection. KELLOG: No. I'm sorry. These people trust me. I understand the difficulty in finding the peyote plants miles out in the desert. Secret places passed on from generation to generation. BRENNAN (pointing out of the window to the driveway): Mr. Kellogg, is that your vehicle? KELLOGG: Yes, why? BRENNAN: Alex Joseph borrowed that Humvee. BOOTH: Wait, Alex Joseph didn't go out to the desert to look for Dahni Webber. He went out to look for peyote. WAYNE KELLOGG: I never said that. (Cut to: A desert road - in Booth's SUV.) (Cut to: Outside of Alex Joseph's trailer.) (Booth knocks on the trailer door. There's no answer.) BOOTH: Mr. Joseph? It's the F.B.I. again. I'd like to ask you a few more questions. (The sound of coughing can be heard from behind the trailer) BRENNAN: Booth? Booth? (They walk to the other side of the trailer to find Alex Joseph sprawled on the ground. He's been beaten up.) ACT II (Cut to: The Sheriff's Office - Brennan, Booth and the Sheriff discuss recent events.) BOOTH: Oh, come on Sheriff. Come on. Even out here, you know how the drug world works, huh? Kirk is found d*ad. Joseph is beaten to a pulp. It's all connected. SHERIFF DAWES: My first priority is to find Dahni. BRENNAN: We find Kirk's m*rder, we probably find Dahni. BOOTH: Maybe Dahni is the m*rder. (The sheriff glares at him sharply.) BOOTH: What? I gotta ask. SHERIFF DAWES: Dahni never hurt anybody in her life, except maybe herself. BOOTH: You know, another thing I have to consider, maybe Dahni, you know, calls up her brother the sheriff and says, you know, "This photographer r*ped me. What do I do now?" SHERIFF DAWES: What you're proving right now...you don't know anything about the people that live around here. BOOTH: Mmhmm. Joseph met us with a r*fle, maybe because he was afraid it was you coming around the corner of that house. SHERIFF DAWES: Alex Joseph is unconscious. You maybe can talk to him when he wakes up. Me, I'm goin' to help the search parties find my sister. (Cut to: The Jeffersonian. Dr. Goodman and Professor Inez reports to Brennan and Booth, in Angela's Bungalow, via laptop.) PROFESSOR INEZ: Thanks to Fish and Wildlife, most of the coyote packs in this region have at least one member wearing a G.P.S. collar. BOOTH: You can find one coyote with a wonky jaw in the desert? PROFESSOR INEZ (Scanning through photos of coyotes from the desert region): What we do here is process information from rangers, amateur naturalists, conservationists, even school groups. The desert coyote pack's range is not huge. Perhaps ten square miles. The pack is typically three to eight animals led by the alpha mating pair. Wow. BOOTH: What "wow?" GOODMAN: Professor Inez has found your coyote, but he's way out in the desert. PROFESSOR INEZ: Three pups, three females, two males, including the leader with the wonky jaw. BOOTH: With eight coyotes going at a cadaver well, you know, we're talking needle in a haystack, finding the remains. PROFESSOR INEZ: Mamas and the pups feed together. So, I'd expect rib cage and smaller bones to be in a concentrated area. But the males move away from each other with the larger pieces. No more than a half a mile. (Cut to: Angela's Bungalow. Angela and Brennan have a heart-to-heart.) ANGELA: Three weeks a year. I mean, fifteen weeks in total. You think that's crazy. BRENNAN: No. It's not typical, that's for sure. And if he was yours, 100% yours for three weeks a year, that's, that's more than I've ever had. ANGELA: Kirk's photographs show the world is a more beautiful place than it is. A better place. He made me feel like it was my real home, that I belonged there with him. He's the guy I compare all other guys to. Now he's gone and I feel like I can't even breathe, sweetie. I can't even take a breath. You think it's possible that Dahni's still out there? Could she still be alive? BRENNAN: I don't know. There's no crime scene and we're not even sure where the rest of Kirk's remains are. ANGELA: Well, I wanna help you look for her tomorrow. BRENNAN: You sure? ANGELA: Yeah: Dahni was our friend. I have to help find her. Please. (Cut to: The desert. Searchers mill about, Angela and take a break.) ANGELA: I love the desert. Or I used to. BRENNAN: Nothing looks the way it should. Stuff that's far away looks near, stuff that's near looks far away. ANGELA: Yeah, well, you can't trust you eyes out here. Not your eyes alone. You know, Kirk said that if you stood still long enough, that the desert would actually speak to you. Show you some kind of truth. BRENNAN: That ever happen to you? ANGELA: No. But, he really believed that. (Cut to: The desert. Booth and Sheriff Dawes sitting on a rock next to Angela and Brennan.) SHERIFF DAWES: Alex Joseph woke up. BOOTH: Good. SHERIFF DAWES: You think that whoever b*at him up has something to do with Kirk Persinger's m*rder. BOOTH: Yep. SHERIFF DAWES: Nope. BOOTH: How can you be so sure? (Sheriff Dawes looks away.) BOOTH: You were the one that b*at him up? SHERIFF DAWES: No. BOOTH: Okay, well, uh, do you know who did? SHERIFF DAWES (nodding to the Navajo members of the search team): These guys. Or guys just like 'em. BOOTH: Why? SHERIFF DAWES: Peyote ritual. These people take it seriously. It's their religion. A guy like Alex Joseph starts selling it to white guys like Kellogg and Kirk, they don't like it. BOOTH: Aren't you gonna arrest any of 'em? SHERIFF DAWES: No. But I might deputize a couple. BOOTH: You know, Sheriff, I get how you people handle things out here. But, I mean, I gotta ask you, if they b*at up an Indian for selling peyote, what the hell are they gonna do to Kirk for taking it? SHERIFF DAWES: Nothin'. Kirk's a white man. The way they see it, he's my responsibility. MAN (Searching offscreen, calling out): Hey! We got something over here! Sheriff Dawes! MAN #2 (In the background): Neal, bring it deep over here. (Brennan, Booth, and Sheriff Dawes walk toward the Navajo who yelled out.) (Angela stands on a rock and looks away from the search party, across the desert to see an object glinting in the sunlight. She walks toward it. Brennan walks up to her as she arrives at the source of the shining object.) BRENNAN (Pointing in the direction she came from): Ange, they found some bones over here. It might be Kirk. ANGELA: It is Kirk. This is his camera. BRENNAN: Are you sure? (Brennan walks toward the camera, Angela stops her.) ANGELA: No, no, no. Don't. Don't. There could be exposed film in there. (She kneels at the camera and begins wrapping it in her scarf.) ANGELA: It's crack. We can't let anymore light in. It'll damage the film. BRENNAN: Maybe Kirk was right. This could be a good way for the desert to tell us what happened to him. A photograph of his m*rder. ACT III (Cut to: The Sheriff's Office - Angela, Brennan, Booth and Sheriff Dawes walking in.) SHERIFF DAWES: This camera is going straight to the state police crime lab. BRENNAN: Angela is better at developing film than anyone in Santa Fe. ANGELA: Plus, I can use Kirk's equipment. It's top of the line. BOOTH: Yeah, and we won't have to wait for the results, Sheriff. BRENNAN: With you sister maybe still alive out there in the desert, every hour counts. SHERIFF DAWES: Can't do it. ANGELA (Whispering): Booth. BOOTH: You know, according to Homeland Security, Kellogg sold exactly $120,000 dollars worth of art overseas. BRENNAN: What's that got to do with anything? BOOTH: Well, it sure as hell doesn't buy him a beach house in Los Angeles, now does it? He lied. Let's go check him out. BRENNAN: What will we be looking for? (Brennan and Booth start to move out of the room.) BOOTH: Oh, what we always look for. You know, something that doesn't fit. Something, you know. Somethin'. (Booth closes the door to the Sheriff's office behind him.) ANGELA: I can't believe that you think that I'm a suspect. SHERIFF DAWES: Angie, not to speak ill of the d*ad, but, uh, a woman like you, you're worth more than three weeks a year, you understand? ANGELA: You think I m*rder Kirk because he didn't give me enough time? SHERIFF DAWES: I'm just a lawman. People are people. ANGELA: Ben, Kirk wasn't the one who put limits on our time together. He wanted me to marry him, and he deserved more and better. Please. Ben, I wanna help find Dahni. And there could be evidence on this film. Just let me do what I do better than anybody else. (After a moment, Sheriff Dawes pushes the camera case toward Angela.) ANGELA: Thank you. (Angela takes the case off the counter and turns to leave.) SHERIFF DAWES: Angie, maybe he deserved more, not my place to say, but he couldn't have done better. No man could. (Angela smiles slightly and heads for the exit.) (Cut to: Wayne Kellogg's home. Brennan and Booth question Kellog.) KELLOGG: I haven't attained anything like the success Kirk has, but I do all right. Why? BRENNAN: You have a beach house. BOOTH: I applied for a warrant. Checked for your assets, your tax returns. KELLOGG: I told you, I do well in Europe. Germany especially appreciated Native-themed work. BRENNAN: Kirk Persinger's remains were found way out in the desert. KELLOGG: What's that got to do with me? BOOTH: Oh, because you have a vehicle that's capable of going out that far. KELLOGG: A vehicle I often loan out. BRENNAN (Examining something on one of Kellogg's shelves): What are these? KELLOGG: Engraving plates. Please don't touch them. The oils on your skin will compromise the integrity. Why would I k*ll Kirk? (Brennan secretly takes her camera out of her pocket to snap a photo of the engraving plates.) BOOTH: Maybe because, you know, you had a little thing, you know, for Dahni. Or maybe because you were jealous of Kirk's artistic success. BRENNAN: These aren't Native designs. BOOTH: Bones, I'm working a line of inquiry here. BRENNAN: All of your work is stolen from Native designs. These are floral. It doesn't fit. KELLOGG: Not stolen. Inspired by. And that piece is commissioned. Another way I make money. (Brennan sends the picture of the plates' design through her cell phone.) (Brennan's phone rings. Brennan picks it up.) BRENNAN: Hi, Angela. ANGELA: Well, most of the film was wrecked, but I developed a few usable images. BRENNAN: Well, that's great. ANGELA: No, no, because Ben got me to make a couple of prints and then he bolted with them and all the negatives. BRENNAN (to Booth): Sheriff Dawes took off with the negatives. BOOTH: What'd she find off of 'em. BRENNAN (Into the phone): Did you recognize anything? ANGELA: Dahni, in the desert. And that's all. I have no idea what he got so excited about. BRENNAN (To Booth.): Nothing that meant anything to Angela. BOOTH: All right, we'll go take a look for ourselves. Talk to you again. (Brennan and Booth leave Kellogg's home.) (Cut to: The sheriff's office - Brennan, and Booth are there with Sheriff Dawes.) SHERIFF DAWES (Looking Kirk's last photographs): I wanted to show these to Alex Joseph. I don't need your permission. BOOTH: Well, why Joseph? BRENNAN: Angela says there are only a few partial photos of your sister in the desert. SHERIFF DAWES: That's right. The only person who knows the desert as good as Dahni is Joseph. This formation here, I'm not familiar with it. (Sheriff Dawes hands Brennan a photo of Dahni standing in front of a large rock formation.) BRENNAN: There's nothing like this anywhere near where we found Kirk's remains, or the camera. BOOTH: Nah, he was k*lled somewhere else and moved. SHERIFF DAWES: We find that outcropping, maybe we find the place where Kirk was k*lled and maybe we find my sister. BRENNAN: Did Joseph recognize the rock? SHERIFF DAWES: Yeah. BOOTH: Where? SHERIFF DAWES: It's easier I take you than explain. BOOTH: Whoa, whoa. If Joseph is a m*rder, he's just sending you on a wild goose chase. SHERIFF DAWES: Well, then we know he's a m*rder and all we've wasted is a t*nk of gas and a goose chase. BRENNAN: How far out are we going? SHERIFF DAWES: A ways. (Cut to: Medico Legal Lab - Forensics Platform. Zack, Hodgins, and Dr. Goodman look at Kirk's remains.) ZACK: One week in the desert and there's nothing but bone left. HODGINS: Same guy? ZACK: Looks like it. HODGINS: Uh, I think it would be better if I went over the bones for particulates before you start your thing. ZACK: I disagree. And you can't have them unless I release them to you. HODGINS (To Dr. Goodman): You're gonna have to do the boss thing, boss. ZACK: Sir, Dr. Brennan needs to know how this man died, which is my territory, more than when and where he died. GOODMAN: Dr. Hodgins? HODGINS: Even I can see he got sh*t in the back of the head. What Dr. Brennan needs is the m*rder scene. ZACK: It's the desert. Insects and particulates aren't going to narrow it down anymore than that. HODGINS: We won't know that until I look at the particulates. (Zack and Hodgins turn to Dr. Goodman.) GOODMAN: Dr. Hodgins will have access to the bones first, Mr. Addy. (Goodman turns and leaves.) ZACK: That's the wrong decision. (Zack leaves. Hodgins grins slightly.) (Cut to: The desert - in the Sheriff's 4x4. Sheriff Dawes drives Angela, Brennan and Booth toward the rock formation in the photo.) BRENNAN: My lungs are gonna come out through my throat. BOOTH: You know, where I come from when you say you're driving a ways, you know, it means 45 minutes. ANGELA: Out here it means four hours. BRENNAN: We've been driving five. SHERIFF DAWES: I maybe should've said "quite a ways." ANGELA: There it is. (The Sheriff pulls the 4x4 to a stop and the team disembarks to see the huge rock formation) BOOTH: Well? That it? ANGELA: Yeah, I think so. Different time of day. SHERIFF DAWES: You people look for the exact spot the pictures were taken. I'm gonna take another circle in the truck. BRENNAN: You looking for your sister? SHERIFF DAWES: Yeah. (Sheriff Dawes walks away.) ANGELA: You know, I think we wanna go south slightly, maybe southwest. (The 4x4's engine revs offscreen) BRENNAN: You can tell by the shadows? ANGELA: Yeah, and the angle on the outcropping. (The Sheriff pulls the 4x4 away from the goup.) BOOTH: Where's he goin'? BRENNAN: He's looking for his sister. BOOTH: Either of you two bring any water? (They check their bags and come up with small plastic bottles and wave them at Booth.) BRENNAN: Why? You worried? BOOTH: Yeah. ANGELA: About what? BRENNAN: Because we are way past where Jesus lost his sandals. BOOTH: And I don't hear the truck anymore. Great. ACT IV (Cut to: Angela, Brennan, and Booth walking through the desert.) BRENNAN (Holding her cell phone in the air): No cell phone service, no water. How long do you think we'll survive out here if the sheriff doesn't come back? BOOTH: Three days max. ANGELA: How far are we from the highway? BOOTH: Five days minimum. BRENNAN: I don't like that math. ANGELA: Wait a second. (Angela has spotted a broken down SUV amongst the high desert weeds.) BOOTH: Kirk's? ANGELA: It looks like it, yeah. (Approaches the SUV and lifts the hood.) BOOTH (Looking at the engine.) Yep, the distributor's smashed. All the wires are pulled out. BRENNAN: It doesn't make sense that the sheriff brings us to the scene of the crime and then leaves us to die, does it? BOOTH: One godforsaken part of the desert, is just as good as another godforsaken part of the desert. We don't even know if Sheriff Dawes actually called Alex Joseph. I mean, for all we know, he could have done all this himself. BRENNAN: Could Dawes do that, Ange? ANGELA: Well, I always thought Ben Dawes was a good man. It would take a lot to change my mind. BRENNAN: Like being left to die in the desert? BOOTH: These tracks here, they don't match the sheriff's vehicle. Too wide. BRENNAN: Humvee maybe? (Brennan moves away from the group having spotted something.) BRENNAN: This is blood, I think. (She points to a boulder smeared with red.) BRENNAN (Pointing.): The victim was kneeling here. (Angela looks ill.) BOOTH: Bones. BRENNAN: Sorry. BRENNAN (Whispering to Booth, and walking): He was dragged this way. Then the blood trail ends. BOOTH: He was thrown into the Humvee. BRENNAN: We've gotta be 200 miles from where we found Kirk's bones. You think the m*rder drove that far to drop the body. (Booth starts running.) BRENNAN: Where are you going? Booth? Hey- (Brennan follows him.) (Cut to: Another area of the desert: a landing strip.) BOOTH (Pointing): The tracks stop right here. BRENNAN: What "here?" There's not "here" here. BOOTH: Landing strip, huh? I knew this was about drugs. Mexico's about 80 miles that way. (Booth points down the landing strip.) BOOTH: They just- (A car horn beeps. Sheriff Dawes pulls up his truck. Angela is in the front passenger seat. BOOTH: Oh! Yes! BRENNAN: Only Angela could get a ride in the middle of nowhere. (Angela and Sheriff Dawes exit the car.) BOOTH: Any signs of your sister? SHERIFF DAWES: She's been out there a week. She could still be alive if she had a few canteens of water. BOOTH (Indicating the ground): Humvee tracks, Sheriff. SHERIFF DAWES: Alex Joseph? BRENNAN: Catches Kirk and Dahni out here- SHERIFF DAWES (Into his police radio): Sandy, this is Dawes, do you receive me? SANDY: Loud and clear on the satellite, Sheriff. Where are you? SHERIFF DAWES: Hell and gone. Listen, Sandy, I need a deputy down at the clinic to slap some cuffs on Alex Joseph. SANDY: Alex Joseph took off, Sheriff. We got no idea where he went. BOOTH: Kellogg's Humvee. SHERIFF DAWES: Sandy, go collect Wayne Kellogg's Humvee and we'll see you in a few hours. (Cut to: The sheriff's office. Sheriff's deputies are performing a Luminal test on Kellogg's Humvee. Brennan and Booth observe.) BRENNAN: Any bloodstains should flare bluish-green when the luminal hits them. (A deputy sprays the with no result.) SHERIFF DAWES: Nothin'. BOOTH: Well, we know that Kirk's body was put into the Humvee. Tire treads match. SHERIFF DAWES: It's clean. Give Kellogg his truck back. Tell him sorry for the inconvenience. BOOTH: Try the hood. SHERIFF DAWES: You think they tied Kirk's bloody, d*ad body to the hood like an elk then drove him 200 miles before dumping him for coyotes? Even out here people might notice. BOOTH (Beaming his flashlight onto the hood of the Humvee): Right there. (The deputy sprays the luminal revealing a flash the outline of a body.) BOOTH: Mmhmm. SHERIFF DAWES: I'll be damned. BOOTH: Got him. (Brennan dials her cell phone.) BRENNAN: Zack. ZACK: Yes, Dr. Brennan? BRENNAN: We need to know if Kirk's bones show more damage than can be explained by animal activity. ZACK: Preliminary analysis indicates the pubic rami are fractured and the left hemi pelvis is severely displaced. BRENNAN: Congruent with a fall? ZACK: Yes, Dr. Brennan. Were the remains found at the base of a cliff? BRENNAN (To Booth): He wasn't driven 200 miles. He was driven a couple hundred yards. BOOTH: Load his body in the airplane then tossed it. BRENNAN: Zack, I'm not happy with how long it took you to get back to me on this. We'll talk about it when I get back. (Cut to: The Jeffersonian. Zack on the phone with Brennan, Hodgins will enter.) ZACK: Sorry, Dr. Brennan. HODGINS (From the doorway): You could've told her it wasn't your fault. ZACK: I still have some work to do here. (Cut to: The Sheriff's Office. Sheriff Dawes, Brennan and Booth are walking.) SHERIFF DAWES: If they dumped Kirk's body from the plane then they could've done the dame to Dahni. BOOTH: Well, Kirk was d*ad when they tossed him, right? BRENNAN: Absolutely. And I saw no evidence of a second m*rder at the site. SHERIFF DAWES: Which leaves me hoping that either my sister was kidnapped by drug dealers or dying somewhere in the desert. BOOTH: Well, kidnapping is a federal offense. It's an F.B.I. matter- (Brennan's cell phone rings.) BOOTH (To Sheriff Dawes): I can help ya, if you want. BRENNAN (Into her cell phone): Brennan. GOODMAN: Dr. Brennan, those cellphone photos you sent me of engravings- BRENNAN: Kellogg said it was a commissioned work. GOODMAN: I think these are engraver's plates. BRENNAN: For what? GOODMAN: Currency. To be exact I believe these are dyes for the Venezuelan 500-bolivar bill. BRENNAN: Dyes? Counterfeiter's dyes? GOODMAN: Yes. BOOTH: Did you say counterfeiters? (Cut to: The Sheriff's Office. Wayne Kellogg and his attorney are there with Brennan, Booth and Sheriff Dawes) BOOTH: Yeah, I got a warrant here to search your client's studio for engraving plates. LARRY STANSFIELD: Well, as Mr. Kellogg's attorney, I can advise you you're certain to find some. KELLOGG: I'm an engraver. SHERIFF DAWES: Larry, did you tell Wayne about how when someone dies during the commission of a felony, everyone involved in that felony is charged with m*rder? BOOTH: Counterfeiting is a felony. (Stansfield and Kellogg exchange quick glances.) LARRY STANSFIELD: My client will confess to the counterfeiting charges in return for immunity from the m*rder charge. SHERIFF DAWES: Not good enough. LARRY STANSFIELD: He will also provide the time and place of the next pickup out in the desert. You'll be able to arrest the actual m*rder. BOOTH: When Sheriff Dawes says "Not good enough," he means his sister, Larry. LARRY STANSFIELD: My client doesn't know anything about Dahni Webber. BRENNAN: What does he know? KELLOGG: One week ago, I arranged to meet some associates at an airstrip in the desert to pass on some commissioned artwork. BRENNAN: He means counterfeit plates. KELLOGG: As the plane landed, my associates noticed two people spying on them from a vantage point above the airstrip. They became very agitated. They commandeered my vehicle and they drove up the hill. I got in my Humvee. Then I drove up there. But I didn't see anything. BRENNAN: Like blood on the hood of your vehicle? LARRY STANSFIELD (Standing): Well, the fact remains that agreeing to this deal is the only way that you're going to catch the actual m*rder. You know where to find me. (Sheriff Dawes stands to get closer to the standing Wayne Kellogg.) SHERIFF DAWES: Wayne, I need to know if they loaded Dahni on that plane. KELLOGG: I never saw Dahni. (Sheriff Dawes grabs Kellogg by the collar and pushes him against the wall, holding him there) BOOTH (Jumps from his seat and moves over to the sheriff): Sheriff! SHERIFF DAWES: That's my sister. My sister! LARRY STANSFIELD (Pats Sheriff Dawes on the shoulder): I am truly sorry about Dahni, Ben. Truly sorry. But I don't think Wayne knows anything. (Sheriff Dawes lets go of Kellogg and backs away.) BOOTH: Come on, Dawes. Easy. Come on. (Kellogg and Larry Stansfield leave the sheriff's office.) (Sheriff Dawes sits down, breathing heavily.) SHERIFF DAWES: I guess we're gonna have to take that deal, right? BOOTH: I was trained as an army ranger. That mean anything to you, Sheriff Dawes? SHERIFF DAWES: Yeah. BOOTH: I'd be more than happy to go back out to that crime scene and see if there's anything we haven't missed. SHERIFF DAWES: Appreciate it. (Cut to: The Jeffersonian. Dr. Goodman and Zack walk and talk.) GOODMAN: If you expect to win arguments around here, you'll need at least one doctorate. ZACK: I am Dr, Brennan's grad student. GOODMAN: I'm aware. ZACK: Once I get my doctorate, she will take on another grad student. My job here will go to that person. GOODMAN: You have a first-rate mind, Mr. Addy. You can't assist Dr. Brennan forever. (Zack looks crushed as he turns to walk away. Hodgins enters.) HODGINS: I really hope this is necessary. GOODMAN: He's comfortable here. He's enamored with Dr. Brennan and he's stopped working on his thesis. It's necessary. HODGINS: It's just...I like the guy. GOODMAN: So do I, which is why we must think of what's best for him. It's time for Mr. Addy to grow up. (Cut to: The desert. Angela, Brennan, Booth, and Sheriff Dawes resume the search for Dahni.) BOOTH: So you say Dahni knows the desert pretty well? SHERIFF DAWES: That's right. BRENNAN: If it were you here stranded, where would you go? SHERIFF DAWES (Pointing): Highway's about a five-day walk that way. (Sheriff Dawes points in another direction) SHERIFF DAWES: Mexico's three days that way. (He changes direction again) SHERIFF DAWES: And that way's two days to a ranch. She might find some stock water, but I wouldn't count on it. And the terrain is rougher. BOOTH: So it all depends on how much water she had. ANGELA: Is there any way to know? (Sheriff Dawes shakes his head) BOOTH: All right, look. We'll all take a point off this compass, all right? Walk out in a straight line for 15 minutes, we look for tracks. Good? (The group separates, each heading in a different direction.) (Angela is emotional and stops walking, confronted by the wide expanse of the desert. She sees an apparition of Dahni walking past her into a rocky area.) (Brennan approaches Angela, whose eyes are closed.) BRENNAN: You all right? ANGELA (Pointing in the direction the vision of Dahni went): Dahni went that way. BRENNAN (Concerned.): Okay. (Cut to: A rocky area of the desert. Sheriff Dawes, Booth and rescue personnel located Dahni amongst the rocks. The sheriff holds his sister and gives her water, relief and worry washed over his face.) (Cut to: Angela's Bungalow. Angela looks at pictures of herself and Kirk. Brennan enters.) BRENNAN: Ready to go home? ANGELA: Yeah. (Brennan sits on the couch next to Angela.) BRENNAN: You're not coming back again, are you? ANGELA: No. Never. He loved me. BRENNAN: For three weeks a year. ANGELA (Breaking.): No. He loved me all the time. I was the one who could only manage three weeks a year. I'm afraid that I-I'm just afraid that I don't have a generous heart. I'm afraid that I won't have the chance that I had with Kirk ever again. BRENNAN: You will. ANGELA: How can you be so sure? BRENNAN: Because nothing in this universe happens just once, Angela. Nothing. Infinity goes in both directions. There is no unique event, no singular moment. ANGELA (Shrugs and laughs.): I don't know what that means. BRENNAN: It means you will get another chance. ANGELA: You promise? (Brennan lightly nods.) ANGELA: From your heart? BRENNAN: Better. From my head. And yes, Ange. I promise- (They hug.) BRENNAN: From my heart. You will get another chance. (Booth enters.) BOOTH: Well, Dawes and his deputies, they caught the counterfeiters. Dahni gave a statement saying that it was Kellogg who pulled the trigger on Kirk. Dahni knows that you saved her life. You pointed that helicopter in the right direction. BRENNAN: Obviously, you subconsciously sifted through the rational facts of the case and processed the most likely scenario. ANGELA (Nodding.): I'm sure that's it. BOOTH: Yeah, what else could it be? ANGELA: Well it's the only rational explanation. BRENNAN: Are you guys making fun of me? BOOTH: You know, let's go back home, where there's water, shelter, and living things. Come on! (Brennan follows Booth out of the bungalow, leaving Angela to make her peace with her vacation home. She gives it a quick glance and follows Brennan, never to return again.) END

{"type": "series", "show": "Bones", "episode": "01x17 - The Skull in the Desert"}

foreverdreaming

"The Man with the Bone" Episode 1x18 Written By: Craig Silverstein Directed by: Jesus Salvador Trevino Transcribed by: Sinkwriter Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Interior - Hallway, F.B.I. building. Fade in on DR. TEMPERANCE BRENNAN and SPECIAL AGENT SEELEY BOOTH as they walk side-by-side down the clinically white, sterile-looking hallway.) BOOTH: Welcome to the dungeon. BRENNAN: (hands stuffed into her pockets as she walks) Why do the F.B.I. always stick their morgues in the most depressing basement they can find? BOOTH: Don't be such a snob, Bones, okay? Not everyone gets to play in a multimillion-dollar lab, you know, with skylights. BRENNAN: It's because as a society we feel the need to hide death away. (pause) The people who deal with the d*ad are ... viewed as freaks. BOOTH: I don't know if it's the basement thing but this guy you're about to meet, Harry, he's a little twisted. BRENNAN: You probably think I get some kind of rush when I work, that I'm somehow titillated. BOOTH: (grimaces) Ah, choice of words, Bones. Choice of words. (Cut to: Booth pushing open double doors as he and Brennan enter the F.B.I. morgue. Booth is whistling. A slender man sporting wire-rimmed glasses, a long white lab coat and a bow tie, is standing at a light board, examining several X-rays including one of a chest and ribcage and another of a skull and spine. He is the aforementioned 'twisted' medical examiner, HARRY TEPPER, M.D., and as Booth nods hello, Harry turns to greet him with a handshake.) HARRY: Agent Booth. BOOTH: Harry Tepper, meet Doctor Temperance Brennan from the Jeffersonian. HARRY: I've read her. (Harry studies Brennan appraisingly) BRENNAN: Hello. HARRY: She's good. (Booth nods; Harry turns back to Brennan) Read your novel too. (pauses, as he considers his words) The heroine's very aggressive. BOOTH: (expressionless) Harry. (brief pause) You wanna - (gestures with his head, so all three turn and walk toward the exam table, Harry leading the way) Okay, everybody, meet Ted Macy. Body was found in a national park. Local coroner wrote it off as some kind of an accidental drowning, but you see, we have to investigate every death on federal land. HARRY: During my examination, I found he had a crushed larynx. (smiles dryly) That didn't seem accidental. BRENNAN: This is a corpse. (Booth looks up at her) With skin. HARRY: (sarcastically) She is good. BRENNAN: Why am I here? You know I don't work with skin. BOOTH: Relax, Bones, I didn't bring you here to examine the body. I want you to see what they found in his hand. (turns to Harry, who is studying the body, not paying attention to Booth; Booth's tone turns a touch impatient) Harry. (Tepper looks up) Bone? (Harry walks over to a counter and retrieves a specimen jar, marked with red tape and filled with solution) BRENNAN: (stunned) What is that? HARRY: It's a phalanx. (pauses momentarily before explaining in a condescending tone) Finger bone. (to Booth) Figured she'd know that. BRENNAN: (ticked off) Yeah, I'd figure any competent medical examiner would know not to compromise evidence. (takes the container from him and holds it up) Is this Lysol I.C.? HARRY: (arms crossed over his chest) We use it to decontaminate remains. BRENNAN: (livid now, quickly draining the jar of its solution in order to rescue the bone) Are you trying to break down the periosteal surface of the bone? Wreak havoc on the marrow? Did you even dilute this? BOOTH: (trying to smooth things over) Bones! BRENNAN: What? (dumping the phalanx out and tucking it into an evidence bag) You've removed particulates and trace elements that could potentially lead us to his k*ller. (gets in Harry's face) Is this your first day on the job? HARRY: (eyes bugging, voice haughty and deliberate) Eighteen years next month. (Brennan gives Booth a look and storms from the room with the evidence bag, slamming the door behind her) BOOTH: Eighteen years. HARRY: (grinning) She's intense. (Booth wisely says nothing) (Interior - Jeffersonian - Medico Legal Lab. Pan from a close-up of a gloved hand using a bulb syringe to extract evidence from the phalanx, to Brennan sitting at an exam table, ANGELA MONTENEGRO standing by her side. Also working in the room are Brennan's research assistant ZACK ADDY and DR. JACK HODGINS.) ANGELA: Native American. ZACK: (intently studying the contents of a box as he walks by) British Colonial. HODGINS: (grinning as he climbs down from a ladder, carrying a tray of bones) American Revolutionary. (Booth enters the room, gripping a file folder in both hands. He grins at the prospect of something fun actually going on in the lab.) BOOTH: Hey, what are we playing? ZACK: (not even looking up from his work) Doctor Brennan, the destroyer of evidence is here. BOOTH: (smirk drops) Okay, I assume that's a joke so nobody gets hurt. (frowning as he heads over to Brennan's work station) Did Harry really mess up that bone? (Angela joins Zack and Hodgins at the background table; she gives Hodgins a mild yet friendly smile and they chatter amongst themselves, working and talking, as Booth and Brennan discuss the case in the foreground) BRENNAN: He dissolved any traces of ingrained particulates on the surface, but we are still able to save some valuable attributes. BOOTH: Like what? BRENNAN: Alternating sclerotic and porotic areas on subperiosteal surface - (Booth, already bored with her overly scientific explanation, picks up a magnifying tool and begins to play with it, checking out the close-up version of his own finger) - demonstrates - (she reaches over and snatches back the tool from Booth's hands) - that whoever this was suffered from tertiary syphilis. BOOTH: Tertiary syphilis. Whoa... (sticks his hands in his pockets and rocks back on his heels, making a face) Wow, that's the worst. HODGINS: (looking up from where he stands, holding a magnifying glass over a piece of bone) It was a common ailment in the seventeenth century. BRENNAN: Which is where the bone dates from. BOOTH: Say what? (Brennan smiles slightly) ZACK: We ran a radiocarbon dating test. (grabs a file from off his lab table and hands it to Booth) The finger's over three hundred years old. BRENNAN: (sounding pleased) It's a unique find for the area. ANGELA: (grinning) I'm gonna change to French trapper. HODGINS: You can't change yours. (Angela rolls her eyes at him) BRENNAN: Booth, where did they find the victim? BOOTH: (studying the folder of data) They shipped him over from some resort town next to a federal seaside preserve. (pauses as he reads) Assateague Island. HODGINS: (eyes widening) That's where the money pit is. BRENNAN: Money pit? HODGINS: Legend is ... Assateague Island is where Blackbeard buried his treasure. (Booth immediately turns to Hodgins, his eyes lighting up with boyish interest) For three hundred years, people have been trying to find it. (Hodgins has them all in rapt attention now) They've dug it out to something like a hundred and fifty feet, but they've found nothing. Every time they come close, they trigger a baffle that floods the pit with seawater. ZACK: (nodding knowledgeably) Booby traps. ANGELA: Cool. BRENNAN: (reading) The body was found at a dig site. HODGINS: This is the first concrete evidence that the treasure is more than a legend. I'll bet this is from one of the men who buried the treasure. BRENNAN: Pure conjecture! HODGINS: (ignoring her) Pirate. BOOTH: Pirate? ZACK: (eyes wide) Pirate? HODGINS: (breathless) It's a pirate. ANGELA: (holding up a finger in objection) You can't change yours. BOOTH: Wait. (getting excited now) So - so - the victim finds evidence that the treasure exists. Somebody else wants it all for themselves. That's certainly ... that's a good motive for m*rder. HODGINS: We gotta get out to that dig site and see what else we can find. (eagerly) I'll be glad to help. BOOTH: That's okay. I'll - I can handle it. HODGINS: Come on, man, share the wealth! BRENNAN: (admonishing tone) We are looking for answers, Jack, not treasure. BOOTH: (also ignoring Brennan, grinning at Hodgins) Do you really think that treasure exists down there? HODGINS: What do you think? (Hodgins and Booth both start laughing; they exchange a look with Zack, who's also amused. Brennan gazes at them, a humoring yet mildly confused expression on her face.) BRENNAN: Why are you guys smiling? BOOTH, ZACK and HODGINS: (at the same time) Pirates! BOOTH: Ha. Yeahhh. ANGELA: It's a guy thing, sweetie. (Brennan looks like she's not sure of the joke, still staring at the guys like they're insane) (Cut to: Close-up of a massive pirate statue, complete with eye patch and a hat with a skull-and-crossbones emblem. Pan down to a marina where signs read "Welcome to Assateague" and "Assateague Island National Seashore." Booth and Brennan arrive, pulling into the area in his SUV.) Location stamp on screen reads: Assateague Island U.S. National Seashore BOOTH: (clearly still thrilled at the prospect of pirates being involved in the case) Mm-hmm. Oh yeah. (Brennan raises her eyebrows, close to an eye roll, and Booth drives on) (Cut to: Wide aerial view of the excavation site - trucks, equipment, general dig area, as well as several large rectangular lights held on tall, ladder-like metal structures, and both workers and police officers milling about. Close-up of the front driver's side tire on Booth's vehicle as it rolls to a stop. Booth and Brennan immediately get out and travel on foot to the crime scene.) BRENNAN: So the d*ad guy, Macy, ran the dig. BOOTH: With his partner, Hardewicke, okay? He was hired by anyone with money to burn. BRENNAN: Wha - people would do that? Sane people? Look for treasure? BOOTH: (chuckling a little) Well, isn't that what archaeologists do? BRENNAN: Archaeologists are scientists who use evidence on which to base their explorations ... not some pirate movie they saw when they were ten. BOOTH: Yeah well, that, uh, 300-year-old bone that we just found sort of, uh - (as he lifts up the bright yellow crime scene tape so Brennan and he can duck under it, he adopts a 'piratey' tone) - changes things now, doesn't it there, matey? (dropping the joke, Booth approaches a waiting DEPUTY and pulls out his badge to identify himself before stuffing it back into the holder on his belt) What's goin' on over there? It's a crime scene. DEPUTY: I tried to stop him, sir, but that's Branson Rose back there. The mayor told me to let him in. BOOTH: Branson Rose is funding this dig? (huffs out a breath) DEPUTY: Has been for two years, but I heard he was pullin' out. BOOTH: All right, thanks. I'll take it from here. DEPUTY: Sure. (The deputy exits the area. Booth and Brennan continue up the path, talking.) BRENNAN: Who's Branson Rose? BOOTH: The billionaire adventurer. You know - (as two workers carrying a long length of pipe walk by, Booth takes Brennan by the shoulders and guides her out of their way) - he made his fortune making aircraft for the military. Owns about half the world. (still no reaction or recognition from Brennan) He's the guy who has that reality show that goes all over the world, and - (stops and stares at her, realizing) - still no TV. Why do I even bother? I - (shakes head, walking away) (Cut to: Two men jogging up steep metal steps that lead to the dig site. GILES HARDEWICKE is chasing BRANSON ROSE, trying desperately to convince him as Rose keeps walking. Booth and Brennan are already at the top, waiting amidst the chaos of workers, equipment and lots of dirt.) HARDEWICKE: You can't pull out right now, Mister Rose. We got a contract. ROSE: So you can sue, but I don't think you have the resources to take me on. HARDEWICKE: Mister Rose, we just broke two hundred feet now. If you pull out now - (Booth clears his throat, but both men ignore him and keep arguing) ROSE: I've been hearing that for two years, Hardewicke. (to his employees) Get off your asses and load my gear into the truck! BOOTH: (tries again) Uh, excuse me. HARDEWICKE: (agitated) Mister Rose, Macy - he knew it. He felt it. We're - this close! (Booth and Brennan exchange a look) BOOTH: Excuse me! ROSE: (shaking his head at Hardewicke, both men still disregarding Booth) Two years. Two million dollars. There's nothing down there, Giles. Macy died for nothing. BRENNAN: F.B.I.! You're all under arrest! (Everyone within hearing distance of Brennan's exclamation stops what they're doing and turns to stare at her) BOOTH: (yanks off his sunglasses, slightly annoyed) Come on, Bones, you don't get to say that. I'm the one with the badge. HARDEWICKE: The F.B.I.'s involved now? BOOTH: Oh yeah, you know, m*rder on federal land. We like to, uh, poke around a little. ROSE: m*rder? BRENNAN: (steps up close behind Booth, staring down both Rose and Hardewicke from over Booth's left shoulder) Yeah. m*rder. ROSE: (to Hardewicke) You said it was an accident. HARDEWICKE: (shrugs) That's what I thought. ROSE: (considers this, realizing) Oh, my god. (he turns to peer down into the frothy water where the excavation dives take place and murmurs half to himself) He found something. (yells to his crew) Put my stuff back now! (he turns at last to Booth, who's been watching Rose carefully) What did Macy find that would be worth k*lling him for? (With a slight smirk, Booth looks to Brennan) ACT ONE (Interior - Jeffersonian - Medico Legal Lab - Platform. Close-up of a computer monitor screen filled with dates and data. A header at the top of the page reads "Blackbeard's Money Pit." A box pops up with details for the year 1832. Zack sits at the terminal, reading aloud.) ZACK: In 1832, a team of six men looking for the treasure were k*lled when a shaft they were digging collapsed. (Hodgins is perched on a chair, looking down at Zack and the computer screen) HODGINS: (grinning) Blackbeard's curse, man. ZACK: A curse? (shakes his head) We're scientists. HODGINS: (reaching over to scroll down the screen) Look at this. 1902. Two men disappeared while digging. Never found their bodies. (laughs) Ho-ohhh, that's very "curse-y"! ZACK: (looking intently at Hodgins) So you believe in pirates. HODGINS: (mildly irritated now, the grin dropping from his face) Pirates aren't Santa, Zack. They did exist, they did have treasures, and they did bury it. ZACK: You know, I had an eye patch when I was six. HODGINS: Who didn't, my friend? (grins again) Who didn't? (Zack smiles gratefully) (Pan down to the lower level, where Brennan has an iron grip around Harry Tepper's upper arm as she walks him through the lab. Booth shows his ID badge to a guard and swipes it through the sensor machine at the foot of the stairs, then all three head up to the platform area. Harry is carrying a metal case.) HARRY: It's not necessary to lead me like a child. BRENNAN: I'd rather not have any more evidence compromised. HARRY: You're squeezing my arm very tightly. BRENNAN: Sorry. HARRY: (smiling, as he leans his head toward her) No, no. It's okay. BRENNAN: (ignores him, pointing at Hodgins who steps forward) You can give it to Doctor Hodgins. HODGINS: (putting on latex gloves) What is this? BRENNAN: Soil and water collected from Ted Macy's throat and lungs. (Harry opens the case, presenting it so that Hodgins can see the samples inside; meanwhile, Booth looks like he feels out of place in the lab, surrounded by all this science talk) He was found floating in his dry suit at the top of the shaft. (Hodgins takes the sample container from Harry's case and begins to walk away, but Booth stops him) BOOTH: All right, you know what we need you to do? Your dirt thing. You know, match the slime to the crime. Heh. (Everyone looks at Booth like he's ridiculous) Make sure that's where he was k*lled. BRENNAN: (turns to Harry) I'd like to look at X-rays of the victim's skeleton. HARRY: (smirks) Bossy. (Booth holds up a warning finger at Harry)BOOTH: Do NOT go there. HODGINS: In the interests of being thorough, I need to determine if he died at the top, or died at the bottom and ... floated up. (brings the sample over to a magnifier to inspect) I need silt abstracts from both levels. BOOTH: Fine. We'll get those for you. HODGINS: No, no. (points out something he sees through the lamp) No, the soil looks like an odd mixture of clay, plagioclase feldspar, pyroxene. (shakes head) I really wouldn't trust anyone else to harvest the samples properly. BRENNAN: (no fool, a tiny smile on her face) You just wanna look for treasure. (Booth nods his assessment too, smirking) HODGINS: Wha - ? (scoffs, playing up his most serious, wide-eyed, incredulous face) I am a serious scientist ... merely trying to do my job as well as possible. BOOTH: (squinting at Hodgins) That shaft is over two hundred feet deep, you know. (looks Hodgins over, a hint of challenge in his voice) Requires an experienced diver. HODGINS: I am a certified cave diver, which means I can go deeper than two hundred feet. I dove Mayan Blue, Dos Ojos, Tortuga ... (impressed, Booth raises his eyebrows, but Brennan's expression is immovable and serious) BRENNAN: Ever dive Naharon? HODGINS: Once. BRENNAN: I named Naharon. HODGINS: Well, then how can you say no to me? BRENNAN: (considers this a moment) Okay. (nodding her assent) But just to collect soil samples. HODGINS: (elated) Of course. (He exits exuberantly, possibly to go get his diving gear) BOOTH: (stuttering a little, like Brennan's revealed yet another talent he didn't know about) You dive too? BRENNAN: Yeah. I have the time because I don't own a TV. (Brennan and Booth head for the stairs again, passing Harry who has a look of fantasy on his face) HARRY: (wide-eyed) You wear a rubber suit then. BOOTH: Uh - (Booth lifts another finger of warning at Harry, stopping that dangerous train of thought) (Cut to: Hodgins in a scuba suit, carrying equipment and many lengths of tubing from Booth's vehicle. He saunters by jauntily, clearly excited to be out in the field, as Booth and Hardewicke walk and talk.) HARDEWICKE: Accidents happen, you know? Macy and I were prepared for that. But m*rder! m*rder. Wow. (turns to face Booth as they walk) Anything I can do to help. BOOTH: Okay, right, we'll talk about that a little later. (points in the direction of the excavation site) Right now I wanna get Hodgins down that shaft. HARDEWICKE: Dane McGinnis. He's - he's the best I know. Uh, he's worked for us for years. A VOICE: (calling out from behind them) Agent Booth! Are you ... Agent Booth? (Booth turns to find a grey-haired man hurrying toward him. The man is dressed from head to toe in pirate garb.) BOOTH: (chuckling) Sorry. You're gonna have to stay behind the yellow tape. PIRATE MAN: I'm Mayor Ney. Your men keep pushing our tourists further and further back. BOOTH: Mayor? Wow. (with a straight face, as he pulls off his sunglasses) I - I hope you didn't look like that when they elected you. HARDEWICKE: Blackbeard's treasure is what keeps the economy on this little island running. The mayor here gets that ... sometimes too intensely. NEY: (shrugs good-naturedly) Hey, I'm not ashamed. I've increased tourism sixty-three per cent since I took office, and I can boost it a bit more if the tourists could get a closer look. BOOTH: (serious now) It - it's a m*rder scene, not a show. NEY: Blackbeard's curse. Macy would have wanted to give a little back to the town that he loved. (An attractive, dark-haired woman walks up to Mayor Ney. She is also dressed in costume - a short-skirted, ruffly-sleeved barmaid outfit.) KATIE NEY: Frank, the police are telling them no pictures. (Booth looks her over, then glances at Hardewicke in amusement) BOOTH: Now, who is this, huh? The pirate queen? NEY: (puts his arm around her protectively) That's right. My wife, Katie. BOOTH: (tone light but firm) That's right. Great. Listen, you just tell the tourists that the bad view is part of the curse. (to an FBI agent) Will you please escort the pirate and his wench behind the yellow tape? Thank you. (Agent Booth puts his sunglasses back on, turning away from the Mayor and his wife. He and Hardewicke head up the nearby stairs toward the dive site.) KATIE: Frank- NEY: (protesting to the agent escorting them away) I'm the mayor! BOOTH: (to Hardewicke) So Dane - he's a - experienced guy? HARDEWICKE: I've worked with hundreds. He's the best. BOOTH: All right. (As they reach the platform, DANE MCGINNIS is standing at the top, waiting for them) DANE: I hope this guy knows what he's doin'. It's tight down there. HODGINS: (coming up the stairs, his eyes bright with excitement) Avast, ye lubbers! (He whoops it up, laughing, as he unloads his armfuls of gear. Dane regards Hodgins wearily and remains quiet.) HARDEWICKE: Dane, let's get him ready. (Hodgins can't stop grinning) (Cut to: Yard-view of the Jeffersonian building, with an expanse of green grass and hundreds of bushes of bright rosy-red flowers. Cut again to the inside of the building, back at the lab, from a monitor's close-up of the phalanx to Angela's inquisitive face as she walks by. She stops and leans against the railing, watching Brennan study the bone under a microscope.) ANGELA: You think it's a pirate? BRENNAN: (head bent over, eyes peering through the lenses of the scope) It's a 300-year-old finger from the left hand of a male. That's all I'm sure of so far. ANGELA: Worth k*lling for? BRENNAN: (gets up and heads over to another computer) I worked a case once where a woman was k*lled, dismembered and b*rned because her friend thought she'd taken her favorite pair of slippers. (Angela takes a breath, her expression wincing yet slightly amused by Brennan's colorful candor) ANGELA: Cheery. BRENNAN: (still studying the computer's data) Maybe they're right. Maybe this man died burying the treasure. (pauses) Ironic. Stealing all that and never enjoying the spoils. ANGELA: (slight smirk) So you believe there's treasure? BRENNAN: (ponders a moment) I believe there's greed. That's the real curse. (Angela folds her arms across her chest, considering this, as Brennan walks away) (Pan down from a gorgeous aerial view of the multitude of bright green trees and grasses surrounding the field area of the dig site, to the platform where Dane is helping Hodgins get dressed in his diving gear. Booth paces the platform as Hardewicke looks on.) DANE: All right. Safety line, air hose. Either one breaks ... (he looks at Hodgins seriously) ... you ain't comin' back up. HODGINS: (amusement in his voice) You gotta work on your bedside manner, dude. (He reaches down for the piece that goes around his neck and begins to put it on) DANE: You know what, I don't want to be responsible for some weekender ... (glances at Hardewicke, then gets in Hodgins' face a little, to make his point) ... who buys it down there because he thinks he's better than he is. HODGINS: (smirks a little, unafraid) You wanna go down, don't you? DANE: It's my shaft, okay? (prepping Hodgins' suit as he talks) I've been working it ten years. The feds, they say it's a crime scene. So I can't help. (he looks Hodgins in the eye, assessing his level of commitment) HODGINS: (sincerely) You're helping me. BOOTH: Why does he need the air line? Why can't he just use the t*nk? DANE: Because a hundred foot down, that shaft ... gets a little cozy. (looks at Hodgins warily again) You ain't afraid of a tight squeeze, are you, Doc? HODGINS: (unflinching) Gloves. HARDEWICKE: (solemnly) Just take it slow, okay? Lot of stuff to catch your hose on, on the way down. HODGINS: Yeah. I saw the pictures Rose took. DANE: (half-laughs as he hands Hodgins the gloves) Rose. He never went as far as you're going. (there's a grave, pointed edge to his voice now) No one has. (Booth puts his hands on his hips. This is Brennan's squint, under Booth's care, about to take a dangerous dive.) BOOTH: Maybe he shouldn't try, you know? (glances at Hodgins before meeting Dane's eyes) People have died down there. Not just Macy. DANE: I know. (looks up) My brother was one of 'em. (Hodgins pauses for a moment, in the midst of pulling on the gloves. He's not laughing now. He glances at Booth and changes the subject.) HODGINS: I'm going all the way down. What's at two hundred feet? DANE: We just h*t two hundred last week. You're gonna have to tell me. HODGINS: (looks Dane in the eye, mildly defiant) Well, I'm ready. DANE: (smiling just a little at his bravado) Okay! (Dane picks up the dive helmet and places it over Hodgins' head. Booth is antsy, fidgeting, scratching his chin, watching as Dane makes his way around Hodgins, clicking the helmet into place. Hardewicke sits, watching quietly. At last Dane finishes and comes back around so Hodgins can see him through the glass mask. He makes an okay sign with his hand, and Hodgins returns the signal, to show everything seems good to go. As Hodgins turns to go down the shaft, Booth puts his hand on Hodgins' arm, stopping him a moment. He wordlessly looks at him over the top of his sunglasses, as if to say, "Are you sure you want to go through with this? Are you sure you can handle it? Okay then..." Hodgins gives him a slight nod and steps away, turning around so he can climb down the ladder while facing the other three men. He gives them a goofy grin, like he's living a childhood dream. As Booth assists him with one hand, he makes his way down the ladder and into the water.) DANE: (lowering the length of air hose into the water as Hodgins fully submerges) Your friend better be as good as he says he is. BOOTH: You just take care of him, all right? (Hodgins is gone, hidden beneath the depths of the water as it bubbles up from his breathing. Dane finishes threading the air line and steps over to the radio to adjust the frequency.) DANE: Hodgins, you read me? HODGINS: (voice heard through the speakers) I hear you loud and clear. (Close-up of Hodgins in his dive suit, focused, moving down quickly, his face lit up by the bright blue luminescence from his helmet lamp. The water is green and hazy, and tiny bubbles rush up from behind his head. He can hear Dane's directions through his earpiece.) DANE: There's some jagged edges. Keep clear of them. BOOTH: (still watching the water where Hodgins disappeared, whispering as he reluctantly steps away from the edge and over to the radio) Whoa, whoa, whoa, Hodgins. (louder, trying to reach him on the radio) Hodgins. HODGINS: (voice over the loudspeaker) It's warm. (Close-up on one of the computer monitors, which shows a map of the entire shaft, scored throughout with measurement markers. Hardewicke points to a detailed view of the section Hodgins is currently passing through - he can be seen as a blinking red dot on the screen.) HARDEWICKE: Passing the first flood trap. We lost our first man there. (Back to Hodgins in the shaft, studying the surrounding walls as he makes his way down.) HODGINS: There's wood here ... below the limestone. BOOTH: (eyes glued to the computer screen) Does he make any sense to you? DANE: (looks up as he feeds Hodgins more air line) Yeah. He's passing the site of the first pit collapse. (Back to Hodgins in the shaft, as he takes his time, then to the computer monitor which shows how the area narrows abruptly.) HODGINS: It's tight down here. There's a lot of debris. (back to a close-up of Hodgins, as he turns and maneuvers himself) I'm not sure if I can squeeze through. DANE: (finally impressed, as he watches the monitor and threads more air hose) Hey, this guy swims like a squid! BOOTH: (frowning, tense) He swims like a squint. DANE: What? BOOTH: Never mind. (he keeps watching the monitor) (Pan down from Hodgins' legs as he gets past the narrow section and into an area with a bit more breathing room) HODGINS: Okay. I'm clear now. (Another monitor shows a clear picture of Hodgins' head, and his hand touching the cave wall) DANE: Good picture, too. (glances at Hardewicke) We can't get resolution like that. BOOTH: (tersely) Yeah well, he's a geek who works for the government. (quickly changes the subject) You ever find anything down here? DANE: (still guiding lengths of air hose down into the water) Not yet. BOOTH: Ten years of finding nothing, and you keep trying. DANE: (eyes watching the monitor with a bit more excitement now, easing up as he gains confidence in Hodgins' abilities) It's all about the search, man. HARDEWICKE: He's at a hundred and seventy feet. (cuts back and forth between sh*ts of Hodgins breathing heavily and gliding down deep into the cavern, and Hardewicke counting off the points as Hodgins passes them) One-eighty. (Booth crosses his arms in front of him) ... Ninety... (Dane watches intently from his position) No one's ever been this deep. (pause) He's at two hundred. (Pan down as Hodgins' feet h*t ground - Booth, Hardewicke and Dane are watching the monitors closely now) HODGINS: Touchdown. I am on the bottom. Visibility is ... surprisingly good. (close-up of his gloved hand brushing aside rock and debris) Wait a minute - there's - there's something here. (frowning, as he realizes what he's found) Holy- HARDEWICKE: What is that? HODGINS: (breathless) Oh, my- DANE: Is that - (Hodgins' hands lift a skull from the loose soil) HARDEWICKE: Oh, my goodness - it's there! (Dane hoots and high-fives Hardewicke; both men laugh and cheer as Booth stares at the screen, fascinated) DANE: Whoo! Can you believe that? (The hazy blue glow is eerie on Hodgins' wide-eyed face as he holds up the skull to take a closer look) (Cut to: Jeffersonian - Medico Legal Lab. Pan up from the edge of the lab table to the length of it where a skeleton is slowly being assembled) BRENNAN: I'm amazed you found a complete skeleton. ZACK: C-14 dating matches at three hundred years. BRENNAN: (standing at the head of the table, studying the skeleton) Subject is male, early twenties, approximately five feet ... (makes her way around, carefully setting a "ring finger" bone in its proper place) ... six inches. ZACK: (facing her, holding a file folder) Legs are bowed, result of visible calcium and phosphate deficiency. (Hodgins and Booth stand at a computer monitor in the background and exchange a look of delight) BRENNAN: He had rickets as a child, but his upper body is extraordinarily well developed. (She looks to Booth and Hodgins as they join her at the table) ZACK: Epiphyseal separation in the long bones. Sunken sternum forms scorbutic rosary ... (Booth's eyes follow Zack's hand as he points out the region) ... at costochondral margin. (Hodgins waits, eagerly anticipating their final results) BRENNAN: He suffered from scurvy as well as tertiary syphilis. BOOTH: (shakes his head) What's with the "tertiary"? Isn't plain old syphilis bad enough? (Brennan gives him a look) ZACK: Scurvy, syphilis ... (shakes his head, unable to contain himself any longer) ... pirate. HODGINS: There is anthropological evidence which supports the claim that Blackbeard ex*cuted his burial crews after they were done digging. (The whole time Hodgins says this, Booth is nodding enthusiastically and pointing at him in agreement) BRENNAN: (her eyes bright and amused, giving in to the others' zeal) Okay. Let's ... say it's a pirate. (Zack nods his approval) HODGINS: Yes! BRENNAN: (getting into the spirit of things, with a grand smile) This would be an extraordinary find. (Booth rubs his hands together, excited, as Hodgins grins widely) BOOTH: (tapping two fingers together animatedly as he emphasizes each word) And ... would open up the reality ... (unfolds both hands dramatically) ... of the treasure! BRENNAN: It would be stupid to dismiss anything at this point. But we need to discover why the ossein isn't fully decomposed from being waterlogged for so long. (Booth looks like he's ready to get right on that, but stops ... if only he were a scientist. Hodgins readily jumps in, walking over to the computer where he points at a mapped section of the shaft.) HODGINS: About fifty feet down the shaft is a layer of blue putty consisting of silicone and clay. It could be used to form a watertight seal. BRENNAN: That would explain the condition of the bones. (Booth looks to Hodgins excitedly, adjusting his belt and grinning like a kid) HODGINS: I took samples of the same blue clay between 200 and 207 feet. Something is buried down there. BRENNAN: And these bones were lying on top of it. BOOTH: Macy was k*lled because of something that he found. HODGINS: The silt in his throat and lungs confirms he was k*lled at the top of the shaft. ZACK: (getting in on the fun of conjecture) After he swam back up with the treasure. (DR. DANIEL GOODMAN, administrator of the Jeffersonian, enters the room) DR. GOODMAN: Special Agent Booth. (everyone turns to look at Goodman, who is clearly not up for pirate silliness at this moment) I hate to interrupt your investigation, Agent Booth, but there's an angry billionaire in my office, and ... he won't go away. (Booth exchanges an inquisitive look with Brennan) (Cut to: Goodman's office. Billionaire Branson Rose paces, confronting Dr. Goodman, Booth, and Brennan about the discovery.) ROSE: It's simple. You have something that belongs to me, and I'm not leaving here without it. BOOTH: (leaning against Goodman's desk, unimpressed with Rose's blustering) A day ago, you couldn't wait to leave, pull out of the island, cut your losses. You remember that? ROSE: A lot can change in a day. BOOTH: (acerbically) Yeah. For Ted Macy, a lot changed. ROSE: Look, I'm sorry about Ted. But I'll be damned if the federal government swoops in here at the eleventh hour and steals what I've been trying to find for two years. GOODMAN: (calmly, from his seated place behind his desk) I fail to see what this has to do with the Jeffersonian. ROSE: (firmly) Those bones belong to me. They were uncovered at my site. I was granted a permit to dig there and keep what was found. (Goodman takes a measured breath but says nothing) My attorneys assure me you have no claim to those bones. BOOTH: (laughter in his voice) Oh sure, man, your attorney wants to go to court for the next twenty years and buy himself a nice vacation home in Tuscany. (turning serious) But the fact is when Ted Macy was m*rder, your property became our evidence. BRENNAN: And it's going to stay that way until we find the k*ller. ROSE: (chuckles sardonically) I was hoping to settle this amicably. (he turns to leave) BOOTH: (sarcastic) Really. Because, you know, we haven't seen that yet. ROSE: (gives Booth a dismissive look) Bah. (Rose exits, slamming the door) (Booth stands upright, adjusting his belt and rubbing the back of his head in frustration) GOODMAN: This is going to be a headache. He has some very important friends. BRENNAN: You know, I don't understand why he's so upset. It's not like he needs the money. BOOTH: (snaps his fingers) But he has partners that do. Macy and Hardewicke were gonna split what they found. BRENNAN: But Macy is d*ad. BOOTH: Exactly. Leaving Hardewicke with a bigger piece of the pie. (Brennan shakes her head, marveling at this train of thought - seems the 'curse' of greed may have a hand in the case after all) (Cut to: 4x6 photograph of Hardewicke and Macy. He holds it out for Booth to see, as they walk along the edge of the entire dig site, past all the equipment and trucks and boats.) HARDEWICKE: This is from our very first dig together. Ah, we found this - this chest buried under a flood drain up in, uh, Smith's Cove in New England. (Booth takes the photo, looking at it, reveling in the story of the treasure) There was no treasure, but you know, just to unearth something that's that old, had that much history - we were hooked. Never looked back. BOOTH: Yeah, I glanced through your company history. I mean, business was pretty slow since you didn't find any treasure out here. (hands back the photo) You were getting fewer and fewer clients. HARDEWICKE: (looks down) Yeah ... it's been difficult. BOOTH: Branson Rose was almost your last chance. HARDEWICKE: There's always somebody who wants to look for treasure. BOOTH: (voice light) Really. HARDEWICKE: Yeah. BOOTH: (tone measured, testing) 'Cause, you know, if Branson Rose, he pulls out, you'd get a lot of publicity. You can end up - (whistles) - sinking your business. HARDEWICKE: Yeah, but Macy found something finally. And we're gonna share the find with Rose - fifty per cent for him, fifty for us. BOOTH: Exactly. HARDEWICKE: (looks at Booth for a moment) Oh, I see. More for me if Macy's out of the picture, right? (stops walking and steps right in front of Booth) You're forgettin' one thing. Macy was like family to me. BOOTH: Really. HARDEWICKE: Look at this. (lifts up his shirt to reveal a long, curved white scar along his ribcage) See that? I got that pullin' Macy out of a sinkhole back in '93. (Booth lifts his sunglasses for a moment, to get a better look) And he's got plenty of scars on him because of me, too. (drops the hem of his shirt back down) BOOTH: Hmm. (lifts Hardewicke's shirt back up) How'd you get all those bruises around your scar there, huh? (Hardewicke pulls his shirt back down, and pauses before responding) HARDEWICKE: The mayor. BOOTH: How's the mayor figure into all this? HARDEWICKE: His wife. You saw her, right? Well, Macy was a bit of a hound, if you know what I mean. BOOTH: (raises both his eyebrows) Sleeping with the pirate queen? HARDEWICKE: The mayor got suspicious. He came around last week. And I ended up taking the heat for Macy, because Macy's like my brother. And I'll tell you, that scrawny little pirate, he can kick too. I'm lucky he didn't have time to load that flintlock. (metallic clattering is heard) Charlie! (looks away, toward his crew in the distance) Put - No! Put that down! Leave it there! What are you doing? (Hardewicke dashes off as Booth stands there, thinking) (Cut to: Brennan entering the bones room, as she pulls on a fresh pair of gloves. The exam table is empty.) BRENNAN: Zack? (he doesn't respond immediately, so she comes back out of the room, agitated) Zack! The bones. What did you do with the bones? (Zack heeds her call and walks past her into the room, baffled) ZACK: Nothing, Doctor Brennan. I left them on the table just like you asked ... (he stops short when he sees the empty table) (The skeleton is gone. Brennan storms out of the room again, shouting for anyone to hear.) BRENNAN: Where the HELL are my bones!? END OF ACT ONE ACT TWO (Cut to: Exterior sh*t of the courtyard in front of the Jeffersonian building, with bright green lawn, lots of bushes with brightly colored flowers, and a big fountain sh**ting curves of water. Return to interior, back at the Jeffersonian - Medico Legal Lab - Platform. Brennan is standing in front of Dr. Goodman, stretching to her full height, angrily getting in his face.) BRENNAN: Bones don't just disappear. I thought this was a secure facility. YOU assured me this was a secure facility. I could be working at Stanford, you know. (starts to storm off, with Goodman following her) This never would've happened at Stanford! GOODMAN: We spend three-quarters of a million dollars annually on security. BRENNAN: (turns back to face him again) Obviously that's not enough. I want my bones! (Booth is at the bottom of the stairs, swiping his ID badge and jogging up the steps to the platform; Brennan turns to get in his face now) Did you find my bones? BOOTH: (hands up in a defensive position) Oooh, maybe you just wanna, you know, chill a little? BRENNAN: Chill?? BOOTH: Yeah, you know, take a pill? BRENNAN: (still angry, mocking Booth's blasé tone) Listen, duuude ... my lab was violated, my bones are stolen, so I think I'll remain warm for a little while longer. (Angela joins the other three) ANGELA: Honey, maybe you should focus on your breathing. BOOTH: (shrugs in casual agreement, trying to help calm Brennan down) Breathing. ANGELA: Count to ten. BOOTH: Ten. ANGELA: Have a sh*t of Jack. BOOTH: sh*t of Jack. (Brennan rolls her eyes at him) Look, we're doing everything that we can, okay? I promise you, we're gonna find your bones, but you have to allow us to do our job. BRENNAN: (taking a breath) I guess I wasn't ... helping all that much, was I? I'm - I'm- ANGELA: (prompts her) "Sorry." (she smiles) It's cool. BOOTH: Hey ... (claps his hands together) ... look on the bright side. I mean, this whole theft thing could be good for us, right? I mean, whoever took the bones obviously had something to do with the m*rder. We're gettin' closer. GOODMAN: I've ordered all on-duty security personnel to give a minute-by-minute account of their rounds. BOOTH: I want account of all off-duty personnel as well. (Zack's voice precedes him as he joins the group) ZACK: They didn't get everything. (Everyone turns to look at him) BOOTH: I thought all the bones were on the table. ZACK: All the new ones. I was still examining the original finger bone we found for scurvy, so it was in my room. (he holds out the phalanx in the palm of his hand, and Brennan carefully takes it from him, examining it closer) BRENNAN: There is something they don't want us to find on this bone. (She holds the bone up for Booth to see) (Cut to: Assateague Island. Katie Ney and Booth talk and walk along the edge of the marina.) KATIE: Everyone knew Macy. Helped Frank get elected. BOOTH: So you would categorize your relationship as just friends? KATIE: Yeah. (looks away from Booth, smiling cheerfully) Friends. It's a small town. We're all friends.BOOTH: Well, whoever k*lled Macy wasn't too friendly. KATIE: He wouldn't hurt a soul. Macy. (slightly wistful expression on her face) He was a sweet guy. BOOTH: The way you're talkin' about him, it seems like you were more than just friends. (Katie stops walking, turns to face the water. She places a hand on the railing, her amiable expression shifting to one of sadness and disgust.) KATIE: Hardewicke told you, right? Like he's such a saint. BOOTH: How involved were the two of you? KATIE: It was just ... one of those things, you know? I wasn't gonna leave Frank or anything. I guess I wanted to see what it was like to be with a real adventurer, rather than a guy who dresses up like one. BOOTH: Frank went after Hardewicke when he thought it was him. KATIE: (faces Booth again) You think Frank k*lled him? You saw Frank. BOOTH: Well, yeah, you know, he's a little, ah ... (careful tone) ... a little unstable. And he finds out somebody ... made a fool of him twice, I- KATIE: It's Hardewicke and the rich guy you should be looking at. Macy said they were all fighting over the money they were spending. Said Hardewicke didn't appreciate all the work he did, wanted to break up the company. BOOTH: Well, we're - we're looking at everyone. Thanks. (turns to walk away) KATIE: Sure. But - (she stops him; appears to be contrite and concerned) - all this coming up again ... (long pause) ... just try not to ruin my marriage, okay? I made a mistake. (near tears now) But I love that stupid pirate, and I don't want to lose him. BOOTH: (nodding, keeping his tone light) Well, thanks for talking to me. I'll - I'll be in touch. (Booth walks away, shaking his head to himself over the insanity of this entire case, as Katie looks out over the water again) (Cut to: Monitor close-up of Hodgins' gloved hands as he carefully places the sole remaining bone fragment under a microscope.) HODGINS: The periosteal surface on the phalanx doesn't have any ingrained particulates that I can recover. (Brennan joins him, taking a pair of gloves from the table) BRENNAN: The solution that the M.E. used probably dissolved anything that was lodged in any ... surface irregularities. ZACK: (tosses a file folder onto the exam table behind him) Who would clean a bone before extracting all available information from it? (Hodgins looks thoughtful) BRENNAN: Not everyone is as thorough as we are, Zack. ZACK: (puts his hands on his hips) So true. So true. (Hodgins is lost in fantasizing, perhaps still on a high from his adventure in the field) HODGINS: I wonder if there was gold dust on it. (Brennan gives Hodgins a reproachful look) BRENNAN: Perhaps you should start working with a parrot on your shoulder. HODGINS: (still smiling) You're not curious? BRENNAN: Yes. About the facts. (amused, Hodgins says nothing; he walks away as Brennan studies the bone up close) There's a small hole along the distal articular facet of the finger. Could be a foramen, but it could be something else, man-made. ZACK: A ... w*apon? BRENNAN: Maybe. (tosses the bone back into the Petri dish) See if you can find any possible matches. (she starts to leave the room) ZACK: (expression of concentration) I wonder if there are any other similar marks on Macy. (Brennan turns back, pulling off her gloves) BRENNAN: I'll find out. And ... (she holds up a warning finger, ordering him sternly) ... don't let that bone out of your sight. (She exits the room; Zack looks a little worried to have that kind of responsibility in his hands) (Cut to: Spinal X-ray being slapped up onto a light board. Pull back to see Booth standing next to Harry, as they both look at the film, in the F.B.I. morgue.) BOOTH: Doctor Brennan thought you might have overlooked a w*apon of some kind. (Pull back further to see Brennan is actually in the room. Booth seems to be mediating so Harry and Brennan don't fight again.) HARRY: (scoffs) He wasn't k*lled by any w*apon. He was strangled. (looks to Brennan, pointing on the X-ray) The larynx is crushed. (tilts his head toward Booth) It's plain. BRENNAN: (pointing out a discovery of her own on the same X-ray) And C-2 through C-4 are fractured. That wouldn't have occurred if he were merely strangled. HARRY: (pauses briefly) If the victim was shaken while being strangled... BRENNAN: The fractures are all left to right, approximately forty-five degree angles on each bone. (Harry purses his lips, holding his tongue for the moment; Booth shrugs at him and looks like he agrees with Brennan this time) That means the head was jerked to the left and up, making sure that the spinal cord would tear. The larynx was crushed when his neck was broken. HARRY: (mildly snide) I'm always open to being corrected. Why do you think there might have been a w*apon? BRENNAN: I saw a small perforation in the finger bone which you decided to put in the solvent. Did you damage the bone? (Booth looks to Harry, curious) Poke it? Stick it ... in some way? HARRY: (irritated and defiant now) Still angry. Okay. No, I handled it according to protocol - rubber gloves, right into the solvent. BRENNAN: Something damaged that bone, and it didn't happen three hundred years - (she stops talking, realizing something ... which she does not share with Booth or Harry) - Wait a minute. (Without another word, Brennan exits the morgue, leaving Booth looking confused and Harry smirking like he thinks he won that argument) (Cut to: Jeffersonian - Medico Legal Lab. Zack holds a tray of implements in front of Booth. Brennan stands nearby.) ZACK: I have alternatives that could've caused the hole. This ... (holds up a short, thin, metal implement) ... is a disposable acupuncture needle. (he places it back on the tray) BOOTH: Oh, come on. (he looks to Brennan, almost rolling his eyes) He was healed to death? ZACK: This ... (holds up a curled-up piece of wire) ... is a filament used for an angioplasty. (he returns the wire to the tray and reaches for the next object) BRENNAN: Hand me the wire. (Zacks gives it to her; Brennan picks up the bone fragment, connects the wire to the hole in the bone and carries it to a desk where she places the bone and wire in a Petri dish and holds a blue light to it - a light, circular mark appears on the bone) BOOTH: What are you doing? BRENNAN: Diminished fluorescence. That only happens if the bones have been cleaned and treated. These bones didn't start out in the shaft. They were placed there. (Zack nods) BOOTH: (confused, arms crossed over his chest as he looks to both Brennan and Zack) What? Who's got 300-year-old bones? (Cut to: Luxuriously crafted, wood-and-glass display case containing a skull and other bones. The case has been brought into the lab at the Jeffersonian. A well-dressed older man with gold wire-rimmed glasses stands with stiff, proper posture, at the head of the case. He is HARLEY FRANKEL, the curator of the Jeffersonian's museum.) FRANKEL: I assure you, everything here is authentic, Doctor Brennan. I curated this exhibit for the Jeffersonian myself. (he joins Booth and Brennan at the other end of the case, near the locked latch) BRENNAN: (unmoved) Could you please open the case? FRANKEL: This is a beautiful specimen ... (he reaches over and opens the case for her) ... found in Jamaica. We believe he sailed with Henry Morgan. (Brennan reaches into the container and removes one of the bones - she examines it closely) BRENNAN: He's never been on a boat in his life. FRANKEL: That's absurd. (Brennan snaps the bone in half) Oh, my God. BRENNAN: These bones are artificial. It's acrylic, not bone. (she shows him the inside of the "bone") You can see on the real bone the hole where the wire was threaded when the bones were assembled for display. FRANKEL: (horrified, looking sick to his stomach) Then where is the rest of my sailor? BOOTH: He was planted in a shaft at Assateague Island to make the whole ... treasure business seem real. But somebody found out. FRANKEL: Who? BRENNAN: A m*rder. END OF ACT TWO ACT THREE (Close up of an African art mask in Dr. Goodman's office. FBI Deputy Director SAM CULLEN is pacing in one direction; Goodman in another, hands clasped behind his back. Booth leans against a chair as Brennan stands, watching carefully.) CULLEN: Okay, let me see if I get this straight. The pirate bones you recovered came from the Jeffersonian to start with. BRENNAN: Correct. (Goodman stands still, posture perfect, in order to respond properly to Cullen) GOODMAN: 300-year-old bones stolen from our own pirate exhibit. CULLEN: And then recovered by one of your own people? BOOTH: Doctor Hodgins. CULLEN: (stops pacing) - who brought them back to the Jeffersonian ... where they were stolen again? BOOTH: Re-stolen ... sir. CULLEN: You got a security problem, Doctor Goodman. GOODMAN: (mildly defensive tone) And when I find out who did this, you may have a m*rder problem. BOOTH: (looks to Goodman) But I - I'm - on top of it, okay? (to his boss, Cullen) You didn't have to come down here, sir. CULLEN: That's what I thought until I got a call from someone on the Department of Defense. BOOTH: Defense? How do they figure into a m*rder investigation? CULLEN: (arms crossed) Branson Rose. He has friends in high places and they don't like it when the guy who builds their b*mb is unhappy. BRENNAN: Are they afraid he'll b*mb them? (Booth gives Brennan a quick look, as if to say "Bones, what are you doing? Don't tick off my boss.") CULLEN: (glares at Brennan) What? What is that? (levels his gaze at Booth next) Squint humor? Because I'm not laughing. (Booth stays silent, head down, his jaw tightening) Defense doesn't need a reason to go to w*r, and I'm not about to be their next target. BRENNAN: We haven't ruled Rose out as a suspect. CULLEN: Well, of course not. You're too busy looking for your bones. GOODMAN: (steps in) Let's not make this personal. CULLEN: Rose wants to keep playing in the mud, and his big-sh*t friends are going to see that that happens unless we come up with some answers fast. BOOTH: At this point, it appears as if the stolen 300-year-old bones are being used to, you know, salt the shaft. BRENNAN: "Salt the shaft"? (Booth stands up to face her and explain) BOOTH: Yeah. You know, an investor spends a million bucks. He gets antsy when nothin' happens, and then - voila - (he throws up his hands momentarily) - you know, pirate bones appear and, uh, the golden goose keeps, you know ... [sputters and squats to "demonstrate"] ... laying those eggs. BRENNAN: (staring at him, disturbed) Okay, that is a ... convoluted metaphor, Booth. GOODMAN: (helping her out) It's a hoax, Doctor Brennan. Like Piltdown man. BRENNAN: Oh, got it. (back to Booth) Why can't you be clear like that? (Booth shakes his head at her; he looks like he has no idea what Dr. Goodman is referring to, and is relieved when Cullen interrupts) CULLEN: Assume the bones were stolen- BRENNAN: Re-stolen. CULLEN: - Re-stolen so you wouldn't find out they were bogus. How did you? BRENNAN: How did I what? GOODMAN: From the finger. They didn't get the entire skeleton. Would you like Doctor Brennan to take you through the process? CULLEN: (groans) I really, really wouldn't. (turns to Booth) So who do you like? BOOTH: (confident this time) I like the partner. BRENNAN: Giles Hardewicke. BOOTH: Access, motive, ability. CULLEN: Doctor Goodman, the F.B.I. will provide whatever help you need to solve your breach of security at the Jeffersonian. (to Booth) You work the, uh, partner angle. (he walks out of Goodman's office) (Booth looks a little stressed) (Cut to: Excavation site. Night. Small floodlights illuminate the area where both Hodgins and Dane are sitting in folding chairs. There are beer bottles in a box on a tray next to them. Hodgins knocks back the last of his bottle and returns it to the tray.) DANE: Well, my father worked the fishing boat. His dad before that. Heck, me and my brother, we never knew anything but the sea. Huntin' for treasure just sorta grew outta that, I guess. HODGINS: Any regrets? DANE: Sure. My brother. HODGINS: (sobering at the thought, he nods) Yeah. DANE: (half-laughs) Heh. That and the fact that they might shut us down. (Hodgins grins, wagging a finger at Dane) HODGINS: Hey, not if we find something, huh? DANE: (smiles) You know, I thought you were gonna turn out to be just another desk jockey. You read a few books and was lookin' for somethin' to brighten up his boring-ass life. HODGINS: (sits up straighter in his chair) Tell you what, I'd be down in that shaft right now if Big Brother didn't have the minimum time requirement between dives. DANE: (laughing) Whoa-ho-ho-ho! You ... (he reaches over and grabs another beer, pops the cap, hands it Hodgins) ... deserve to be here. You really do. HODGINS: (sincerely appreciative) Thanks for that. (careful pause) I guess it's all right to tell you ... the bones were planted. (a few expressions cross Dane's face as he absorbs this information - weariness, sorrow, and resigned humor - he looks away momentarily, shakes his head and returns his gaze to Hodgins) You don't seem surprised. (Hodgins takes a sip of his beer and watches Dane curiously) DANE: (looks over at the shaft for a moment) Man, nothin' surprises me outta that gosh dang pit anymore. Nahhh. (long pause as Dane's face falls and a morose mood sets in) I mean, you dig down far enough, you'll come out in Hell. (Hodgins nods, understanding) So, uh, if you don't find anything, you gonna shut us down? HODGINS: (chuckles) Hey, I'm not F.B.I. I'm just a scientist. (he takes another drink) DANE: (still serious) It's a crime scene. I'm surprised they let you down there. HODGINS: Hey, I'm an expert in silt, plants and insects. (laughing) That's right. I got three doctorates. DANE: (laughs, holding up his hands in defeat) Whoa! HODGINS: (leans forward in his chair) When you got three doctorates and you tell the F.B.I. you need more samples, who's gonna argue? One doctorate ... (he lifts his bottle, shrugging in amusement) ... yeah, maybe they argue, but ... three? (he grins, snickering as he swigs some more of his beer) DANE: (eyes lighting up) You wanna go back down again, don't you? (Hodgins gets serious for a moment, leaning forward in his chair again, elbows on his knees. He looks away for a moment, then takes a deep breath and exhales, nodding at Dane.) HODGINS: I could use your help, man. DANE: (lets out a laugh, pointing a finger at him) You got the bug, man! HODGINS: (grinning) Hey, like I said, I AM the bug man. DANE and HODGINS: (clinking beer bottles) Grrr-arrrgh! (Cut to: The marina. Day. Hardewicke, Booth and Brennan walk together, talking.) HARDEWICKE: (carrying a toolbox, he looks to Booth) If you lost the bones, how do you know they're fake? BOOTH: They - they didn't get everything. (he exchanges a look with Brennan) HARDEWICKE: Ah. A stroke of luck for the good guys. BRENNAN: We will find out how those bones were stolen from the Jeffersonian. HARDEWICKE: (looks at Brennan briefly) You still think I did it, don't you? BRENNAN: Why were you going to break up the company? (The trio comes to a standstill, as Hardewicke sets down his toolbox and turns to face Brennan and Booth) HARDEWICKE: (laughing heartily) Let me guess, Katie Ney told you that. BOOTH: (smiling slightly) What makes you think it was Katie? HARDEWICKE: That was a stock part of Macy's seduction technique, and it was very effective. "I risk my life down in that hole while my partner stays safe topside." (Brennan's expression doesn't change, but Booth half-laughs, nodding, amused at Macy's "cleverness" with trying to impress women) That's how he positioned himself as the heroic explorer. (pause) Which he was, by the way, when it came to the ladies. BOOTH: Your partnership was intact? HARDEWICKE: (immediately serious) Till death did us part. (no hesitation) I'll tell you what. I'm gonna give you guys full access to the books. You don't even need a search warrant. (unwavering now) There's not a single way in which my life is better off without Macy ... Like I said, I miss the man. (Brennan considers this, watching quietly as Hardewicke picks up his toolbox and walks away) (Cut to: Jeffersonian - Medico Legal Lab - at Angela's computer. Angela stands, hunched over her keyboard, as Dr. Goodman looks on.) ANGELA: The bones were stolen twice. The first time from the pirate exhibit. The second time from the bone room here in the Medico-Legal Lab. GOODMAN: And the security in the lab is tighter so the camera is continuous, but the camera in the rotunda is stop-action, every three seconds. ANGELA: (fast-forwarding through the security tape, the activity of which moves at rapid speed on her monitor) I started with the lab theft because we know the bones were stolen between nine p.m. and six a.m. Okay, watch ... here. (The monitor shows the bone room with the lab table in question - in one second the bones are still assembled, resting on the table; the next moment, they disappear) GOODMAN: The bones are gone. ANGELA: Notice the time code. GOODMAN: What's that? ANGELA: The camera was turned off. GOODMAN: (studies the screen) The camera was turned off for one minute and ... forty-six seconds. ANGELA: (nodding) It would take a lot less time than that to enter the room and gather up the bones and ... escape. (Dr. Goodman looks at her, thinking) (Cut to: Dr. Goodman and Angela exiting the room, walking slowly, Angela holding a stopwatch.) GOODMAN: Now. (Angela clicks the start button on the stopwatch) ANGELA: Doctor Goodman? (Goodman is walking slowly through the hallway, studying the area, as Angela follows him) GOODMAN: Yes? ANGELA: Can I ask, why are we doing this investigation instead of security? (He's not really listening to her - he frowns, concentrating. He's calculating something in his head.) GOODMAN: We shouldn't walk too quickly. It would arouse suspicion. Neither would our thief. ANGELA: I'm happy to help, but we do have actual security professionals... GOODMAN: Is there any way to tell if those tapes have been doctored? ANGELA: (responds slowly as she tries to understand what he's up to) Yeah. Since they're physical magnetic tapes, not stored digitally. GOODMAN: I always did like analog better. Now I know why. ANGELA: (still confused at Goodman's train of thought here) My point is, is that I'm only an amateur at this, and I'm sure the security department is better equipped and trained- GOODMAN: (looking past Angela, lifting his chin, all official and stately as he walks and talks) Afternoon, Paul. Best to Susan and Laura. I hope Johnny feels better. PAUL: (off-screen) Thank you, Doctor Goodman. ANGELA: (mildly sarcastic) Okay, you don't want to talk about it. I get it. (Goodman stops walking) Sir? GOODMAN: h*t your stopwatch, please, Miss Montenegro. (she does what he asks) ANGELA: (looking at the stopwatch screen) Thirty-five point six seconds. GOODMAN: Double that for a round trip. That's one minute, ten seconds, leaving approximately thirty seconds to bag the bones and get back. ANGELA: Get back where? (Goodman glances over - they've stopped directly in front of the security guards' office) Ohhhh. (she realizes now and smiles at Goodman, impressed) Huh. (she stops smiling) Wow, you must think I'm an idiot.GOODMAN: (takes her by the elbow and moves her away from the security station) I was grandstanding. I can be like that. ANGELA: So we find out what guards were on duty during the two thefts and ... we might have our thief. (Goodman nods) (Cut to: Interrogation of uniformed security guard ERIC HUGHES, who is sitting at a desk. He's sweating a bit. Booth stands on one side of him, Goodman on the other. Brennan is standing next to Booth.) HUGHES: (looking up at Goodman) I didn't see the harm. BRENNAN: (coming up from behind) In stealing human remains? HUGHES: After three hundred years, it's not like he's got a family grieving for him out there. (Goodman's hands are on his hips - he's angry) GOODMAN: Think of me as a grieving parent. BOOTH: (casually leaning against a bookcase) Grand theft, buddy. You're lookin' at eight years. GOODMAN: If I don't k*ll you.HUGHES: (getting upset) Come on! What's a bunch of old bones like that worth? Nothing. BOOTH: How much you get for 'em?HUGHES: Couple a hundred bucks. (Goodman sticks his hands in his pockets, an expression of annoyance crossing his face at this news. He glares, looming over the guard.)BOOTH: Yeah. So this, uh ... (clears throat, and sets a piece of paper in front of Hughes) ... wire transfer into your bank for ten grand ... was that - (pats his shoulder) - inheritance? (Hughes looks concerned now - he's in big trouble) BRENNAN: Who did you steal them for?HUGHES: (mutters) We didn't really do the name exchange thing. BOOTH: Somebody approached you? HUGHES: Yeah. (Booth lays down three photos for Hughes to examine - Macy, Hardewicke and Rose) BOOTH: Let's see. Okay, which one was it? HUGHES: (looking at the photos) Well, which time? (Brennan's eyes widen - she glances at Goodman, who rolls his eyes) BOOTH: (getting irritated) The first time. HUGHES: Him. (points to a close-up photo of Macy's corpse on Harry's morgue table) But ... (scrutinizes the photo) ... he looked better. GOODMAN: And the second time? HUGHES: Um ... him. (points to a photo of Hardewicke) Oh, look, guys - (glances up to Goodman nervously) - I'm cooperating. All right, I will give back the money. I will quit my job. (Goodman looks like he can't decide if he wants to simply f*re him or let Booth arrest him) All right, how's about we just call it even? BOOTH: (sarcastically) How's about we call the D.A.? (points at Goodman) You know, you need a better screening process down at the museum. GOODMAN: (sardonically levels his gaze at Booth) Ironic, given we contract that out to the F.B.I. (Booth nods, seeing the ridiculousness of the whole situation) (Cut to: Booth and Brennan making their way through piles of dirt and digging equipment at the excavation site. They head toward the dive shaft.) BRENNAN: You think he's dangerous? BOOTH: Grand theft, m*rder. Yeah. (Bagpipe music can be heard playing in the distance - Brennan notices) BRENNAN: The music. Shh. (she listens and then points away from the steps; it's not coming from the dive area) It's down there.BOOTH: That's not music. That's bagpipes. (sees something in the distance) Whoa. (he pulls his g*n from its holster underneath his suit coat) Mister Hardewicke? (The back of Hardewicke's head can be seen - he's sitting in a lawn chair, a bottle of liquor and one glass on a table nearby. He does not respond to Booth's call. The music continues to play. Booth approaches cautiously, g*n at the ready. Brennan's right behind him.) BOOTH: (circling around slowly to face the man) Mister Hard - Oh. (Booth lowers his g*n. Hardewicke is leaning back in the chair, his eyes closed and mouth gaping, blood running from his nose, distinctive bruises around his throat. He's d*ad.) (Brennan turns to Booth, as he looks around for evidence of what the hell happened) BRENNAN: Maybe we're looking for someone else. END OF ACT THREE ACT FOUR (Back at the F.B.I. morgue. Pan up from Hardewicke's d*ad body on the table to Harry the medical examiner, who stands before Booth and Brennan, his hands folded in front of him.) HARRY: The larynx was crushed. BRENNAN: (frowning) Is that going to be your cause of death ruling? HARRY: (grins, getting excited) We gonna have another fight about this? (Brennan steps forward like she might punch the guy, so Booth steps between them and authoritatively pokes Harry in the chest) BOOTH: You know, I'm a pretty open guy, Harry, but if you keep pushing like that, it's gonna be me who smacks you around. HARRY: (smirks) How do you know that won't work for me just as well? (Booth looks unsettled by this twist - he makes a wide-eyed face, stepping back and away from Harry as quickly as possible. Brennan steps up to face Harry again.) BRENNAN: You ruled that Macy died from a crushed larynx. HARRY: (his tone condescending, as if it's obvious) A crushed larynx is fatal. Ergo, it results in death. BRENNAN: You were wrong then, and you're wrong now. (Harry smiles widely) BOOTH: (agitated, pointing at Harry) See? He likes it! (Brennan ignores both of them and their antics) BRENNAN: I need to see both sets of X-rays. His and Macy's. (Harry's eyes twinkle as he reaches down and retrieves the X-rays from their folder) HARRY: It's not always about being right or wrong. It's about the dialogue. (he brings the films over to the light board and puts one in place, smiling at Brennan) An intense conversation can be the most wonderful kind of intercourse. BOOTH: (grossed out now, looking to Brennan) You know what? This guy is a pervert. BRENNAN: (comparing the spinal injury films for both Hardewicke and Macy) Damage between C-2 and C-4, forty-five degree angle, exact same pattern of injury as Macy. His head was ... (Brennan reaches over and grabs Harry by the head, demonstrating the hold the m*rder used; Harry looks like he enjoys her being so rough with him) ... wrenched around, probably while the other hand crushed the larynx. (Brennan pushes against his chin, twisting him slightly, as she holds the back of his head) HARRY: (grinning) That must really frustrate you that I missed that. BOOTH: (thoughtful now) You know, that's a special forces move - take the sentry down, crush the larynx so he can't scream. BRENNAN: (stunned) You've done that to people? (Booth glances down a moment, thinking - he doesn't exactly answer her question when he replies) BOOTH: No, our m*rder is special forces. (Booth looks troubled) (Cut to: Booth's office at the F.B.I. Branson Rose is standing at the window, looking out. Booth sits at his desk. A lawyer, ANTHONY KENDALL, is present, as is Brennan.) BOOTH: Your Internet bio says you spent time in Special Air Services. KENDALL: (smiling) Mr. Rose has led a diverse and full life. BRENNAN: (leaning against a table, observing Rose) How did you feel when you found out the dig site had been ... (looks to Booth for the right word) ... salted? ROSE: (still observing at the window) I was disappointed, certainly. BOOTH: (carefully) Just ... disappointed? (Rose finally turns from the window) ROSE: I wasn't irked enough to k*ll Ted Macy. Now, can we get to the point, please? BRENNAN: What is Special Air Services? ROSE: The S.A.S. is widely regarded as one of the finest and best-trained special forces units in the world. BOOTH: (casually) See any active service? KENDALL: Mister Rose is not comfortable discussing specifics. ROSE: (glowering at Booth) I don't like to exploit my role in operations which cost good men their lives. Now, if all you're interested in is my history, there's a bio on my Web site. (starts to leave) BOOTH: Great. We just wanna know if your reputation is for real, sir. (Rose stops in the doorway) Hey, we'll just ... contact the S.A.S. They'll tell us. ROSE: Look- KENDALL: (standing up to butt in before they all get into a dangerous legal area) Fine. (He takes Rose by the arm with the intention of leading him out of the office) ROSE: (sarcastic, to Booth) Don't expect a speedy response. (Brennan steps up and slaps Rose across the face, hard. He grunts, stunned.) BOOTH: Whoa. Bones! KENDALL: That's as*ault! (Rose rubs his cheek as Brennan looks to Booth) BRENNAN: Would a special forces guy have been able to stop that? BOOTH: (getting the game now) I don't know. You kinda got the jump on him there. BRENNAN: (nods, considering this) Well, this one won't be a surprise. (turns to Rose again) You ready? ROSE: (clueless) What? (Brennan slaps him again)KENDALL: This is common as*ault. Charges will be laid! (Brennan shrugs at Booth, as if to say, "Well?") BOOTH: (shaking his head) No way he's special ops. That's just a bunch of P.R. crap. (he smiles benignly at Rose) BRENNAN: All right. No more questions. (she sits down, satisfied, as Rose studies Booth quietly) KENDALL: I demand she be arrested for as*ault! ROSE: Shut up, Kendall! (he smiles ironically at Booth and starts to leave, whispering to his attorney as they go) You think I want it all over the newspapers that I'm taking a woman to court for slapping me? (Booth rests his chin in his hand - now who's the m*rder?) (Cut to: Excavation site. Pan down from a metal structure to Dane and Hodgins standing on the platform. Dane is prepping Hodgins for a dive.) DANE: (apprehensive) You won't get in trouble for this. HODGINS: (unconcerned) Three degrees. Just doing some research. (Dane chortles) I am telling you, salted or not, there is something at the bottom of that shaft. DANE: (sighs heavily) Never got to go all the way down. HODGINS: The bones were lying on wood. I want to see what's underneath. DANE: (shakes his head, smiling ruefully) Always thought it'd be me who'd find it. HODGINS: Hey. (gives Dane a brotherly slap on the arm) All for one and one for all, right? DANE: (amused) That was the Three Musketeers. HODGINS: Yeah, they were always "piratey" to me. (Dane grins at him, and Hodgins mirrors it back) DANE: Let's do this. HODGINS: (smiling widely now) Let's do it. (Dane helps Hodgins place the dive helmet over his head. As Dane walks around him, locking the helmet into place, Hodgins focuses forward, his face turning serious. Once it's properly set, Dane steps in front of Hodgins, giving him an "okay" signal. Hodgins heads down the ladder and descends into the dark water.) (Cut to: Booth in his vehicle. He's driving with one hand and making a radio call with the other. Brennan sits passenger-side.) BOOTH: Dispatch, 22705. Last name McGinnis, first name Dane, middle initial P. I need to know which branch of the military he served in. DISPATCHER: Affirmative, 22705. Stand by. BRENNAN: (glances at Booth) Why Dane? BOOTH: He said Hodgins swam like a squid. BRENNAN: (shakes her head, confused) Squint. He must've said squint. BOOTH: No, I said squint, 'kay? Dane said squid, which is military slang for a sailor. BRENNAN: Wait, is this what they call a "Hail Mary" pass? (Cut to: Close-up of the radio at the dive site. Hodgins' voice can be heard over the speaker.) HODGINS: You receiving? DANE: Aw, loud and clear. (he threads more length of air hose down to Hodgins) HODGINS: Man, it's muddy today. DANE: Yeah. Usually clears up past the first flood channel, twelve meters. (Close-up on Hodgins, singing with a piratey accent, as he floats downward) HODGINS: Yo ho ho, and a bottle of rum ... DANE: Hey, don't conjure up any ghosts, Doc. There's too many down there already waiting to claim your ass. HODGINS: (murmuring) Ghosts. Right. (He continues his descent, solemn now) (Back to Booth's vehicle. The dispatcher is calling back with information.) DISPATCHER: 22705, Dispatch. McGinnis, Dane. Served in the navy. Rating: chief petty officer, naval special warfare. BOOTH: Oh yeah. Had to be. (he frowns)BRENNAN: What? (Cut to: Booth's SUV coming to a stop in the excavation field - Dane can be seen at a distance, up on the platform, feeding more air hose into the shaft. Booth and Brennan exit the vehicle.) BOOTH: (walking slowly around the truck, eyes glued to the platform) Guy was a navy SEAL. BRENNAN: So? You were a guide. BOOTH: (stops to correct her) A ranger. I was a ranger, Bones, okay? I was not a guide. Guides, they show you waterfalls, they sell you cookies. I was a ranger. BRENNAN: (looks up to the platform) What's he doing at the shaft? (she starts forward, but Booth grabs her arm) Are rangers afraid of SEALs? BOOTH: What? Come on, Bones. No. (gives her a look) Wha - rangers aren't afraid of anybody. All right? (pause, conceding) SEALs are ... pretty good though. (Cut to a close-up of the water bubbling, from Hodgins breathing through the air hose. Pan up from the water to where Dane sits on a crate, turning back and forth between threading more of the air line and watching the monitor for Hodgins' progress. Booth and Brennan reach the top of the platform.) BOOTH: (casually) Hey, Dane. DANE: (just as casually) Oh hey ... what's up? BRENNAN: We know it was you. (Dane's expression shifts, the smile leaving his face) BOOTH: Bones, please. BRENNAN: Why? You have a g*n. What's he got? BOOTH: (eyes on Dane) He's got somebody in the shaft. (Close-up on Hodgins, still making his way down, slowly but surely) HODGINS: How far down am I? (Cut back to Brennan, realizing when she hears his voice over the speaker) BRENNAN: Is that Hodgins? (Her eyes widen and she steps forward - Dane immediately grabs a section of the air hose and holds a Kn*fe to it) HODGINS: (over the speaker) Hey, Dane? (Booth pulls his g*n, holding it on Dane who sits poised with the Kn*fe, unmoving) I can't read my depth display. (Close-up on Hodgins - he's traveling down but glancing upwards, waiting for a response) HODGINS: (voice heard over the speaker) Hey, is somethin' goin' on? (Brennan is frozen in place, looking to the speaker in fear) Is there annny-body up there? Why don't you answer me? BOOTH: (controlled voice) C.P.O. McGinnis, step away from the air hose. (He's got his g*n on Dane, but Dane's eyes aren't leaving Booth's and his Kn*fe is still pressed to the air hose) DANE: Yeah? Well, I need you to toss that g*n into the shaft. And toss me your keys. And handcuff yourselves to that crane. I take your truck. (shakes his head, resolute) Otherwise, I am gonna cut this hose, and your buddy's gonna die. BRENNAN: (nervously pats Booth in the ribs with the back of her hand, her eyes on Dane's Kn*fe) Yeah. Do that. (She wants Booth to follow Dane's instructions) BOOTH: (grits his teeth and glances at her for a millisecond - she's interrupting his stand-off) Bones. (back to Dane, g*n still trained) Not gonna happen. HODGINS: (voice on the speaker again) If you can hear me, tug on the air hose. I feel a blast of cold water. (Pan down from the perilous air hose to the bubbling black water, to Hodgins in the shaft, studying his surroundings) It's either a spring or some kind of conduit from the ocean. It's clear, clean water, so visibility is better. (Back up top - Dane's waiting for Booth to make his move) BOOTH: (g*n steady) You k*lled two men. I can't just let you drive away. DANE: Oh, those guys. (sneers bitterly) Puttin' fake bones in there, makin' the whole thing into a con job. (his eyes don't leave Booth's) My brother died down there looking for that treasure. A lot of good men did. (Booth blinks but otherwise doesn't move) This was their life. Those men dishonored them. (Back to Hodgins in the water. He's looking up, trying to figure out what's going on and why Dane isn't responding.) HODGINS: Dane, can you hear me, man? I am on the bottom. (The monitor up on the platform reveals Hodgins' location, his red dot blinking innocently at 200 feet.) DANE: (squinting) You good enough to take that sh*t before I cut this air hose, ranger? BOOTH: (smirks) Pretty good. BRENNAN: (scared) What? Just pretty good? BOOTH: (whispers impatiently) Please. I'm working. (his eyes graze Brennan for a split second before they focus back on Dane) (Cuts from Brennan's wide-eyed, concerned face, to Dane in position with his Kn*fe and Booth with his g*n. Hodgins' voice crackles in again.) HODGINS: I'm gonna need some more slack in the line, Dane. What's goin' on? (his hands can be seen on the monitor, brushing through the soil at the bottom) I'll get a sample. I can see where the shaft wall has collapsed before. (Hodgins pauses, notices something in the dirt, runs his gloved hand through it again, searching) Oh, my God. (Back to Booth, waiting, holding his g*n as steadily as possible with both hands. Then to Brennan, whose eyes follow anxiously back and forth between Booth and Dane.) HODGINS: (over the speaker) Holy sh- Damn! (Dane's jaw tightens but he will not check the monitor and give Booth an opening) Can you see this, Dane? (Brennan leans to view the monitor, where Hodgins' hand is holding up a shiny gold coin) DANE: What is it? BOOTH: Why don't you take a look? DANE: Yeah. (wry expression on his face) I do and you'll sh**t me. (Back to Hodgins down below. He's cackling with delight as he holds up the coin to the lamp on his helmet for a better view.) HODGINS: (thoroughly excited) Dane! Can you see this, man? BRENNAN: (eyes on the monitor) It's a gold coin. DANE: (disbelieving) Yeah. (getting upset) It's, uh, probably something else they stole from the museum and threw in there. HODGINS: This is real! It's a big - (Booth fires twice, blasting out the computer monitor and all sound connection to Hodgins. He immediately retrains his w*apon on Dane. There are two holes in the monitor with spider web-like cracks across the screen - white smoke wafts from the machine.) BRENNAN: (firmly, to Dane) You want to see it, you're going to have to bring Hodgins up. (softens) Please. He's down there because he believes. (Dane's brow furrows but he doesn't move, so she tries again) He's no different than you, no different than your brother. BOOTH: (voice intense, his g*n hand ready for anything) Bring him up. BRENNAN: (gently) Do it for your brother. (Dane considers this for a long moment, an expression of struggle on his face. Booth is waiting, g*n aimed. At last, Dane makes a choice and yanks the Kn*fe away from the hose. Frustrated, he pushes the hose down into the water, and holds the Kn*fe aloft, glaring at Booth. Brennan is still frozen in place, her hands outstretched in a defensive position, waiting to see what Dane will do next. Booth does not lower his g*n. Agonized, Dane takes his Kn*fe and thrusts it downward, violently s*ab it into the grid next to his foot. It's over.) (Cut to: Jeffersonian - Medico Legal Lab - Platform. Hodgins holds up the treasured coin for all to see.) HODGINS: An original Breen-984 half doubloon, designed by Ephraim Brasher, engraved by Ephraim Brasher. (he turns it in his hand, happily studying the back and front of it) And - hold your breath, gentlemen and ladies - two hundred and four grains. ZACK: (marveling) A real gold pirate coin. BOOTH: (excited, hands clasped together like a kid) How many more are down there? GOODMAN: Branson Rose has agreed to have the museum do the authentication of the entire treasure when they bring it up. (The Jeffersonian team is crowded around the skeleton's display case, as Hodgins looks down at the coin in his hand) HODGINS: There won't be any more. ANGELA: What makes you say that? HODGINS: I was down there. (smiles) It's not gonna give it up that easily. GOODMAN: But the treasure's been located. BOOTH: (nods) And I'm sure it's been located before. (Hodgins can't take his eyes off the coin) GOODMAN: (reaching for it) I'll take that. (Hodgins looks up at Goodman, then down at the coin, as Goodman tries to take it from him. It takes several seconds of back-and-forth pulling before Hodgins reluctantly lets go.) BRENNAN: (looking down at the authenticated pirate skeleton) You think he's happy to be back home? ANGELA: (smiling) Well, he looks that way to me. (She holds up a sketch she's just finished - it's a headshot that looks like Hodgins dressed as a pirate, complete with three-corner hat, skull and crossbones. Goodman chuckles, as do Zack and Angela. Hodgins laughs as he checks out his likeness on the page.) BOOTH: (grins, looking back and forth between the sketch and Hodgins) Ha. (Hodgins shakes his head, turning slightly melancholy) HODGINS: He's not happy. ZACK: What do you mean? BOOTH: (nods, understanding) Hodgins is right. He'd be a lot happier at the bottom of that shaft. BRENNAN: (smiles at Booth, getting it now) With the other pirates. (Hodgins takes a deep breath and sighs. His boyhood dream has come to an end. He looks a little disappointed.) (Booth gets a goofy grin on his face, looking to Hodgins and Zack.) ZACK and BOOTH: Arrgh! (Hodgins looks up, grinning again.) HODGINS: Arrrgh, matey! (Angela and Brennan exchange a look, barely able to contain their laughter, as the guys keep up their piratey noises. The dream will never totally die, not for these "boys.") (Fade to Black) END OF SHOW.

{"type": "series", "show": "Bones", "episode": "01x18 - The Man With The Bone"}

foreverdreaming

"The Man in the Morgue" Episode 1x19 Written By: Elizabeth Benjamin & Noah Hawley Directed by: James Whitmore, Jr. Transcribed by: damnskippytoo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER A man's VOICEOVER is heard as video of the destruction left by Hurricane Katrina in New Orleans is shown - destroyed houses, recovery workers in white hazmat suits, piles of waste, overturned cars. VO: Even all these months after Katrina ravaged the city of New Orleans, human remains are still being found in devastated neighborhoods across the city. Cadaver dogs are being used to search for 2,300 people still unaccounted for. Makeshift morgues still exist in warehouses, schools and churches throughout the area. The camera pulls back to reveal a small television set in just such a makeshift warehouse morgue. INT. TEMPORARY MORGUE - ST. GABRIEL, LOUISIANA Dozens of people in blue scrubs are examining cadavers. The camera travels from one room to another with seemingly no end of d*ad bodies. VO: Officials are finally beginning to admit what many people have known since the levees broke long ago - many of these people will never be found. MIKE DOYLE, an orderly, is wheeling a body from one room to another. DR. GRAHAM LEGIERE, the medical examiner, joins him as he walks past. They continue their conversation as they walk. GRAHAM LEGIERE: (pats him on the back) You look tired, Mike. Late night? MIKE DOYLE: Oh, yeah. Late and nasty. GRAHAM LEGIERE: Same kinky creature? MIKE DOYLE: Doc, the girl, Carrie's, a serious perv swerve. Mike pushes the body into an autopsy room. He stops in front of BRENNAN who is writing up her notes in a chart on another body. She smiles listening to the conversation. GRAHAM LEGIERE: Feeling wrong feels so good. MIKE DOYLE: It's... (stops when he notices Brennan listening) Hey, sorry, Dr. Brennan. BRENNAN: No, it's fine. Males often bond by exaggerating sexual conquests. GRAHAM LEGIERE: Oh, Mike's not exaggerating. This girl is seriously turned on by coffins. Mike will take her into the cooler... MIKE DOYLE: Doc! ZACK'S voice is heard coming from a computer sitting on a portable table behind Mike. ZACK: (O.S.) Some libidos are inflamed by a proximity to death. MIKE DOYLE: Who's that? BRENNAN: My assistant, Zack, back in D.C. Brennan turns the rolling table around so the monitor screen with Zack is facing Mike. ZACK: Congratulations on your coffin sex. GRAHAM LEGIERE: (tries not to laugh) Mm-hmm. MIKE DOYLE: (to Brennan who is smiling) I've got work to do. Mike exits in a hurry. Brennan goes to the new body and puts on her gloves to get back to work. ZACK: Some of the information you sent for analysis seems to have come from remains that have already been embalmed. BRENNAN: (begins examining the body) Bodies were unearthed by the flooding. Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB Brennan is now on the computer screen that Zack is watching BRENNAN: They have to be I.D.'d and reburied. ZACK: I could fly down there to help, Dr. Brennan. BRENNAN: "A." Tomorrow is my last day. And "B." The sex on the coffin thing is not guaranteed. Cut To: INT. TEMPORARY MORGUE - AUTOPSY ROOM Brennan examines the decomposed skull of the body. Graham, who is on the other side of the examining table, walks around to the end of it as he talks. GRAHAM LEGIERE: You know there are reasons they call this the Big Easy even after Hurricane Katrina. He tries to rest his hand on a tray with surgical instruments but knocks the tray off. Everything crashes to the floor. Brennan looks up shocked by the noise and laughs a little. DR. JAMES EMBRY, assistant to the medical examiner, enters the room with a file pertaining to the body Brennan has been looking at. He is followed by DETECTIVE HARDING and a uniformed POLICE OFFICER. JAMES EMBRY: Dr. Brennan, meet John Doe 361. DETECTIVE HARDING: We found this one in the 9th Ward sticking out of the mud. BRENNAN: Good afternoon, Detective Harding. (assessing the body) Male. Forties. JAMES EMBRY: Badly decomposed. Looks pretty banged up. Embry hands the chart to Graham across the examining table. DETECTIVE HARDING: Yeah. Be nice to know if it was hurricane, floor or foul play that k*lled him. GRAHAM LEGIERE: (glances at chart) Detective Harding, have you been into the cooler lately? Apparently some libidos are inflamed by the proximity to death. Brennan and James shake their head in disbelief. DETECTIVE HARDING: God, Graham. Thinking about sex in this place should be illegal, if it ain't already. Detective Harding and the Police Officer leave. Embry is looking at the skull and sees something strange. BRENNAN: (talking to Sam outside the room) Oh, Sam, I'm going to need X-rays on this one. Embry begins to leave the room and meets SAM POTTER, an orderly, as he is entering. JAMES EMBRY: (to Sam) Looks like there's something lodged behind his teeth. Sam nods his head and comes into the room to take John Doe 361 for X-rays. Brennan is covering the body with plastic as Graham talks to her. GRAHAM LEGIERE: (to Brennan) You've been working 48 hours straight. You need the evening off. BRENNAN: I only have one vacation day left. GRAHAM LEGIERE: What are you...doing penance for FEMA? Why don't you let me cook you dinner tonight? BRENNAN: I don't know. GRAHAM LEGIERE: (pleading) Come on. Sam is finishing wrapping up John Doe 361 with a sheet and almost ready to leave. GRAHAM LEGIERE: I'm a Southern gentleman, ma'am. Your honor will be respected. SAM POTTER: (scoffs) Yeah. Sam wheels John Doe 361 out of the room leaving Brennan and Graham alone. BRENNAN: Tell you what, Graham. We'll see what the X-rays tell us about this one. And then, maybe, we'll get a bite to eat. GRAHAM LEGIERE: All right. Flash Cut To: INT. TILED BATHROOM Open with an overhead sh*t of Brennan lying on the floor. She is unconscious with a pool of blood surrounding her head and dripping from her mouth. Her clothes and hands are covered in it. A blood soaked towel is on the floor next to her and there are blood smears all over the floor. Flash Cut To: B/W sh*ts OF UNKOWN BLOODY TORSO Flash Cut To: INT. TILED BATHROOM Brennan begins to come around, coughing and panting. Camera pans down as she slowly sits up and tries to focus and understand where she is and what has happened. She seems to remember something. Flash Cut To: B/W sh*ts OF BLOODY HANDS AND BLOOD SPLATTERS ON A WALL Flash Cut To: INT. TILED BATHROOM Brennan still doesn't know what's happening. She attempts to get up. When she tries to lift herself by grabbing onto the vanity with her right hand, she groans in pain and slips back to the floor rubbing her hand. She tries again, this time using her forearm to lean on, and stands. She looks in the mirror and is stunned by her appearance. Flash Cut To: B/W sh*t OF A Kn*fe ON A TILED FLOOR Flash Cut To: INT. TILED BATHROOM Brennan is still examining her face in the mirror. She reaches for her ear as she notices her earring is missing. Flash Cut To: B/W sh*ts OF GRAHAM SMILING, BLOOD SPLATTERS ON THE BASEBOARD OF A WALL PANNING UP TO THE SHOES OF A PERSON HANGING THERE, A HAND SPIKED TO A WALL THROUGH THE WRIST WITH BLOOD STREAMING DOWN, A PAIR OF LEGS IN JEANS AND BOOTS RUNNING DOWN STAIRS. Flash Cut To: INT. TILED BATHROOM Overhead sh*t of Brennan weak and stumbling trying to leave the bathroom to answer the phone ringing in the next room. Flash Cut To: B/W sh*t OF INFINITY SYMBOL ON A WALL WITH BLOOD STREAMING DOWN Flash Cut To: INT. HOTEL SUITE - NEW ORLEANS Brennan picks up the phone and sits on the sofa. A HOTEL CLERK's voice O.S. is heard on the phone. HOTEL CLERK: Dr. Brennan, your airport shuttle is here. BRENNAN: (still groggy) What? No. Um. My flight isn't until Thursday. HOTEL CLERK: Today is Thursday, Dr. Brennan. Brennan takes the phone away from her ear. BRENNAN: (mumbles to herself) What happened to Wednesday? HOTEL CLERK: (still on phone) Dr. Brennan? Hello? Are...are you there, Dr. Brennan? END OF TEASER Credits ACT I INT. HOSPITAL EXAMINATION ROOM - NEW ORLEANS Brennan is being examined by a doctor. She has been cleaned up and is wearing a hospital gown. DOCTOR: Looks like someone stole your earring. Ripped it right out of the lobe. BRENNAN: I don't know what happened to me. DOCTOR: It's a tough town. We don't have that many cops anymore and, uh... Detective Harding enters the examination room without knocking interrupting the Doctor. He turns and sees her and continues. DOCTOR: (smiling) They were never that good to begin with. DETECTIVE HARDING: You shouldn't insult the ones that stuck around. BRENNAN: Detective Harding, I didn't know who else to call. Detective Harding turns around and sees her pile of clothes on a table. DETECTIVE HARDING: (to Doctor) I need blood samples on this clothing. (to Brennan) Maybe we'll get lucky and they won't all come from you. Still hazy on the details? BRENNAN: I'm not hazy on the details. I...I don't remember anything. DETECTIVE HARDING: Nothing? BRENNAN: Um, Dr. Legiere knocking over a tray of instruments at the morgue. Then...mm...nothing. DETECTIVE HARDING: That was the day before yesterday. BRENNAN: I requested a r*pe kit. DOCTOR: No sign of sexual activity forced or otherwise. The door opens and BOOTH rushes in heading straight for Brennan. A WOMAN #1 is behind him trying to stop him. He is too worried about Brennan to be stopped. WOMAN #1: Sir, ,sir, you can't go in there. BOOTH: (shrugging her off) Bones, you okay? BRENNAN: Booth, I told you not to come. DETECTIVE HARDING: Who's this? BRENNAN: He's FBI. We're sort of partners. DETECTIVE HARDING: Guy flies down from D.C.? You're more than "sort of." Booth brushes off Detective Harding's comment. He's anxious to see how Brennan is. BOOTH: (to Harding) Yeah, that's great. (to Brennan) You remember anything? BRENNAN: (sighs) The tray falling over. BOOTH: (to Doctor) Why can't she remember anything? DOCTOR: Well, it could be the head injury. BRENNAN: Hairline stress fracture on my right distal radius, concussion, slight fever, torn earlobe. I lost one of my favorite earrings. She pulls the only earring left off of her ear and shows it to Booth. It's obvious he is distressed and concerned about Brennan. BOOTH: You're worried about an earring? You should really be worried about losing a whole day. BRENNAN: I know. It's stupid. But these earrings were my mother's. DOCTOR: Amnesia caused by any traumatic event, injury or drug, can erase memories before the event, not just after. BOOTH: Great, we'll just wait for a tox screen. DOCTOR: It's gonna be at least 24 hours. BOOTH: (getting upset) 24 hours? DOCTOR: Well, most of the labs in the area were destroyed by the hurricane. DETECTIVE HARDING: We'll find out what happened. You just take care of your...uh...partner. Booth is barely hanging on to his temper. He clinches his jaw and focuses on Brennan. He reaches and with a bent finger under her chin forces her to look at him so he can look at her injuries. CUT TO: EXT. JEFFERSONIAN INSTITUTION - ESTABLISHING sh*t CUT TO: INT. JEFFERSONIAN - MEDICO-LEGAL LAB HODGINS steps onto the platform with an envelope showing it to everyone. HODGINS: Another present from the Bayou. ANGELA and ZACK are already on the platform. Zack is in the background working at a computer station. ANGELA: I keep asking for a baby "T" that says "The Big Easy." HODGINS: Well, we're all hoping for that. He smiles at the thought of her in that shirt. Angela looks a bit shocked. Hodgins backpedals fast. HODGINS: For you, I mean. Angela smiles at him. Zack comes up behind her. ZACK: Does our funding allow us to do Dr. Brennan's vacation work? Zack clears his throat trying to get Hodgins' attention away from Angel. Hodgins hands an X-ray to Zack that came from the envelope sent by Brennan. ANGELA: We're doing what the government didn't. It's the yin yang of government spending. Both Hodgins and Zack are looking at X-rays. ZACK: So we're sneaking? HODGINS: That's what makes it fun. Angela and Hodgins smile while Zack studies the X-ray. ZACK: John Doe 361. Wow. Bad things happened to Mr. Doe. Cut To: EXT. CAR TRAVELING THROUGH DISASTER AREA - NEW ORLEANS - DAY Booth and Brennan are in the car. Booth is driving and Brennan is in the passenger seat. They talk over the establishing sh*t. BOOTH (O.S.): Yeah, it'll come back bones. BRENNAN (O.S.): You don't know that. Head injuries are extremely unpredictable. Cut To: INT. CAR - NEW ORLEANS - DAY BOOTH: I'm just being reassuring. Brennan's cell phone rings. She answers. BRENNAN: Brennan. Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB Zack is looking at the X-rays of John Doe 361 that have been scanned into the computer and now show up on the monitor. ZACK: Regarding the X-rays of John Doe 361. Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: John Doe 361? Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB ZACK: Yes. You sent his X-rays. BRENNAN (O.S.): (through phone) I don't remember that. Zack turns toward phone, perplexed by her response. ZACK: You don't remember? Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: What about the X-rays, Zack? ZACK (O.S.): (through phone) Male. Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB The camera pans from Zack to behind him where Angela is looking at the original X-rays as he's talking. ZACK: Late 40's. Mixed race. Anomalies on his spine which I'm looking into. But the point is, his death was not accidental. Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: I sent you the X-rays of a m*rder victim? Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB On Angela as she continues looking at the X-rays. BOOTH (O.S.): (through phone) How'd he die? Angela perks up hearing Booth's voice and turns toward the speakerphone. ANGELA: Is that Booth? BRENNAN (O.S.): (through phone) Yes. ANGELA: (smiling) You're hopping the Streetcar Named Desire with Booth? (to Zack) Oh, I love this. ZACK: Obviously, they're working the m*rder of John Doe 361 together. BRENNAN (O.S.): (through phone) Precisely. Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: How did 361 die? Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB ZACK: The pelvis shows crush fractures. There's also what appears to be a b*llet hole in the skull, but there's no exit wound. BRENNAN (O.S.): (through phone) Okay, keep working on it. The sound of Brennan hanging up the phone is heard and Zack nods turning back toward the computer. Cut To: INT. CAR - NEW ORLEANS - DAY BOOTH: You don't remember the case? BRENNAN: No. And it's a m*rder. (feels hunger pain) Oh, I'm hungry. BOOTH: Well, when was the last time you ate? Brennan just stares at him not believing he asked that question. BOOTH: Oh, my bad. You have amnesia. Suddenly, Brennan recalls something. BRENNAN: Booth, I think I know a place. Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY (Spoiler Note: This appears to be the same set used for the Royal Diner in Washington, D.C., used in season 2.) Brennan and Booth are sitting at a two-top table in front of the window. Brennan is looking at a menu and Booth is playing with a spice shaker as they talk. The camera opens on wall decorations and pans over to them at the table. BOOTH: All right, so what is the last thing that you do remember? BRENNAN: I told you, Graham, Dr. Legiere, knocked over a tray of surgical instruments. BOOTH: I want to talk to Legiere. BRENNAN: We must've been about to examine John Doe 361. A man who appears to be the chef of the restaurant, PETER LESALLE, enters. PETER LESALLE: (O.S) Dr. Brennan? (enters scene and approaches) I thought you were leaving today. BRENNAN: Peter, this is my friend, Seeley Booth. Booth and Peter shake hands. Peter notices Brennan's injuries. PETER LESALLE: My God. What happened to you? BRENNAN: I'm not certain, but the bruising suggests Tuesday night. PETER LESALLE: After you left here? BRENNAN: I was here Tuesday? BOOTH: What time? PETER LESALLE: In at 8:00, left at 9:00. Don't you remember? (O.S) You had dinner with Sam Potter. Flash Cut To: B/W sh*ts OF SAM EATING, PETER, A MAN WIPING BLOODY HANDS ON A WHITE APRON, SOUND OF LAUGHTER Flash Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY Camera on Brennan's dazed face as she remembers these images. BOOTH: (O.S.) Bones? Bones? BRENNAN: We have to go back to the morgue. Talk to Sam. She gets up to leave the restaurant. BOOTH: Who's Sam? BRENNAN: He's an orderly. He...he practices voodoo. Brennan is already out of the door when Booth gets up, gives a goodbye wave to Peter and follows. BOOTH: Bones, wait up. Cut To: EXT. TEMPORARY MORGUE - ST. GABRIEL, LOUISIANA - DAY SAM POTTER: (O.S.) You invited me to dinner. BRENNAN: (O.S.) Why? Cut To: INT. TEMPORARY MORGUE - BALCONY PEWS - DAY Booth, Sam and Brennan are sitting in the balcony. Sam gives Brennan a box with voodoo spell casting ingredients. SAM POTTER: You found this in the mouth of a John Doe. Brennan takes the box and looks at the contents. BOOTH: (O.S.) Let me see that. Brennan turns the box toward Booth who looks at the contents. BOOTH: That's voodoo? SAM POTTER: It's a gris-gris bag. It's a mojo. This one is meant to silence the d*ad so they can't speak. BOOTH: Well, usually d*ad people are pretty much silent on their own. BRENNAN: Voodoo embraces the premise that spirits can speak to us from beyond the grave. SAM POTTER: Voodoo is all about the balance of the forces. That wind, the flood, this death - it's all out of balance now. Katrina was Armageddon for the ones who love balance. Some think it was Secte Rouge that brought it on. BOOTH: What's that? Some kind of a g*ng? SAM POTTER: The ones who follow evil. Some believe that they purposely angered the sirens who sent the flood. (points to box) This...this is Secte Rouge. BOOTH: Okay, so that's literally bad voodoo. Sam takes the box from Brennan and gives Booth a closer look. SAM POTTER: It's black gum root. There's only one place you can find it. A voodoo shop on Pontchatrain Avenue run by Richard Benoit. He's a good man. Maybe he can help you. Sam closes the box and gives it to Booth. BOOTH: Okay, thanks. Brennan and Booth get up and are leaving with Sam speaks. SAM POTTER: Dr. Brennan, a lost day? Perhaps a spell was cast on you as well. BRENNAN: No disrespect, Sam, but it's not my religion. Brennan walks down the balcony steps and Booth remains behind looking at Sam with a confused look on his face. Brennan stops and calls back to him. BRENNAN: Come on, Booth. Cut To: EXT. CAR TRAVELING ON A STREET - NEW ORLEANS - DAY Booth and Brennan talk over the establishing sh*t. BOOTH: (O.S.) Voodoo. Who's going to believe that stuff? BRENNAN: (O.S.) It's a religion. No crazier than - well, what are you? Cut To: INT. CAR - NEW ORLEANS - DAY Booth is driving and Brennan is in the passenger seat. BOOTH: (takes of sunglasses) Catholic. BRENNAN: (O.S.) They believe in the same saints you do, and prayer. (on Brennan) What they call spells, you call miracles. They have priests. BOOTH: We don't make zombies. BRENNAN: Jesus rose from the d*ad after three days. Booth quickly turns his head toward her. He's shocked speechless for a moment but when he does recover, he's not happy. Brennan's cell phone rings and she answers it. BRENNAN: Brennan. BOOTH: (pointing to emphasize) Jesus is not a zombie. All right? Man. (puts on sunglasses) I shouldn't have to tell you that. Brennan stares at his outburst like he's nuts. ZACK: (O.S. through phone) On John Doe 361... Cut To: INT. JEFFERSONIAN - X-RAY ROOM Zack is talking into the speakerphone and Angela is in the background looking at X-rays. ZACK: ...there's a narrowing of the disk space on L2 and L3. Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: (to Zack) Congenital? Cut To: INT. JEFFERSONIAN - X-RAY ROOM ZACK: (to Brennan) Unclear. Extensive injuries consistent with a body being thrown around by a flood. Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: (to Zack) Cross reference what you know so far with the DMORT records of missing Katrina victims. ANGELA: (O.S. through phone) Hey, Brennan? Cut To: INT. JEFFERSONIAN - X-RAY ROOM Angela steps forward and speaks into the speakerphone. ANGELA: Why haven't you come home? BRENNAN: (O.S. through phone) Pretty soon, Ange. ANGELA: Is Booth there socially? Cut To: INT. CAR - NEW ORLEANS - DAY BRENNAN: No, of course, not. ANGELA: (O.S. through phone) All right, what's going on? Booth grabs the phone from Brennan's ear and talks to Angela. BOOTH: Okay, Bones has amnesia because a... Cut To: INT. JEFFERSONIAN - X-RAY ROOM Camera on Zack's and Angela's reactions to Booth's story. BOOTH: (O.S. through phone) ...voodoo m*rder put a spell on her to keep her from solving the m*rder of John Doe 361. Cut To: INT. CAR - NEW ORLEANS - DAY Brennan tries to grab the phone back from Booth to clarify the story but he switches it to his other ear so she can't reach it. BRENNAN: That's a huge supposition. Cut To: INT. JEFFERSONIAN - X-RAY ROOM ANGELA: (disbelieving) That's fine if you don't want to tell me. Zack turns off the phone. ZACK: Ah. Voodoo amnesia. It's a good one. ANGELA: Mm-hmm. It's great. Brennan's fighting zombies in New Orleans and we're stuck here. Cut To: EXT. CAR TRAVELING ON A STREET - NEW ORLEANS - DAY Cut To: INT. VOODOO SHOP - PONCHARTRAIN AVENUE - DAY Booth and Brennan enter the voodoo shop. BOOTH: Whoa. What's that smell? BRENNAN: I imagine everything smells in here. Booth spots a picture of a Cadillac Brougham and is in love. He begins to bend down in front of it almost in worship. BOOTH: Whoa. Please just tell me that that car survived Katrina. (he whistles) From behind a beaded room divider, RICHARD BENOIT, the store owner, enters. RICHARD BENOIT: (re the car) We used it to evacuate. BOOTH: Did you restore it yourself or did you use voodoo? RICHARD BENOIT: Ah (he laughs). An unbeliever. What can I do for you? BOOTH: You, uh... He pulls the bag of ingredients obtained from John Doe 361's mouth from his pocket and puts it on the counter. BOOTH: You know what that is? RICHARD BENOIT: This is a dark spell. Forbidden magic. Very strong. This is Secte Rouge. I certainly wouldn't make anything like this. BOOTH: But you have the ingredients here? RICHARD BENOIT: Well, the individual ingredients are not malignant. It is how they are combined and what intention they are used for that makes a spell good or bad. BRENNAN: Do you recognize me? RICHARD BENOIT: No. Should I? BOOTH: Anyone else work here? RICHARD BENOIT: My daughter, Eva. What is this about? Booth pulls out his FBI credentials and shows them to Benoit. BOOTH: We're conducting an investigation. RICHARD BENOIT: (yells toward back room) Eva! (back to Booth) What kind of investigation? BRENNAN: Is it true that this is the only place a person could buy black gum root? RICHARD BENOIT: Yes. Most places like this are all gone now. It's not a coincidence. Benoit turns around and picks up some black gum root and hands it to Booth and Brennan who examine it. At the same time, a door is heard to open and EVA BENOIT enters the shop from the back room. EVA BENOIT: Yes, daddy? RICHARD BENOIT: Have you ever seen this lady before? Brennan looks up at her so Eva can see her face clearly. EVA BENOIT: No, why? Brennan holds up the black gum root to her. BRENNAN: We need to know who's bought this lately. EVA BENOIT: (to father) Don't they need a warrant? RICHARD BENOIT: Ah (uncomfortable laugh). Eva will pull up what you need on the computer. (as "please, do it for me") Eva. Eva reluctantly moves to the computer to begin pulling records. BOOTH: What you said before, what did you mean just a coincidence? RICHARD BENOIT: Most places like this, where a houngan, a priest, can get what he needs, they are all gone now. BRENNAN: Because of the hurricane and flood? RICHACRD BENOIT: Which occurred because of a lack of balance. BRENNAN: Mr. Benoit, are you suggesting that Secte Rouge somehow conjured up a hurricane? EVA BENOIT: Secte Rouge voodoo is much more powerful than ours. RICHARD BENOIT: No, Eva. Not more powerful. Destruction is easier than harmony but not more powerful. (to Booth and Brennan) There are a lot of misunderstandings about voodoo. BOOTH: Yeah. That whole zombie stuff puts a crimp in your public relations I bet. (uncomfortable laugh) Eva joins them all again with a list of buyers which she hands to Brennan. EVA BENOIT: These are the people who have bought black gum root in the past month. Brennan reads the list and recognizes a name. BRENNAN: Graham Legiere, the medical examiner. Booth takes the list and reads it. Cut To: EXT. GRAHAM LEGIERE HOME - DAY Booth and Brennan talk over the establishing sh*t. BOOTH: (O.S.) I tried to get in touch with him. BRENNAN: He was scheduled to be out in the field this week. Cut To: INT. GRAHAM LEGIERE HOME - FOYER - DAY Brennan opens the door and enters followed by Booth. She calls for him as she enters. BRENNAN: Graham? It's Temperance. BOOTH: What if he's not here? BRENNAN: Well, he's probably asleep. He's been working nights. (shouts) Graham? Graham? Booth bends over her shoulder and tries to make a joke. [Note: Graham Crackers are cinnamon and sugar coated crackers sold in the U.S. Also, "cr*cker" is a derogatory name for a Southerner.] BOOTH: cr*cker. BRENNAN: Hey, that's not funny. I think he invited me to dinner that night or drinks. I can't remember. BOOTH: Mm-hmm. You know what? Maybe he "roofied" you. BRENNAN: I'm sure he bought the black gum root to look into its medicinal qualities. BOOTH: Yeah, because we all know how effective that is. BRENNAN: Voodoo healing is quite effective. No crazier than acupuncture or exorcism. BOOTH: Hey, hey, easy on the Catholics. Okay? Just easy. (sees something). Bones? He points into the next room where a blanket is tossed over a full-length mirror. Flash Cut To: B/W sh*t OF MAN'S TORSO. Flash Cut To: INT. GRAHAM LEGIERE HOME - FOYER - DAY Brennan remembers something and looks toward the upstairs. See turns toward the steps. BOOTH: Here we go again. Cut To: INT. GRAHAM LEGIERE HOME - STAIRS LEADING TO SECOND FLOOR - DAY Brennan climbs the stairs. Booth calls after her and follows. BOOTH: (O.S.) Bones! Flash Cut To: B/W sh*t OF LEGIERE SMILING, INDISTINCT VOICES OVERLAPPING Flash Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Brennan is moving down the hall seemingly looking for something while flashes of memory b*mb her. Flash Cut To: B/W sh*t OF BASEBOARD WITH BLOOD SPLATTERS Flash Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Brennan is still moving down the hallway. More memories. Flash Cut To: B/W sh*t OF MAN'S SHOE-COVERED FEET AGAINST A WALL WITH BLOOD DRIPPING DOWN Flash Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Brennan is still moving down the hallway. Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Brennan's POV sees a room down the hall with the door slightly ajar. Flash Cut To: B/W sh*t OF A FACE STRIPPED OF SKIN, BLOOD DRIPPING Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Still Brennan's POV of the slightly ajar door. BOOTH: (O.S.) You okay? Flash Cut To: B/W sh*t OF A HAND DROPPING A BLOODY Kn*fe ON A TILED FLOOR Flash Cut To: B/W sh*t OF SOMEONE IN JEANS AND BOOTS RUNNING DOWN STEPS AND EXITING THROUGH A DOOR LEAVING A BLOODY HAND PRINT BRENNAN: (O.S.) Something bad happened here. Flash Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Brennan is still staring at the door. She appears paralyzed. Booth is now behind her in the hallway. BRENNAN: And I got away. Booth moves forward toward the door. Brennan stands still and then follows him. Cut To: INT. GRAHAM LEGIERE HOME - OUTSIDE OF ROOM WITH DOOR AJAR Camera moves in on door. Booth's hand is shown slowly opening the door. Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS BEDROOM Camera is on Booth and Brennan as they enter the room. Cut to a sh*t of a mirror and the reflection of Graham Legiere's body crucified on the opposite wall. Cut back to Booth and Brennan as they turn toward the wall and see him. Now we see all of the previous black and white images of the body in full color. He is staked to the wall by his wrists. It looks like he is disemboweled and a large Kn*fe or possibly another stake is stuck in his chest. There is blood dripping down the wall and pooled on the floor. There is a mojo bag hanging around his neck. Cut back to Booth and Brennan staring in disbelief. BOOTH: Oh, yeah. Something bad. END OF ACT I ACT II INT. GRAHAM LEGIERE HOME - UPSTAIRS BEDROOM The police have arrived and the police photographer is flashing pictures of the body and crime scene. There are flash cuts to various aspects of the scene including all the stakes and the body being zipped up in the body bag. Sirens can be heard outside. Detective Harding, with her notebook in hand, exits the room. Cut To: INT. GRAHAM LEGIERE HOME - UPSTAIRS HALLWAY Booth and Brennan are waiting down the hall near the top of the stairs. Detective Harding approaches them. DETECTIVE HARDING: What exactly were you doing here? BRENNAN: It's Graham, isn't it? DETECTIVE HARDING: Tell you what, Dr. Brennan, I'm going to ask the questions. BOOTH: Oh, come on, Detective. She was working with the guy. DETECTIVE HARDING: How closely? BRENNAN: What's that supposed to mean? DETECTIVE HARDING: Answer my question, please. What brought you here? Was it a social call? Business? Revenge k*lling? BOOTH: Look, Legiere bought some black gum root from the voodoo store. We just stopped by to ask why. DETECTIVE HARDING: Why? BRENNAN: That's what we came here to ask. DETECTIVE HARDING: You wanna look behind me and remind yourselves why I'm a little low on sense of humor. BRENNAN: Wuh, that wasn't a joke. BOOTH: Oh, no, she's not wisecracking. She just tends to be a bit literal. While Brennan is talking to Harding, Booth looks on the floor and sees Brennan's lost earring by the leg of a hall table. He doesn't say anything to either Brennan or Harding that he's seen it. BRENNAN: Day before yesterday, I showed a voodoo expert a mojo that Graham found lodged in the mouth of John Doe 361. DETECTIVE HARDING: This, uh, voodoo consultation, did it occur before or after amnesia. BOOTH: Look, the amnesia's real. BRENNAN: Graham purchased a rare ingredient at a voodoo shop on Pontchartrain Ave. A POLICEWOMAN #1 enters the hall from the bedroom and comes up behind Detective Harding while she speaks. She has something in her hand. DETECTIVE HARDING: So Graham made voodoo spells, shoved them into corpses' mouths, then pretended to be surprised when he found them? Booth sees the policewoman and what she has in her hands. BOOTH: What's that? POLICEWOMAN #1: Ma'am? Harding turns her back to Booth and Brennan to examine was the Policewoman as brought. Brennan moves closer to get a better look leaving Booth alone and unnoticed. He bends down while they're talking, picks up Brennan's earring and puts it in his pocket. DETECTIVE HARDING: Split cast, huh? More voodoo. Just like the symbol on the wall? Bag it as evidence. BRENNAN: Secte Rouge? Harding turns back to Brennan. Booth, with the earring safely in his pocket, steps forward and joins them. DETECTIVE HARDING: What do you know about Secte Rouge? BOOTH: If you're done with us, Detective, we're going to go. He takes Brennan's arm and begins to drag her toward the stairs. Harding's words stop them. DETECTIVE HARDING: I'm gonna tear this place apart. If I find one piece of evidence that ties you to this scene, I will take you into custody. BRENNAN: Wait, do you really think that someone could go into a trance, commit a m*rder like that, and not remember it? DETECTIVE HARDING: No, I don't. But I sure as hell think someone can fake amnesia. BOOTH: That's great. Thank you, Detective. Booth ushers Brennan away. Cut To: EXT. TEMPORARY MORGUE - ST. GABRIEL, LOUISIANA - DAY Cut To: INT. TEMPORARY MORGUE - BALCONY PEWS - DAY Assistant medical examiner, Dr. James Embry, has several charts that he hands to Brennan. JAMES EMBRY: These files are everything you and Graham worked on the day before yesterday. BRENNAN: James, meet Agent Seeley Booth. Dr. Embry is Graham's second in command. BOOTH: Condolences on your sudden promotion. JAMES EMBRY: Um, why do you think the job had anything to do with Graham being k*lled? BOOTH: Bones has voodoo amnesia, Legiere is voodoo d*ad, and the last thing they worked on together was a voodoo ritual m*rder. So, I'm...I'm thinking there might be some kind of a connection. JAMES EMBRY: Legiere's body. Is it, uh, as bad as they say? BRENNAN: How bad are they saying it is? BOOTH: No matter how bad they're saying it is, it's worse. JAMES EMBRY: I just want to ment*lly prepare myself. Um, I start his autopsy in a few minutes. BRENNAN: The file I need is John Doe 361. JAMES EMBRY: According to records, these are the only cases you worked on the day before yesterday. Four sets of remains, two were easy I.D.s, drown victims, processed and booted for burial. The other two were both males, John Does 349 and 350. BRENNAN: I sent 361's X-rays to the Jeffersonian. JAMES EMBRY: Well, I'll check again. Embry leaves. Brennan glances through a file she's holding while Booth watches as they wait for Embry to return. BOOTH: Can I make a lifestyle suggestion? BRENNAN: Go ahead. BOOTH: You know, vacation. It's from the Latin, "vacatio." It means, you know, "freedom" or "release." You might want to consider that next time. BRENNAN: Learning Latin? BOOTH: This is the opposite of vacation. No wonder you snapped, went insane and totally lost your mind. BRENNAN: Oh, thanks for your understanding. Embry enters from off screen. JAMES EMBRY: Uh, Dr. Brennan. There's no John Doe 361. BRENNAN: Then whose X-rays did I send to D.C.? JAMES EMBRY: No, I mean the file is gone. Brennan and Booth stare at each other not fully surprised that this is happening. Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM There are lots of bodies in body bags on tables. Sam Potter is in the room chanting over the bodies. He has a snake around his neck and moves from body to body saying his prayer. Brennan, followed by Booth and James, enter the room through a plastic curtain partition. She hands Booth her phone set on speakerphone. BRENNAN: Ugh, okay, hold that. BOOTH: Got it. ZACK: (O.S. through phone) Zack Addy. BRENNAN: Zack, it's me. Anything else on John Doe 361? Cut To: INT. JEFFERSONIAN - BONES ROOM Zack and Angela are in the Bones Room (the one with drawers with bones in them from floor to ceiling) looking at X-rays on a large light table. ZACK: Yes, Dr. Brennan. We found some damage to the pubic bone. Some kind of strike marks. Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM Brennan is checking the tags on all the bodies looking for John Doe 361. BRENNAN: Did you get Angela to reconstruct the pattern? ANGELA: (O.S.) Yeah. Hi, sweetie. I'm here. Cut To: INT. JEFFERSONIAN - BONES ROOM ANGELA: Uh, I tried to make a digital positive, but it didn't work. BRENNAN: (O.S.) Why? Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM BOOTH: Voodoo probably. ANGELA: (O.S.) The extrapolation protocols can't resolve the gradient fluxes in the bone shadings. JAMES EMBRY: What's that? BOOTH: That's mumbo jumbo. It's scientific voodoo. BRENNAN: Can you do it manually? ANGELA: (O.S.) Off an X-ray? Cut To: INT. JEFFERSONIAN - BONES ROOM ANGELA: Mm, not really. ZACK: Can't you send the actual remains? Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM BRENNAN: They don't exist. ZACK: (O.S.) That makes no sense. BOOTH: Voodoo. It's probably voodoo. Cut To: INT. JEFFERSONIAN - BONES ROOM ANGELA: Voodoo? Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM BRENNAN: Okay, quit saying voodoo. BOOTH: Yeah, because, you know, it's not a factor. BRENNAN: Okay, let me know what you find. Bye. Booth switches off the phone while he watches Sam perform his prayer ritual. Sam's chanting is louder. BOOTH: How do we know this is not the guy shoving mojo bags into d*ad people? SAM POTTER: Those spells are the work of a sorcerer. Priests houngans can make healing mojos, but I'm not allowed. BOOTH: But snake shaking, that's fine? Brennan looks at the snake and touches it. SAM POTTER: The snake pulls the evil out of the soul freeing the spirit, the loua. I must do what small things I can. The floods washed away too much of what was good. Booth sees Brennan handling the snake. BOOTH: Hey, Bones, how's about while you're a m*rder suspect, you, uh, act more like a normal woman and less like Lily Munster, okay? He pulls Brennan away from handling the snake. BOOTH: Goodbye. Good snake. Bye-bye. That's it. Now that he's gotten her away from the snake, they head for the exit. BOOTH: Now, call me crazy, but I'm suspicious of snake man. BRENNAN: Ugh, that's because you've been inculcated by the mainstream culture's prevailing Judeo-Christian tradition into instinctive skepticism of alternative mores. BOOTH: Yeah. Thanks for that explanation. Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB Zack is looking through a magnifying glass as Hodgins comes up behind him. He stays behind him during the entire scene. HODGINS: I've been over every inch of these X-rays. ZACK: Me, too. HODGINS: There's evidence of particles on the bones, but there is no way for me to know what they are. ZACK: Probably dirt. Hodgins is not pleased with Zack's use of the word "dirt." HODGINS: Yes, thank you, Zack. But dirt is a meaningless word. Zack is concentrating on an X-ray and doesn't respond to Hodgins' comment. ZACK: You can't see air on an X-ray. HODGINS: What? I never said you could. I'm not even talking about air. ZACK: You can see a space where air might be like a cavity, but not the air itself. HODGINS: What I'm saying is that yes, there are flecks on the X-rays that might be dirt, but that doesn't tell us anything. Hodgins is getting mad that Zack isn't paying attention to him. He jerks Zack around in his chair so he can see his face. HODGINS: Is it sandy? Hm? Silty, "humusey"? Is it clay? Is it more organic than mineral? Is it soil? Is it pulverized gravel? What minerals are in it? Are the minerals crystalline? See, these are all details a person cannot get off an X-ray no matter how long he stares at it. Zack has slowly drifted off during Hodgins speech and is obviously thinking about something else. ZACK: Sometimes a person should look for things that aren't there instead of things that are there. HODGINS: You mean me? In dirt? ZACK: No. Me. On the X-ray. I've been looking for anomalies which exist instead of anomalies which don't exist. HODGINS: Zack, if you are ever going to successfully mimic being human, you have to stop making everything about you and feign interest in the other guy. (no response) Zack! Zack continues to stare at an X-ray. ZACK: I've noticed that you try to look taller. HODGINS: When? ZACK: Around Dr. Brennan. HODGINS: I do not. ZACK: And Angela. Because they are both taller than you. HODGINS: You know what? I take it back. Don't take any interest in the other guy. ZACK: (oblivious) Thank you for your help. Hodgins is on the verge of k*lling Zack and pretends to strangle him from behind. Cut To: EXT. BRENNAN'S HOTEL - NEW ORLEANS - NIGHT BOOTH: (O.S.) So, do you remember anything else that could help us out? Cut To: INT. BRENNAN'S HOTEL - NEW ORLEANS - NIGHT Booth and Brennan are in her suite. BRENNAN: It could have been me. BOOTH: Do you remember that? BRENNAN: Look at it objectively. Graham Legiere was k*lled between 11:00 p.m. Tuesday and 3:00 a.m. Wednesday. Not only do I not have an alibi, I...I can't even explain to myself where I was. It could've been me. BOOTH: (chuckles) No, it couldn't. BRENNAN: Yes. Wha...how do you know? BOOTH: I just know, okay? I'd bet my professional career on it. I already did. BRENNAN: What? BOOTH: Nothing. BRENNAN: What did you do? BOOTH: Bones! Stop. This is the last time and place that you want to be rational, okay? Let's just be wildly emotional and assume that you didn't psychotically m*rder a coworker who invited you over for dinner. Booth sees something on Brennan's bed pillow. BOOTH: What's that? BRENNAN: What? BOOTH: (pointing) That. Brennan gets up and moves to the pillow picking up whatever it is. BRENNAN: Ew. BOOTH: Is it another voodoo dumpling? It's another mojo bag. She opens it up picking through the contents. BRENNAN: It's some kind of flesh. And these are seashells. And leather, I think. BOOTH: Is that a human tooth? BRENNAN: Yes. A canine. The door bursts open and Detective Harding rushes in with her g*n drawn, several other policemen behind her also with g*n. Booth turns to face her pulling his own w*apon out. DETECTIVE HARDING: Put down your w*apon, Agent Booth. They face each other, g*n pointing at each other. BOOTH: Put down your w*apon. There's no thr*at from us. DETECTIVE HARDING: You're holding a g*n on me. BOOTH: Yeah, well, you know, my finger here (waves it) is not on the trigger. It's the best I can do under the circumstances. Harding reluctantly puts her g*n away. DETECTIVE HARDING: (to the cops) Holster your w*apon. The other policemen put their w*apon away and so does Booth. DETECTIVE HARDING: I'm here to arrest Dr. Brennan for the m*rder of Graham Legiere. BOOTH: Whoa, that's not gonna happen. DETECTIVE HARDING: Yeah, I'm pretty sure it is. BRENNAN: I told you, Booth. BOOTH: Bones, please! Just once in your life will you be quiet? DETECTIVE HARDING: That's good advice because everything you say can and will be held against you in a court of law. (seeing the bag) What is that? BRENNAN: I...I found it on my pillow. Brennan hands the mojo bag to Harding. BOOTH: Bones! (groans in frustration) DETECTIVE HARDING: Thank you, Dr. Brennan. Harding drops the mojo bag into a plastic evidence bag. BOOTH: What's the probable cause? DETECTIVE HARDING: Traces of Dr. Brennan's blood in Legiere's home, Legiere's blood on her clothing from the clinic. BOOTH: Is that it? DETECTIVE HARDING: All I'm prepared to share with the federal government. Now, please. Step away from my collar. BOOTH: I'm afraid I can't let that happen. Brennan steps around Booth and offers herself up to Harding. BOOTH: Bones! Geez! (slaps himself on the forehead) BRENNAN: It's better if nobody else dies while we get to the bottom of this. Harding puts the handcuffs on Brennan. BOOTH: Well, you know what, I wasn't planning on dying. BRENNAN: (being handcuffed) Ow. It's not you I worry about. Ow. You're welcome to the room. It's paid for. Harding shoves Brennan out of the room. Everyone but Booth follows. Booth sighs, turns in a circle and then stops. He reaches in his pocket, pulls out her earring, looks at it, tosses it in the air and catches it. He looks up, seemingly to God, appearing to ask what to do next. FADE TO BLACK END OF ACT II ACT III EXT. STREET SCENE - NEW ORLEANS - DAY Cut To: INT. DETECTIVE HARDING'S OFFICE - DAY Harding is interrogating Brennan. DETECTIVE HARDING: Were you sleeping with Graham Legiere? BRENNAN: I don't...I don't think so. DETECTIVE HARDING: You don't think so? BRENNAN: I don't remember sleeping with him. And at the clinic they said there was no sign of sexual activity. They are interrupted when CAROLYN JULIAN and Booth enter the office. CAROLYN JULIAN: I hope you've kept your mouth shut. BOOTH: Hey, Temperance Brennan, Carolyn Julian. She's your lawyer. (they shake hands) She's from the U.S. Attorney's Office. She's the best there is. DETECTIVE HARDING: You found a prosecutor to defend her? Interesting tactic. BRENNAN: I've told Detective Harding everything I know so far. CAROLYN JULIAN: She's a fool. You didn't tell me she's a fool. BOOTH: Look, she's a brilliant forensic anthropologist. BRENNAN: Well, I have three degrees. I've pioneered research in... CAROLYN JULIAN: What's that? (points at evidence on desk) BRENNAN: A gris-gris bag. I found it in my hotel... (Harding stops her from touching it) room and... I'm assuming the person who left it there is trying to frame me so the tooth is probably Graham's. CAROLYN JULIAN: Three degrees and still a fool. (to Harding) This interview is over, Rose. I need to speak with my client alone before she gives herself a lethal injection. DETECTIVE HARDING: Of course. Of course. (as she exits) It's nice seeing you again, Carolyn. Harding exits and Booth starts in on Brennan. BOOTH: Okay, Bones, what the hell where you talking to her for? BRENNAN: I was just trying to help. CAROLYN JULIAN: You sew those lips together, girl, because there is no such thing as "help" in the New Orleans Police. They just want to close the case as quickly and easily as they can. And you are making it Christmas time for them. BOOTH: Okay, listen, there's no way that Bones could've k*lled Legiere. I mean sh...it's...it's just not her. I mean look at her. CAROLYN JULIAN: I am doing you a favor taking this case, Booth. But as the lady cop says, I'm a prosecutor. And as it stands now, I could try this case in my p.j.'s and still get a conviction. BRENNAN: Well, shouldn't you get to know your clients before you make snap judgments. BOOTH: Bones! CAROLYN JULIAN: Fine. Stop me when I get something wrong. Trained in three types of martial arts, two as*ault charges, registered marksman with the N.R.A., hunting licenses in four states... BOOTH: You hunt? BRENNAN: Well, only for food. CAROLYN JULIAN: sh*t an unarmed man. BRENNAN: Well, he was trying to set me on f*re. BOOTH: All right, just...just arrange bail for us, Carolyn, so we can get out of here. CAROLYN JULIAN: Sure. Sure. Don't want to get this one mad at me. Carolyn exits and Booth, once again, starts in on Brennan. BOOTH: You couldn't keep your mouth shut, could you? Cut To: INT. JEFFERSONIAN - MEDICO-LEGAL LAB Zack is staring at an X-ray. The camera pulls back to reveal Hodgins is behind him. ZACK: I can identify this guy. HODGINS: You know, Angela isn't that much taller than me. ZACK: Spina bifida. He had a shunt from his brain stem down to this heart. It was removed more than a decade ago. HODGINS: We both like brussels sprouts. ZACK: You don't like brussels sprouts. HODGINS: A man can change, Zack. Zack gives him a sideways glance that possibly says "who are you trying to fool" and Hodgins groans in frustration and walks away. Cut To: EXT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY Booth, Sam Potter are off screen as the scene begins with their voiceovers. SAM POTTER: (O.S.) What? A human tooth? BOOTH: (O.S.) Yeah. Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY Booth, Sam and Brennan are seated at a table near the front door. BOOTH: Yeah, it was some kind of...uh...some flesh, some...some fabric. It looked like...uh...some kind of shell. SAM POTTER: It sounds like...to make you forget. BOOTH: Somebody doesn't want you to know what happened to John Doe 361. BRENNAN: Booth, I'm not under a spell. BOOTH: Well, you forgot a whole day. SAM POTTER: The spirits don't need you to believe in them, Dr. Brennan. They believe in you. (pause) See you back at work, huh? Sam gets up and leaves. A waiter brings some food. Both of them eat during the rest of the scene. BRENNAN: How'd I get away? You know, Graham got k*lled. I got away. How'd I do that? BOOTH: You know, Bones, all those things that Carolyn mentioned, you know, the...the martial arts, the sh**ting, the...uh...the as*ault... It's just...you're the type of woman that fights. Maybe they didn't expect it. Maybe they thought some kind of magic could hold you. BRENNAN: I don't believe in magic. BOOTH: Exactly. You're a surprising woman. Sometimes that's enough for getting away. Brennan smiles at him and gives a small laugh. He smiles back. BRENNAN: Why are you nice to me? BOOTH: (he considers) Because. Because they think they get away with it. BRENNAN: What? BOOTH: They burn their victim, they blow 'em up, they toss 'em in the ocean, they bury them in the desert, they...they throw 'em to wood chippers. Sometimes, you know, years go by. They relax. And they start living their lives like they didn't do anything wrong. Like they didn't spend somebody else's life in order to get what they got. They think they're safe from retribution. But, you make those bastards unsafe. That's why I'm nice to you. BRENNAN: I couldn't do that without you, Booth. BOOTH: Yeah. So...uh, you should be a little nicer to me, huh? He smiles charmingly at her. She smiles back. He laughs a little. BRENNAN: I really should. BOOTH: Yeah. CAROLYN JULIAN: (O.S.) I walk in on something? There's the sound of files and papers being tossed on the table and then the camera cuts to a full overhead sh*t of the restaurant with Carolyn standing by the table. She turns and orders from some off screen WAITER #1. CAROLYN JULIAN: Beignet and a café. WAITER #1: Yes, ma'am. She sits in the seat Sam vacated earlier. CAROLYN JULIAN: Hospital records. The tox screen was negative. BRENNAN: What? That's impossible. BOOTH: No Rohypnol? No ketamine? CAROLYN JULIAN: Nothing but a touch of alcohol. Not enough to affect a baby. A jury is never going to believe this amnesia story. BOOTH: (groans) Well, but it's true. CAROLYN JULIAN: Maybe this is true, too. (to Brennan) Legiere tried to r*pe you. He was a notorious horn dog. We claim self-defense, cop a plea. You're out in three years. BOOTH: Nah, I don't care what it looks like or how you're reading the evidence, Carolyn. She didn't do it. Brennan looks touched and grateful for his trust. CAROLYN JULIAN: Could be that's true, Seeley. You vouch for her, that's good enough for me. But, chéri, this looks bad. All you've got on your side is proof you got roughed up. These pictures from the clinic, these X-rays. Carolyn has passed a folder with X-rays in them to Brennan and she studies at them. We see the X-ray of her broken wrist. BRENNAN: My wrist. The doctor was wrong. He said this was a Colles fracture from a fall. This break shows surface trauma on the outside of the bone. This was either defensive or someone slammed my wrist into something. CAROLYN JULIAN: Maybe because you tried to s*ab him in the heart with a Kn*fe? BRENNAN: No, think about it. If I'd already s*ab the attacker, he wouldn't have been able to break my wrist. CAROLYN JULIAN: I like this story. What else? BOOTH: Well, there's the mojo bag. I mean someone was trying to put a forgetting spell on her. BRENNAN: Booth. CAROLYN JULIAN: Hey, I can work with that. This is New Orleans, baby. (O.S. as Brennan answers cell phone) And where is my beignet? BRENNAN: (into phone) Brennan. Cut To: INT. JEFFERSONIAN - ANGELA'S OFFICE Zack and Hodgins are there talking to Brennan through a speakerphone. ZACK: (into phone) John Doe 361 is named Rene Mouton. BRENNAN: (O.S.) How can you be sure? ZACK: I looked for something that wasn't there, which turned out to be a shunt channel. The camera pulls back and we can see Angela is also there at the computer. BRENNAN: (O.S.) Good work. ANGELA: You understood that? We see a computer screen showing the channel from the brain stem to the heart. BRENNAN: (O.S.) All Zack had to do was cross-check with DMORT. ZACK: I only thought of it because of Hodgins. HODGINS: I can discern particulates on the X-ray, but I have no way of telling what they are. BRENNAN: (O.S.) Some kind of dirt? HODGINS: Okay, everybody, the word "dirt" means nothing here in the lab scientifically. Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY BRENNAN: Any progress on the design that was pressed into the pelvic bone? ANGELA: (O.S.) I've tried three different computer programs. Cut To: INT. JEFFERSONIAN - ANGELA'S OFFICE ANGELA: I fed in the information into multiple impact scenarios, but this isn't gonna work on X-rays. I need the actual remains. BRENNAN: (O.S.) Booth and I are looking for them as hard as we can. ANGELA: Or, better still, you can forget the whole thing and come home. Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY BRENNAN: Don't worry. I made bail. Cut To: INT. JEFFERSONIAN - ANGELA'S OFFICE ZACK: (shocked) Bail? ANGELA: (shocked) Bail? For what? Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY BRENNAN: I told you. Don't worry. The...the m*rder charge won't stick. Cut To: INT. JEFFERSONIAN - ANGELA'S OFFICE HODGINS: Whoa, whoa, whoa. m*rder charge? ANGELA: (rises) Brennan, the next plane. Okay? The next plane or I'm coming down there to get you myself. Cut To: INT. JAMBALAYA JONES RESTAURANT - NEW ORLEANS - DAY BRENNAN: Everything's fine. Cut To: INT. JEFFERSONIAN - ANGELA'S OFFICE BRENNAN: (O.S.) I'm healing up satisfactorily. Bye for now. The phone shuts off. HODGINS: Healing up? ANGELA: (sighs, then to Zack and Hodgins) You know what? This whole state of affairs where Brennan just runs around fighting crime? It's stupid. It's nuts. Don't you agree? Zack sucks in his lips and shakes his head "no." Hodgins just stares at her. ANGELA: (to Zack) Go, go. (he exits) I'll be...fine. Angela sits down at the computer. Hodgins starts to leave but turns back to her. HODGINS: Brennan will be fine, Angela. She got bail and the m*rder charge won't stick. ANGELA: What is going on with her? HODGINS: Angela. (he chuckles) She started to change the day she met you. ANGELA: What? He has come forward and sits on the edge of her desk. HODGINS: She sees how you do it. All fun and involvement and pizzazz. Big, you know? Big life. Booth came along and gave her the opportunity, but she got the idea from you. Brennan wants a big life like yours. (she smiles) That's how it looks to me anyway. But what do I know? I'm a bug guy. Bug and slime. And, you know...dirt. ANGELA: Yeah. He stares at her and she looks down and up - a bit awkward and shy. HODGINS: So...okay. He gets up and leaves. Angela smiles and watches him leave and then ponders a moment. ANGELA: Hmm. Cut To: INT. TEMPORARY MORGUE - LARGE WORK ROOM - DAY Booth and Brennan walk through a large room filled with corpses on tables. Workers are checking bodies against charts, looking at X-rays, generally going about the business of identifying bodies. BOOTH: According to Bureau files, Rene Mouton headed up a small voodoo church. By all accounts, he...he was a very good man. Now, he rescued scores of people during Katrina. Then he just disappeared. Some thought he was just swept away when the levee broke. BRENNAN: Why would anyone m*rder him? BOOTH: Ya know, the chaos during the evacuation. Could even have been for a bottle of water. Sam Potter enters the scene and interrupts them. SAM POTTER: Or because he was a priest. The gris-gris box, the m*rder of Dr. Legiere, your amnesia, this is the work of a bokor, a Secte Rouge sorcerer. Rene Mouton was a houngan. A powerful and well-loved priest. For Secte Rouge to claim his soul, this would give them influence on all the people that he influenced. BRENNAN: Like a chain letter. BOOTH: Or in the real world, somebody wanted his shoes. BRENNAN: No, Booth, it makes sense. BOOTH: What does? BRENNAN: Graham and I were on the trail of a broker. SAM POTTER: Bokor. BRENNAN: And he found out, or Secte Rouge did. BOOTH: All right, great. Then we just toss the ring into the molten river and blah-blah, right? Look, in the meantime, somebody here had the ability to hide Mouton's body and files. BRENNAN: James Embry. SAM POTTER: Me. BRENNAN: Mike Doyle. BOOTH: Say you wanted to hide a particular body and you didn't want anyone to find out, where would you put it? Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM - COFFIN SECTION Booth, Brennan and Sam are looking in cardboard boxes which have bodies in them already identified and waiting to be buried. SAM POTTER: If I wanted to hide a body, I'd change the name tag on the coffin. BRENNAN: (looking at a body) Not Mouton. Too young. BOOTH: Yeah, it's buried and the evidence is gone forever. BRENNAN: (inside another box) Argh, female. (shuts box lid) You know, I find it hard to believe that horny little Mike Doyle is a voodoo sorcerer. Sam opens another box and there is fresh body inside with another Katrina victim body. SAM POTTER: Oh! Flash Cut To: PICTURE OF MIKE DOYLE FROM EARLIER SCENE Flash Cut To: INT. TEMPORARY MORGUE - FREEZER ROOM - COFFIN SECTION BOOTH: Me, too. BRENNAN: (looking at the body) Speak of the devil. Mike Doyle. And he's not alone. She picks up the remains of the Katrina victim's hand and examines it as the scene fades to black. Cut To: INT. TEMPORARY MORGUE - AUTOPSY ROOM Booth, Brennan, Sam, James Embry, Detective Harding and a few other workers are there with Mike Doyle's body and the unknown Katrina victim found with him. Booth and Brennan whisper to each other to the side while others work. BRENNAN: You said to avoid the police. BOOTH: Not cooperating is one thing, Bones, okay? Concealing a double homicide? Well, we might as well give them an excuse to hang us. Harding and Embry come up and joins them. DETECTIVE HARDING: (to Brennan) Dr. Embry says that you can identify the bag of bones. BRENNAN: The skeletal remains belong to a man named Rene Mouton. His skull is missing. JAMES EMBRY: Looks to me like Mike Doyle was drugged, a spike was driven through his head during or immediately following sexual intercourse. DETECTIVE HARDING: Well, it appears that Dr. Brennan, Dr. Embry and Sam Potter here are the three people who could've pulled this off. BOOTH: Well, Sam Potter brought us to the body. We called you in. Who's that leave? Harding turns to look at Embry. JAMES EMBRY: Oh, please. There's no security in this place. Anyone could've gotten in here. BRENNAN: You said that Mike was having sex when he died. James, he must've been k*lled by the coffin girl. DETECTIVE HARDING: What? BOOTH: What's her name? JAMES EMBRY: Well, I never got her name. BRENNAN: Is there a mojo in Doyle's mouth? DETECTIVE HARDING: I don't feel comfortable releasing that... BRENNAN: The girl is a voodoo sorcerer. She works for Secte Rouge. BOOTH: Detective Harding, I know this is - you know - sounds superstitious, but... DETECTIVE HARDING: Three ritual m*rder and a world-renowned anthropologist who can't remember how she ended up smeared with the blood of a skinned man crucified to a wall with spikes. Call me superstitious. There is an uncomfortable pause when Sam interrupts from his place next to Mouton's body. SAM POTTER: Excuse me. May I scatter fwan ginea over Mr. Mouton? To purify his remains? DETECTIVE HARDING: No! No more of this voodoo crap! I don't want you contaminating the body. BRENNAN: What is it? SAM POTTER: Ashes from a ritual f*re pit. Ashes from a dove's feather, salt mixed with holy water... BOOTH: Okay, okay, ya know, we get the idea and... BRENNAN: It should have no affect on the bones, Detective Harding. Harding looks back and forth between Brennan and Sam like they're crazy. Finally, she relents. DETECTIVE HARDING: Fine. Fine. Go ahead. Sam holds the pot up toward the sky and begins a voodoo chant. At the appropriate time, he stops, opens the pot and pours some ashes on the body. There is a reaction from the ashes and a design begins to be revealed on the ribcage. BOOTH: Whoa! Did you see that? BRENNAN: Very interesting phenomenon. The electrostatic charge of the particles reacted with the bone. Angela was unable to recreate that pattern from the X-rays using the best technology in the world. Booth paces, thinking. He finally figures out where he knows that pattern from. BOOTH: Electrostatic, my ass. That was part of an emblem of a 1959 Caddy Brougham. Oh, boy. DETECTIVE HARDING: What? BRENNAN: The voodoo shop guy owns a 1959 Cadillac. BOOTH: He's got a voodoo daughter. Cut To: INT. VOODOO SHOP - PONCHARTRAIN AVENUE - DAY There's a close-up of the picture of Richard Benoit and his daughter in front of his Cadillac. The camera zooms back to reveal Benoit. Booth, Brennan and Detective Harding are in the shop as well. RICHARD BENOIT: You're taking my caddy? Why? BOOTH: Why? Because we have reason to believe that your Caddy was used in the wrongful death of Rene Mouton. RICHARD BENOIT: You think that someone did a h*t-and-run on Rene Mouton in my Caddy? BRENNAN: Yes! BOOTH: Mr. Benoit, does your daughter have a boyfriend? RICHARD BENOIT: Yeah. Booth whistles and gestures for Detective Harding to show him a picture. She hands it to Richard Benoit. DETECTIVE HARDING: This him? Benoit takes the picture and we see that it's a picture of Mike Doyle. RICHARD BENOIT: Mike Doyle. Yeah. Why? BOOTH: We need to speak to your daughter. Detective Harding clears her throat interrupting Booth. BOOTH: By which I mean Detective Harding needs to speak to your daughter. RICHARD BENOIT: I don't know where she is. DETECTIVE HARDING: Mr. Benoit, right now she's a suspect in the m*rder of Mike Doyle. RICHARD BENOIT: Why would Eva k*ll her boyfriend? BOOTH: It's hard to explain. BRENNAN: She was involved in a h*t-and-run. When the body surfaced at the morgue, she asked her boyfriend to help her hide it. He refused, so she k*lled him. Also, she's a member of Secte Rouge. RICHARD BENOIT: No, no. BRENNAN: I bet there are drugs in this shop that could knock me out, make me forget. Booth, Brennan and Harding stare at Benoit and each other as he processes this information. He exhales and finally decides he will cooperate. RICHARD BENOIT: Eva is downstairs praying. Benoit leads them toward the door to the basement. Cut To: INT. VOODOO SHOP -STAIRS AND DOOR TO BASEMENT ROOM The group comes down the stairs and stops outside a door to the basement room. RICHARD BENOIT: Eva? Eva, open the door. There's no answer. Detective Harding puts her ear against the door, then turns the knob and enters. Booth enters after her. Benoit sees something. RICHARD BENOIT: No. Eva. No! He races into the room Cut To: INT. VOODOO SHOP - BASEMENT ROOM Benoit runs toward his daughter, Eva, who is impaled through her chest on a long spike protruding from the wall. RICHARD BENOIT: Eva! Eva! He slowly pulls her off the stake and lowers her to the floor. RICHARD BENOIT: Oh, no. No. Brennan walks past them to study the altar that is set up at the end of the room. She calls to Booth. BRENNAN: Booth? He goes to where she is and sees what she's looking at. There is a skull on the altar. BOOTH: Could that be Mouton's skull? BRENNAN: Yes. And this (picks up spike) could be the spike she used on Mouton and Mike Doyle. Flash Cut To: B/W WALL WITH SPIKE IMAGE, BLOOD DRIPPING DOWN, SOUND OF SCREAMS Flash Cut To: INT. VOODOO SHOP - BASEMENT ROOM Some time has passed because Sam Potter and James Embry have shown up. Eva is now on a gurney. SAM POTTER: (looking over the room) This is the lair of a bokor, someone who can call the dark spirits. (points at spike in wall) This is used for animal sacrifice. BRENNAN: It was heated to red hot first to cauterize the wound so it wouldn't bleed. BOOTH: What, she k*lled herself because she knew we were coming? RICHARD BENOIT: No, no. Not...not my Eva. BRENNAN: She drove the spike through her sternum? Brennan crosses to the body and examines it. JAMES EMBRY: Sternum, heart, through the chest cavity, through the spine. SAM POTTER: (at altar) Can I open this? DETECTIVE HARDING: Why? There are containers on the altar. He points to a few. SAM POTTER: This one holds the soul of Mr. Rene Mouton. I believe this one holds the soul of the bokor. RICHARD BENOIT: Why don't you just shut up? SAM POTTER: I would like to release Mr. Mouton's soul so no other bokor can use it. DETECTIVE HARDING: No. It's evidence. Don't touch it. RICHARD BENOIT: I raised my Eva to be a houngan, a healer. How could this happen right underneath my nose? BRENNAN: Rebellious adolescent? Do you remember how much of the spike was protruding from her back when we first came in? BOOTH: Six, eight inches. BRENNAN: Would the fact that the spike was red hot cause it to go through the body more easily? JAMES EMBRY: No, it might even make it harder. BRENNAN: (thinks a moment) Eva Benoit did not commit su1c1de. DETECTIVE HARDING: Based on what? BRENNAN: This room isn't even 12 feet wide. Even if she ran at full speed and her aim was perfect, no way the spike would go through her spine unless she was pushed onto it. Sam stares at Richard Benoit and gets closer to him. SAM POTTER: (re Benoit) He is the sorcerer. He believes he can bring her back to life. BOOTH: Okay. Everyone just simmer down. Okay, you're saying that he m*rder his daughter thinking that he could bring her back to life? SAM POTTER: You find her d*ad, you stop looking for Mouton's m*rder. BRENNAN: An inch or two to the left or right, we would never have known it was m*rder. Had to have been hard pushing her onto the spike, especially if she were resisting. You'd have some wounds of your own. Brennan grabs Benoit's shirt and tugs. Buttons fly off and his torso is exposed revealing a bandaged wound. Brennan steps back. BRENNAN: There's your k*ller. (to Booth) I'd really like to go home now. BOOTH: Yeah, me, too. All right, my advice? Cuff Mr. Wizard here before he puts a spell on you. DETECTIVE HARDING: What? No written confession? BOOTH: You want a confession? thr*at to release his daughter's soul. He'll tell you everything. Harding cuffs Benoit as Booth and Brennan begin to leave. Benoit calls to her and they turn back. RICHARD BENOIT: Dr. Temperance Brennan, you leave here, you go home, it does not matter. There are powers, dark powers to whom distance makes no difference. BOOTH: Easy, buddy. RICHARD BENOIT: (chanting a spell) Agua, aqua... BOOTH: Hey, hey, hey! RICHARD BENOIT: (continues chanting) BOOTH: Agua? Benoit keeps chanting and finishes by bl*wing out a long breath of air toward Brennan. Brennan reaches forward and using two fingers, pokes his eyes. Benoit screams in pain. BRENNAN: I've noticed that very few people are scary once they've been poked in the eye. Harding laughs. BOOTH: Yeah. Booth mimics the eye poke, whistles and then they leave. Cut To: EXT. JEFFERSONIAN - NIGHT BRENNAN: (O.S.) I got in the middle of a battle between two religious sects. Cut To: INT. JEFFERSONIAN - BRENNAN'S OFFICE Brennan, Booth, Hodgins, Angela, and Zack are seated in her office. BRENNAN: Benoit used Hurricane Katrina as a diversion to take the soul of a voodoo priest. ANGELA: And he k*lled his own daughter. HODGINS: Dark sorcerers suck, man. BOOTH: Oh, but, you know, he intended to bring her back to life. ZACK: There's not really any such thing as spells and magic. HODGINS: What are you talking about? He put a forgetting hex on Dr. Brennan. BRENNAN: But it wasn't the spell that made me forget. It was the drugs. Rohypnol. BOOTH: Blood test didn't find any. BRENNAN: Gamma hydroxybutyrate? BOOTH: Not a trace. BRENNAN: Sodium pentothal? BOOTH: Nope. BRENNAN: Severe emotional trauma. ANGELA: Honey, even I think you're too strong-minded for that. BRENNAN: There were too many delays in doing my blood test. That, plus the adrenaline of my escape. The drugs were out of my system. HODGINS: (chuckling) They put the voodoo on you, baby. Booth crosses his arms in some kind of voodoo sign and hisses. HODGINS: I didn't really mean to call you "baby." BRENNAN: You guys, stop, now. I mean it. ZACK: Do you believe in voodoo? Because even if a small part of you believes in it, then it has a grip. BRENNAN: I do not believe. BOOTH: (leans in) Maybe just a little? BRENNAN: No. BOOTH: Good. Because, you know, if you have any doubts, we'll just have Benoit send you back one of those little satanic mojo pouches from prison. BRENNAN: Booth, objects have no intrinsic power. A person's future does not depend on some...thing. Things are just things. They do not have magical meaning or powers. Booth is leaning back in his chair, head resting on his hand, listening. He opens his hand and lets the earring that he picked up in Legiere's house dangle for her to see. Brennan stares at it a moment. BRENNAN: Where'd you get that? BOOTH: What does it matter? It's just a thing, right? He gives her the earring. BRENNAN: My mothers' earring. Booth gets up and begins to leave. BOOTH: No, uh, magical power over your future. Smiling at her, he exits the office. ANGELA: Does that prove something? Brennan stares at the earring and finally puts the pieces of the puzzle together. BRENNAN: Yeah. It proves something. She looks at the earring and smiles. FADE TO BLACK.

{"type": "series", "show": "Bones", "episode": "01x19 - The Man in the Morgue"}

foreverdreaming

"The Graft in the Girl" Episode 1x20 Written By: Greg Ball and Laura Wolner Directed by: Sanford Bookstaver Transcribed by: Elo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Cut to hospital corridor. Booth, Brennan and Angela are walking together.) ANGELA: Uh, Agent Booth? BOOTH: Yes, Angela? ANGELA: This is the pediatric cancer floor of the hospital. BOOTH: Mm-hmm. Yeah. ANGELA: Right. Well, uh, what I'm about to show Deputy Director Cullen is kinda gruesome (pointing to her bag). BRENNAN: (looking up from papers she's flipping through.) Why are we meeting Cullen here? BOOTH: Because he's the deputy director of the FBI and this is where he wants us to show it to him. (Gets looks from both Angela and Brennan.) OK, listen. About a month ago his daughter Amy was diagnosed with cancer. Meso... BRENNAN: (cuts in) Mesothelioma. Lung cancer. BOOTH: Exactly. So she's not doing so well, so it's a lot easier for us to come to him right now. BRENNAN: Huh. BOOTH: (looks at her) Huh, what? BRENNAN: Nothing. It's just that's an extremely rare form of lung cancer-odd for someone Amy's age to contract. BOOTH: (stops walking and faces Brennan, holding out hand) No, no, no. No probing, OK? Not to Cullen, not to his family. (Drops his voice) This will take five minutes. We go in, do the show and tell relating to the case and then we're out of there. Is that clear? (Cullen walks outside of room 128) . BRENNAN: I think it's peculiar. BOOTH: No. BRENNAN: But I... BOOTH: (cuts in) No. BRENNAN: You have to admit... CULLEN: (cutting in) Booth. (Booth and Brennan looks over) Dr. Brennan. How appropriate, you two bickering in an adolescent wing. BOOTH: (flustered) Uh, sir, yes. Um, is it OK if we come in, sir? CULLEN: (turns and asks his daughter inside the room) What do you think, sweetheart? AMY: (inside the hospital room, in bed with her mother at her side) Booth's cool, most of the time. CULLEN: (outside the room) You heard the lady. You're cool. BOOTH: (smiles) Mm-hmmm. BRENNAN: (whispers) Yeah, right. (They walk inside). (Cuts to inside Amy's hospital room. Angela has her laptop set up on a table as she sits next to Cullen to go over the evidence. Booth and Brennan are also in the room.) ANGELA: (taking a deep breath) Are you sure it's all right for me to do this here? AMY: (From the bed, while drawing) Nothing I haven't seen before. CULLEN: Let's see what you got here, Angela. BRENNAN: Note the estimated time of death is mid-June. Extreme humidity combined with insects and precipitation accelerated the rate of decomp (images shown on the computer). CULLEN: So based on this the victim's body was not mutilated after death? BRENNAN: The effects were totally environmental. BOOTH: m*rder doesn't fit the suspect's profile, sir. ANGELA: Yeah. It's not nice to fool Mother Nature. CULLEN: (gestures to the screen) I'd like to see this again. BRENNAN: Knock yourself out, sir. Eighty-six times is our limit. (Angela and Brennan walks over towards Amy's bed as Cullen looks at the computer some more.) ANGELA: Can I see your drawings? (looks) Wow. These are beautiful. MRS. CULLEN: Our artist in the making. AMY: Right now I'm doing landscapes. I'm really into this French dude Rousseau. ANGELA: (nods) Yeah. There's...uh...There's a lot of Rousseau in Paris. Have you ever been to the Louvre? (cuts to Angela flipping through Amy's drawings.) AMY: No, not yet. But it's on my list. Right after "fall in love" and "learn to drive." (sh*t of Cullen looking sad hearing his daughter talk) ANGELA: Well, you've got a great eye. AMY: Thanks. I think what you do is pretty awesome too. I mean, computers are not for me, but I get it. ANGELA: (points) Can I see what you're working on? (Amy hands Angela her sketchpad) BRENNAN: She's amazing. MRS. CULLEN: Mm-hmmm. Amy's been very brave this week. They're trying an experimental viral chemotherapy, and we're very optimistic. BRENNAN: Since asbestos exposure is the primary way people contract mesothelioma...how do you think...(Booth clears his throat loudly behind her) How do you think Amy got it? CULLEN: Oh, we don't know, Dr. Brennan. The first place we looked after she was diagnosed was all her previous schools, the house we lived in...nothing. BRENNAN: Has there been a history of illness? (Booth clears his throat in the back again) MRS. CULLEN: Hardly. Apart from breaking her leg snowboarding a year ago I can't remember the last time she was sick. BRENNAN: How bad was the break? CULLEN: Compound fracture, left tibia. AMY: I was boarding with some friends and I...I h*t a tree. Pretty dumb, huh? BRENNAN: And that required surgery? MRS. CULLEN: A bone graft. BOOTH: (standing up from the back, and walking towards Brennan, trying to usher her away) I hate to drag these lovely squints back to the lab, but, you see, we have another case. BRENNAN: (trying to get out of his grasp) No we don't. BOOTH: Oh, yes we do. BRENNAN: Could I see Amy's graft X-ray? BOOTH: Sir, I apologize. CULLEN (standing up) Of course. (Hands Brennan the x-ray) If you think they'll tell us anything. (Brennan holds up the x-ray and looks) (Cut to the lab, Hodgins is looking at the same x-ray. Brennan and Zack are present too.) HODGINS: Whoa. BRENNAN: What? HODGINS: Well, pardon the fromage reference, but what's with the moldy Gruyere in that leg? BRENNAN: The lighter colour is evidence of demineralization. HODGINS: I'm not the bone expert here, but...yuck. ZACK: (looking at image) Osteoporosis. BRENNAN: Basically. The bone has become porous, something that happens with age. (Pointing at image) Zack, see if you can isolate the grafted portion and enlarge it. ZACK: Amy Cullen's file states the donor of the bone was 25 years old (enlarging image). BRENNAN: (shaking head) Well, I don't buy it. HODGINS: What about the aging disease? ZACK: I've seen progerian skeletons. This isn't one of them. BRENNAN: This bone is significantly less dense than a person in their twenties. That's for sure. ZACK: How old do you think the donor really was? BRENNAN: Judging from the reduction in bone mass...at least sixty. (Looks exchanged between them). (Cut to hospital, where a doctor is washing his hands and prepping for surgery. Brennan and Booth are talking to him.) BRENNAN: Doctor, you performed Amy Cullen's graft, correct? DOCTOR: Yes, But I just do the procedure, Ms. Brennan. BOOTH: Dr. Brennan. DOCTOR: MD? BRENNAN: PhD. DOCTOR: Well, those who can't do, do research. BOOTH: (stepping in) OK... BRENNAN: (stops him) Booth... BOOTH: OK, fine. If you're just the mechanic then who's responsible for all the parts that you install? DOCTOR: You'll have to check with the hospital's transplant coordinator. Why? What's going on? BRENNAN: There are indications the bone graft you implanted in Amy Cullen gave her cancer. DOCTOR: No, that's impossible. Every graft we get has been tested and irradiated. BRENNAN: There's one way to know for sure. Assuming significant remodeling hasn't occurred do a transiliac crest core biopsy on the donor bone. Then we'll have age and pathology. DOCTOR: And who's going to perform that biopsy, Doctor? BRENNAN: You are. (Cut to the window outside of Amy's room. The doctors are performing the biopsy while Cullen and his wife look on. Booth and Brennan are watching through the window.) BOOTH: It looks like it hurts. BRENNAN: They use local anesthetic and make a small incision before inserting the needle into the bone. (Shows the procedure) A tiny core of bone is taken, a little more than a sixth of an inch in diameter using a ratchet-like device in the needle. BOOTH: (grimacing) So it hurts? BRENNAN: Amy's a tough kid. She's doing great. BOOTH: It's not Amy I'm worried about (sh*t of Cullen holding Amy's hand tightly). Now let's go talk to the coordinator about the graft. Unlike Amy, he gets to go home tonight (they turn to leave). (Cut to inside an office. Brennan and Booth are sitting in chairs talking to Dr. Ogden, who is behind the desk. His assistant Alexandra is standing next to him.) BRENNAN: You're a popular man, Dr. Ogden. OGDEN: Well, when you're responsible for finding body parts that save lives, you have no idea. I have one gentleman offer me his cattle ranch in Montana. BOOTH: Well, people, they get desperate, right? Did you take him up on it? OGDEN: That would be dishonest, Agent Booth. If anything, this office is built on the goodness of people. ALEXANDRA: Cullen, Amy A. Bone graft number 4429 (handing over file). OGDEN: (opening file and looking) All right. According to my report the bone that was donated was harvested from...um...a 25-year-old. BRENNAN: Can you give us the name of the donor? OGDEN: I can't provide you with that information (putting file down on desk). BOOTH: What about other recipients? Any other patients here get a part from the same body? OGDEN: When I said I couldn't tell you, it's because we have no way of knowing. You'd have to ask the tissue bank for that. (grabs pen to write down information) BioTech Tissue Services. We've been using them for a long time. Never had a problem. BOOTH: Amy Cullen has a problem. She's dying. OGDEN: Through no fault of this office, I'm sure. (hands paper over) If we can be of any further assistance, don't hesitate to call. BOOTH: Thanks for being so sympathetic. We'll check into it. (Cut to Angela's office in the Lab. She's working in front of her computer as Hodgins walks in.) HODGINS: New osteologic scans to input, as requested. ANGELA: Hey, check this out. HODGINS: (screen shows Amy's artwork) Monet? ANGELA: Amy Cullen. HODGNS: You're kidding (looking closer). ANGELA: No. I ran it through the digitizer. She's a good kid. I wanted to show her that computers don't have to be the enemy. HODGINS: (smiles) Not bad for a certified member of the geek squad. ANGELA: (smiles) Ah, I'll take that as a compliment. HODGINS: Well, you should. (Cut to platform in the lab, where everyone is working and looking at images of Amy's bone graft.) BRENNAN: (reading a book) This is a cross section from Amy's bone graft. Zack, what's the ratio of primary to secondary osteons? ZACK: I only see secondary. Exactly what you'd expect to see in an older decedent. BRENNAN: (to Angela, who is typing) And accompanying data? ANGELA (sh*t of information on the computer) Well, I'm no expert but I think it supports as well. BRENNAN: So based on this one sample, it's clear that the donor bone came from someone in their sixties. BOOTH: But how do we know that it's the bone that gave Amy cancer? BRENNAN: Because of this. (sh*t of the bone magnified on the computer screen) Magnify. The graft is riddled with cancer. ZACK: Cancer consistent with morphology origin in the pleura, most likely mesothelioma. BRENNAN: Whoever this is had terminal cancer. And no so does Amy. ZACK: She went in for a broken leg and was poisoned. ANGELA: (shaking head) She never even had a chance. BRENNAN: Someone knew that bone was infected and they gave it to her anyway. ZACK: This will k*ll Amy Cullen. BOOTH: Well, in that case, it's m*rder. CREDITS (Cut to FBI building. Booth and Brennan are talking to Cullen in his office.) BRENNAN: Your daughter's cancer originated in the bone graft. The test confirms it. CULLEN: It was the operation? BRENNAN: Not only was the bone contaminated by malignancy it was significantly older than documented. CULLEN: It was expired or something? BOOTH: No, sir. It just came from a much older donor. BRENNAN: Someone in their sixties. CULLEN: (scoffs) Hospital error. BOOTH: The next step would be to find out where the graft came from and how it slipped through the system. CULLEN: This is not FBI jurisdiction. BOOTH: It's a question of justice. CULLEN: Does this, in any way, change my daughter's prognosis? BRENNAN: No. CULLEN: So she's still gonna die of this cancer? BRENNAN: Barring spontaneous remission the likelihood is significant. CULLEN: (looking down) The FBI's not my personal police force. I appreciate what you discovered. Call Charlie Hammond, CDC. Tell him what happened...he'll continue the investigation (turns to leave). BRENNAN: My team can still... BOOTH: (cuts in) We'll notify CDC right away. (Cut to inside the car. Booth is driving while Brennan is in the passenger seat.) BRENNAN: So that's it? Whoever did this to Amy Cullen just gets away. BOOTH: No. What we do now is we find out a way to make this a legitimate FBI case. BRENNAN: If one graft is infected, there's no telling how many others are out there. BOOTH: Geez, you know, I feel like I'm on a serial k*ller case just waiting for another victim to surface. BRENNAN: You're not far off. What if BioTech makes a habit of selling diseased parts? BOOTH: Well, then it becomes FBI business if one of those tainted grafts is sold across state line. BRENNAN: Well, you can spit into four states from where we are right now. BOOTH: What? BRENNAN: Not literally. BOOTH: OK, first we gotta find out if this tissue lab is servicing any other hospitals. BRENNAN: See if they've k*lled anyone else. BOOTH: Amy Cullen is not d*ad, Bones. BRENNAN: I'm afraid there's a degree of inevitability. (Looks exchanged) Sorry. (Cut to Amy's hospital room. Angela is showing her artwork projected on the wall.) ANGELA: It's pretty excellent, huh? AMY: (walking closer) Is that mine? ANGELA: Uh huh. AMY: (walking right up, and touching the projection) How'd you do that? ANGELA: Most of the time I restore and enhance old bones, so this is a lot more fun. AMY: (touching her drawing) It's hard, you know? One second I'm at school and I'm gonna be an artist and the next...My friends don't know what to say. My parents are scared. Things change, I guess. ANGELA: (emotional) Yeah. Yeah, sometimes they do. AMY: Angela? Is the Louvre just unbelievable? ANGELA: It's the most beautiful place you'll ever see. AMY: Maybe you can tell me about it sometime. ANGELA: You'll go there yourself. I know you will. (Cut to Booth and Brennan walking down a building's corridor, approaching a door.) BOOTH: 270. Here's BioTech. We get in there, we sweat the head guy. (Knocks on door) Hello? F...(opens unlocked door into an empty office)...BI. (Walking into the empty office) OK, so this is BioTech. (Cut to Booth talking to a man inside the empty office) MAN: Sorry I couldn't be of more help. BOOTH: (shaking his hand) Thanks. I appreciate it. (Walks over to Brennan) All right. Building manager says BioTech went belly-up two years ago. They couldn't even pay their last month's rent. BRENNAN: Where did they go? BOOTH: He doesn't know. BRENNAN: What? Two years ago? BOOTH: Exactly. I mean, Amy Cullen's graft was sold to Washington General twelve months ago. BRENNAN: If BioTech doesn't exist, who sold the diseased bone to the hospital? (Cut to hospital, Booth and Brennan are walking into Dr. Ogden's office.) BOOTH: Where is he? ALEXANDRA: Dr. Ogden had to oversee the transport of a liver to Baltimore. He won't be back until morning. BOOTH: Oh, a liver? Where'd he get this one from, huh? An alcoholic at a corner bar? ALEXANDRA: We've dealt with BioTech for years. They're very reputable. BRENNAN: There's no such company as BioTech. ALEXANDRA: That's not possible. BOOTH: Well, you know what I think? I think Ogden's in on this whole thing. A little biomedical payloa. Buys third-rate parts in exchange for a condo in St. Croix. ALEXANDRA: Dr. Ogden's a very a good man. I know there are problems in his past, but that's just... BOOTH: (cutting in) Oh, you mean there are skeletons in his closet? Well, I can't wait to see this guy's record. BRENNAN: Alexandra, is there any way to tell if a patient at Washington General received a graft from the same donor as Amy Cullen? ALEXANDRA: Only the tissue lab knows for sure. But after you left, I was curious, and... BRENNAN: Please. It's already too late for Amy but it might not be for someone else. ALEXANDRA: (contemplating) A woman named Kelly DeMarco. (Booth gets on his cell phone) It was a car accident. BOOTH: (into phone) This is Booth. I need a phone and address for a Kelly DeMarco in the Potomac area. ALEXANDRA: Two grafts, same day as Amy. Both grafts came from BioTech. BOOTH: (to phone still) When? You sure? BRENNAN: What is it? BOOTH: Thanks. (hangs up) Kelly DeMarco...she's d*ad. ALEXANDRA: Oh, my god. BRENNAN: We need to know for sure if she had the same kind of cancer. We have to exhume her. (Cut to Lab. Brennan and Zack are working on remains while Booth watches.) ZACK: Kelly DeMarco, age 32, d*ad of lung cancer two months ago. BRENNAN: (places bone on dish) Take a biopsy of this ulna graft from Ms. DeMarco and compare it with the core sample from Amy's leg. BOOTH: Look, I spoke to DeMarco's husband. She, uh, had the accident, she had all the operations. You know, she never smoked a cigarette in her whole life only to die of lung cancer eight months ago. ZACK: (places dish under microscope) When your number's up, I guess, right? I never understood that saying 'when your number's up.' Numbers and equations are quantitative and predictable. (looks through lens) Everyone knows when a number's up. BOOTH: (shakes heads) How do you listen to this all day? BRENNAN: I find intelligence soothing. ZACK: It's amazing how quickly this spread. (sh*ts of the graft on computer screen) The grafts went into this woman's body and within weeks, the cancer cells metastasized to her lungs. By then, the disease was unstoppable. BRENNAN: Same bones, same donor, same disease. BOOTH: Look, I got three agents out there right now searching for BioTech. But all we have to work on is this email address assigned to a fictitious name. OK, let's just...let's just say that Ogden and this, uh, fake tissue lab are in cahoots. How many other bones out there can be from the same donor? ZACK: There are 206 bones in the human body, Agent Booth. Of those, any number of them are graftable. BOOTH: Ok, you're saying that hundreds of people could still be out there with cancer time b*mb in them and not even realize it? BRENNAN: We need to call every hospital in the DC area. If they acquired BioTech grafts at the same time as Amy, those recipients need to be tracked down and tested immediately. BOOTH: Fine, if you're right, then the Bureau can officially designate this a serial k*lling. ZACK: (working on computer) Agent Booth, the records you've been waiting for. BOOTH: (walks over to look at the screen, where a picture of Ogden come up next to text) Oh, look at this. Alexandra Combs...she wasn't lying. Background check turns up that Ogden was fired from a private hospital in Denver. BRENNAN: Reason? BOOTH: Accepting a bribe for bumping someone up in the donor lists. This guy is dirty. (Cut to a room where Ogden is being interrogated by Booth and Brennan.) OGDEN: Look, what I did in Denver was wrong, but I did it for a good reason. BOOTH: To line your pockets. OGDEN: The money went to keep a struggling clinic afloat. Besides, it came from a family that could afford it. BRENNAN: So taking advantage of wealthy people is ok? OGDEN: I'm not saying I'm proud of what I did, Dr. Brennan. But just because I took the brine doesn't mean I had anything to do with this. BRENNAN: Why don't you tell us about your relationships with BioTech? OGDEN: The same I have with every company I deal with...a virtual one. BOOTH: Emails, online financial transactions. OGDEN: My assistant sends out a country-wide search for the organ or bone that we're looking for. They respond back and we bid. If we can reach an agreement, the part is immediately transported for surgery. BRENNAN: And in Amy Cullen's case? OGDEN: Same protocol. I bid, I bought, I received. No conversations were had. We're not required to check out suppliers each and every time we take an order. BOOTH: You know what Ogden? I'm gonna contact every bank you've done business with. If I find one deposit that's suspicious, you know what? You're mine. OGDEN: I swear to you I'm not involved in this. I haven't hurt anybody. (Cut to outside the hospital. Angela and Amy are sitting in a bench, looking at artwork.) AMY: Your work is awesome. ANGELA: Thanks. AMY: There's so much going on, you know? So much to feel. I don't know if I'll ever be able to do something like this. ANGELA: You will, just give it time. AMY: Well, I may not have a lot of that. Your paintings and your sculpture...they're alive, you know? It's like you're showing me how you felt when you painted them, what you've experienced (flipping through Angela's work). I can't paint what I don't know. ANGELA: Amy, you've been through more than most people. AMY: You mean dying? (shakes head) It's not enough. ANGELA: I really think it's best for you to stay positive. AMY: Keep doing things, you mean? ANGELA: With your art? Yeah. Absolutely. AMY: What about guys? ANGELA: Ah. Well, that totally goes without saying. What's his name? (smiles) AMY: Aaron. His family just moved here from Maine. ANGELA: Is he cute? AMY: He's so cute. ANGELA: Did you ask him out? AMY: No. He asked me, but I don't know. I said no. ANGELA: Why? (silence) Look, you haven't asked my advice so I'm just gonna give it to you, ok? (Amy nods) Just have fun. You know, every once in awhile, you...you might meet somebody who's worth it. AMY: What if he's not? ANGELA: Then you've got something else to paint about. (Cut to Lab, Booth is walking up the platform to the rest of the team who are working) BOOTH: Bureau's canvassed every hospital in the area. Four have been using BioTech bone grafts. BRENNAN: (hanging up phone she was on) And three recipients from those hospitals have lunch cancer. HODGINS: (on the phone) Here's another one. And this one died of lung cancer three months ago. I'm checking on a burial site. ANGELA: That makes 13, including Amy and the DeMarco woman. ZACK: Probably all from the same donor. BRENNAN: We're still waiting on Bethesda Naval Hospital. BOOTH: (pointing to screen) Can you ID these people? ZACK: Got names and addresses on all of them. (faces appear on the computer screen with their location) BRENNAN: I've already contacted Washington General to set up a biopsy testing facility. BOOTH: (exhales, looking at the screen) Man. How did one d*ad guy do so much damage? BRENNAN: That's a good idea. BOOTH: What idea? BRENNAN: Identify the donor and we might be able to find out how BioTech got his bones. HODGINS: (hanging up) Got it. Second decedent's name is Ronald Lupo. I found him at a cemetery in Lynchburg. BOOTH: Virginia? HOGDINS: Yeah. Why? BOOTH: Cause it means that this fraud just crossed state lines and became a legitimate case for the FBI. Looks like I don't have to use my sick days anymore, huh? (Cut to Cullen's office, where Booth is talking to him.) CULLEN: How many? BOOTH: Sick or d*ad? CULLEN: d*ad. BOOTH: Two...that we know of. But that makes it a multiple homicide case and since it's not isolated to the district and the recipients are in multiple states... CULLEN: (cutting in) This falls under FBI jurisdiction. BOOTH: Yes, sir. CULLEN: I should kick your ass. BOOTH: Yeah. CULLEN: (shaking head) What'd you do? Take sick time to work on this? BOOTH: Yeah. Migraine. (smiles) CULLEN: Thanks, Booth. Catch the son of a bitch that did this to my daughter. BOOTH: That's absolutely my intention sir. (Cut to a hospital room where Brennan, Booth, Dr. Ogden and Alexandra are watching various patients getting examined.) BOOTH: (to Brennan) Results? BRENNAN: So far there are three other early signs of cancer cells. Aggressive chemo and radiation treatments should be able to slow it down. BOOTH: (to Ogden) Admiring your handiwork, Doctor? (he turns to leave) ALEXANDRA: I'm sorry (turns to follow him out). (Booth and Brennan leave the room, and see Amy standing outside watching.) BOOTH: Amy... BRENNAN: (cutting in) Let me. BOOTH: Easy. BRENNAN: Hey, you all right? AMY: Did all these people get bones from the same donor I did? (cut to people waiting to be examined.) BRENNAN: Uh huh. AMY: Do they all have cancer? BRENNAN: No, not all of them. But the sooner the ones who are infected know, the better. AMY: (upset) Who would do a thing like that? If they knew they were sick, why make other people sick too? BRENNAN: I don't know. It's terrible, but that's what we're trying to figure out. AMY: So, if you take the bad grafts out will they be ok? BRENNAN: Some of them. AMY: But not me. BRENNAN: (emotional) No. AMY: I want this out of me. BRENNAN: Sweetheart, you're not strong enough. AMY: (pleading) Get them to take it out. BRENNAN: Amy, you have to understand, all of these people... AMY: (cutting in) I don't care. BRENNAN: You're saving their lives. (Amy turns and walks away, leaving Brennan who is obviously upset.) (Cut to lab, where Brennan and Zack are examining the xrays of the various grafts.) ZACK: We've traced all these grafts back to the donor and still know almost nothing. BRENNAN: Not exactly nothing. Zack, look at the slope of the sciatic notch in the pelvis. ZACK: (nodding) And the non-elevated auricular surface. BRENNAN: He was definitely male. ZACK: The osteon count in the femoral joint confirms the donor was over sixty. BRENNAN: It's a solid start, but we need a lot more. ZACK: Osteophytosis with narrowing of intervertebral spaces indicates consistent heavy lifting. Construction worker? BRENNAN: It's hard to say exactly. Definitely a burly type. If we keep guessing about what he was like on the inside then Angela can hypothesize about his appearance, size, weight. ZACK: I'm on it. (Cut to Angela's office where she's working on her computer while Hodgins, Brennan and Booth look on.) ANGELA: I scanned in the X-rays of all of the graft recipients as well as the pieces from the exhumed bodies. BOOTH: Ok, now what? Connect the dots? BRENNAN: More like connect the body parts. ANGELA: Think of it as sculpting from the inside out. The more that I know about our donor, the better I can guess what he might have looked like. BRENNAN: The fragments originated from nine sites on the donor's body. If we connect the grafts...(computer screen shows this). Now input all the anatomical factors and core anomalies. ANGELA: (inputs the data) Guys, meet Donor X...the man who caused all this pain (image of an old man on the screen). BRENNAN: So that's our serial k*ller. BOOTH: God, he probably had no idea how much damage he was gonna cause. We have enough to track him down? BRENNAN: Hodgins? HODGINS: Maybe with LIBS. BOOTH: Who's LIBS? HODGINS: Laser Induced Breakdown Spectroscopy. It'll give us an elemental analysis of the old bastard. BRENNAN: Angela told us what he looked like, now Hodgins can tell us where he lived. BOOTH: Well, we'll find him. BRENNAN: We have to. (Cut to another room in the lab, Hodgins is adjusting a machine while Booth, Brennan and Zack watch.) HODGINS: Strontium isotope levels suggest Donor X lived the last twenty years on the east coast. ZACK: Extremely low levels of fluoride in the cancellous bone. BRENNAN: Unusual since most tap water is fluoridated except for parts of the Appalachian Mountains. HODGINS: A few of the Hatfields and McCoys still have no teeth. BRENNAN: So we're looking for someone from Tennessee, West Virginia or North Carolina. BOOTH: Oh, great. That narrows it down. HODGINS: (looking at data) High level of C8. That's a key ingredient of Teflon. ZACK: There's a Teflon plant in Parkersburg, West Virginia. BRENNAN: And minuscule traces of nuclear sub-particles. ZACK: Wasn't there a problem about 15 years ago at Brant's Cliff Power Facility? HODGINS: Yeah, just a little one. Employees there were growing a second head. Can you say cover up? BOOTH: Ok, where's Brant's Cliff? BRENNAN: West Virginia also. BOOTH: Ok, fine. SO then we're trying to ID a guy who's 65 years of age, roughly 200 pounds lives in West Virginia, die of lung cancer within the last year, hmmm? (Brennan and Zack smile and nod.) (Cut to car, Booth and Brennan are inside.) BOOTH: Hey, look. There are three potential West Virginia donors we could be talking about. (looking at paper pad while driving) There's Lester Blake out of Tague. There's Blair Simmons...(horn honking) Hey lady, watch where you're driving!! (Honks) BRENNAN: (takes the paper away from him) I'd rather not be a donor myself. (looks down at paper and continues reading) Blair Simmons out of Dailey and William Hastings out of Beard's Fork. All three men died of mesothelioma last August. BOOTH: Ok, we'll be in Beard's Fork within about an hour, ok? (Cell phone rings) You're sure Zack and Hodgins are on the other two, right? BRENNAN: (into the phone) This is Brennan. ZACK: (Cuts to him at a cemetery) Dr. Brennan, I'm at Lester Blake's exhumation. I've examined the remains. BOOTH: (Back in the car, his cell phone rings) This is Booth. HODGINS: (Cuts to him underground somewhere) Blair Simmons isn't d*ad. BOOTH: What? HODGINS: He's frozen in a cryogenics lab. BOOTH: What do you mean frozen? HODGINS: Like a supermarket turkey. Not a scratch on him. And I think he's wedged between Walt Disney and Ted Williams. ZACK: (over the phone to Brennan) There's no sign of body tampering, and it's clear his casket hasn't been open since his burial. BRENNAN: (into her phone) So if Blake isn't our donor... BOOTH: (into his phone) So if Simmons isn't our donor... (Cut to Booth and Brennan talking to Mrs. Hastings outside of her home/trailer.) BOOTH: Mrs. Hastings, what did your husband do for a living? HASTINGS: Ah, this and that. Bill worked in construction for a time did the night shift down at Brant's Cliff...opened a roofing business a few years back. BRENNAN: Roofing? HASTINGS: Shingling and fireproofing and such. BRENNAN: So he handled asbestos? HASTINGS: Doctors say that's what finally got him. Why are y'all so curious? BOOTH: Uh, Mrs. Hastings, I mean, your husband did time for petty theft and fraud. I mean, you lost your home, your cars. He left you with nothing. HASTINGS: Ah, Bill Hastings was an old fool who deserved what came to him. BRENNAN: You needed money. Did anyone approach you about selling his parts after he died? HASTINGS: Pardon? I'm afraid I don't follow. BOOTH: Well, his family has a cemetery plot in Kincaid yet you cremated him. Are you hiding something? HASTINGS: (scoffs) I did that because the guy at the funeral home said it was cheaper. We couldn't afford a proper burial. BOOTH: What funeral home? HASTINGS: Um, it was called Martin, I think. BRENNAN: Where are the ashes? HASTINGS: Out back in the yard. BRENNAN: Do you mind if we take a sample? HASTINGS: I sure as hell do. I don't like what y'all are accusing me of doing. BOOTH: Well, we'll just come back with a warrant, that's all. HASTINGS: You better bring some dogs. And bring those trigger-happy agents of yours too, cause this conversation is over. BOOTH: Come on Bones, lets go. Have a nice day. (Cut to the hospital, Booth and Brennan and talking to Cullen in the waiting area.) BOOTH: Look, she insists that her husband wasn't the donor but the evidence is overwhelming. BRENNAN: If I could get my hands on a soil sample I know there are bone fragments still intact that we can possibly identify him with. CULLEN: Was there an insurance policy in place? BOOTH: None. More reasons to sell the illegal grafts. But the funereal home had to have been in cahoots with her. CULLEN: (Mrs. Cullen approaches with coffee) So all we have to do is connect the widow to the funeral home. BRENNAN: Then the home to BioTech. (A group of doctors approach them.) DOCTOR: We need to speak to you and Amy's mother privately. BOOTH: We'll go. Come on, Bones. (they leave) (Cut to inside Amy's room. She is drawing a portrait of her parents as she looks at them through the window as they get news from the doctors. Angela is sitting next to her.) AMY: She's telling them the treatment didn't work and they're nothing else they can do. (sh*t of her parents upset.) I hate seeing them so sad. (grabs hold of Angela's hand) (Cut to inside the funeral home where Booth and Brennan enter, at what appears to be the middle of a ceremony.) BOOTH: (whispers) Bones...Bones...Bones, I know that you find d*ad people intriguing but just try to put on your sad face. (He clears his throat to get the attention of Nick Martin, the funeral director in the front. He comes over when he sees Booth's badge.) MARTIN: I'm sorry. I'm in the middle of a service. BOOTH: Well, this will only take a minute. Uh, Mr. Jessup...he...he ain't going no where. MARTIN: What's this about, exactly? BRENNAN: William Hastings. MARTIN: Uh, is he someone you've lost? BOOTH: More like somebody we found. BRENNAN: He passed away a year ago, you cremated him. But somehow his bones were illegally harvested prior to the procedure. MARTIN: Well, not here. BOOTH: What do you mean? MARTIN: Well, this is my mortuary. I've been in business almost a decade and I have no recollection whatsoever of a Mr. Hastings. BRENNAN: His wife mentioned this place specifically. MARTIN: It's unfortunate, but the bereaved are often confused. BRENNAN: In this case, I don't think so. BOOTH: We don't think so. MARTIN: If you'll excuse me, I have mourners waiting. BOOTH: Well, maybe you can just double check your records and get back to me. (hands him his card) MARTIN: I would, but my records are impeccable. There's nothing to double check. BOOTH: Well...(Martin turns away) That was quick. BRENNAN: I need to get those ashes from her yard. BOOTH: You got 'em, all right. I'll get the warrant. BRENNAN: And don't roget the dogs and the g*n-toting agents she asked for. BOOTH: Oh, believe me. Trust me. I won't forget that. (they leave) (Cut to the lab, Hodgins, Brennan and Booth are talking.) BRENNAN: So I looked it up on the internet...you can get $10,000 for grafts on the black market these days. BOOTH: (chuckles) Ten grand. Geez, my bones are worth more than that. BRENNAN: What makes you so special? BOOTH: Three glasses of milk a day, I work out and I eat right. HODGINS: X-ray micro-fluorescence shows a high concentration of calcium carbonate. BRENNAN: (sarcastically) Oh, that's a revelation. Seriously Hodgins is there anything that we can link to William Hastings' medical records? HODGINS: Everything tracks. I mean, the cremains are consistent to those of William Hastings. The question I keep asking is, if the widow is guilty, why keep the remains so close to home? BRENNAN: Well, what if she didn't know about it? BOOTH: Oh, come on Bones. She hated the guy. My guess is she got 10 G's stuffed in her mattress back in Trailerville. BRENNAN: No, I mean it. There are no unusual bank records, no deposits. What if they took the grafts, gave her back the ashes, and she was none the wiser. HODGINS: Man, is she gonna be pissed. BOOTH: Alright, if it's not the widow Hastings, I'm doubling down on the mortician. Everybody in? (to Hodgins) You in? (Cut back to funeral home, Booth and Brennan enter as Martin is...doing what morticians do to bodies?) BOOTH: Thank you. Aw, geeez. MARTIN: Excuse me. This body is being prepped. What do you want? BRENNAN: What we want is to know where you harvested Mr. Hastings' body. MARTIN: I told you, I don't know who Hastings is. BOOTH: Well, we think you're lying. BRENNAN: We think you're selling bone and tissue grafts illegally. MARTIN: And I think your accusations are outlandish and you should call my lawyer. BOOTH: Yeah? Well, we have a warrant here to, uh, look around a little (holds out warrant). (Cut to a room where coffins are displayed.) BOOTH: What's this place? BRENNAN: Casket showroom. They're having a sale. BOOTH: Well, it looks like a sick department store. Alright, nobody would be cutting anybody up in this place. Let's go. (turns to lead Brennan out of the room.) BRENNAN: Whoa. Wait, over there. (points) BOOTH: What? It's a water line. What's the big deal? BRENNAN: But the floor slopes towards the centre of the room. This wasn't always used for a showroom. I wonder what's under the carpet. Huh (takes out pocket Kn*fe). If body work was done in here, they'd need a drain. (cuts a piece of the carpet to reveal a drain.) BOOTH: You're kidding me. It's a drain? MARTIN: (enters the room) This is our sales office. There is nothing in here you need to see. The only thing in this room is caskets. BRENNAN: I'm not so sure about that (looking at air vent on the wall). MARTIN: No, what...you are making a mistake. BRENNAN: Am I? (closes a casket and climbs up on it to look at the vent) MARTIN: She's ruining my merchandise. BOOTH: (chuckling) Come on, how much is that one? MARTIN: $7,000 BOOTH: Bones, watch the scuff marks. BRENNAN: (from on top of the casket) Mr. Martin, this room is designed to be washed clean. You've got drains in the floor. I think this is where you did the bone harvesting. When you thought we were coming back, you moved everything around. MARTIN: That's absurd. I did no such thing. BRENNAN: (grabbing mask and swab from her bag) You're an excellent house cleaner but in the carpeting and tidying up, you forgot about one thing. (Reaches up and opens the air vent, swabbing the inside) Bone dust. You forgot about airborne particles. (Cut to the platform at the Lab. Zack is working in front of a machine while Booth, Brennan and Hodgins wait.) BOOTH: Today Zack, I need something today. BRENNAN: (steps in) Hey, don't harass my assistant. HODGINS: That's right, that's our job. ZACK: I sifted dust particles through a series of filters then separated the larger pieces and magnified them to compare the osteons (image on screen). BRENNAN: The particles in the vent definitely came from cutting human skeletal remains. BOOTH: William Hastings' remains? ZACK: I am comparing particles to the biopsy we excised from Kelly DeMarco (holds out slide). BOOTH: Compare. (Both images come up on the screen) So, is it him? BRENNAN: It's him. (smiling) But here's the kickster... BOOTH: Kicker Bones. Here's the kicker. BRENNAN: (upset) Oh. ZACK: There's bone dust from at least seven other bodies in that vent filter as well. BOOTH: Seven? BRENNAN: Cutting through periosteum for grafting purposes takes medical training. ZACK: Except for the tainted samples, these bone grafts are expertly harvested. BOOTH: Ok, so we're looking for someone who has medical training. BRENNAN: Martin is a mortician, not a doctor. Let's say he's running a chop shop. Lets say he was selling illegal parts to tissue labs. Who was actually doing the cutting? BOOTH: And who was selling to hospital as BioTech? (Cut to FBI Building. Booth is interrogating Martin. Cullen and Brennan are watching through the glass.) BOOTH: How much money have you made over the years doing this, Nick? Huh? Tens? Oh, hundreds of thousands of dollars. MARTIN: I don't know what you're talking about. BOOTH: William Hastings had an aggressive form of cancer that was very rare. You made some pocket change off his grafts, you didn't even tell his wife. Now a bunch of people are sick. Two died. You're looking at multiple counts of m*rder. MARTIN: I didn't k*ll anybody. BOOTH: No, no, you didn't k*ll anybody. I mean, they were already d*ad. You were just recycling. MARTIN: I didn't do anything wrong. BOOTH: Do you have any doctor training? MARTIN: No. BOOTH: Spend any time in the service as a medic or a nurse? MARTIN: No. BOOTH: No? Then who did the cutting? Who did the cutting of the grafts, huh? Somebody knew what they were doing. Your phone records show that during the months around Hastings' death you received dozen of calls from disposable cells. Four different ones, huh? (slams file down on table) What do you make of that? (Cullen is watching through the glass, getting more agitated) MARTIN: (looks at the file) I don't recall this. BOOTH: You know what? The dust that we got off the vent in your showroom matched Hastings and seven other bodies. Who do you work with? MARTIN: I don't know what you're talking about. BOOTH: I think you do. I think you and your partners knew that the bones were cancerous, and you didn't... CULLEN: (slams open the door and walks in, interrupting Booth) Who was it, huh? Who the hell did this to my daughter? (Grabs Martin and pushes him up against the wall) Huh?? BOOTH: (getting in between the two) Sir, sir, sir. I got him. I got him, sir. Please. (holding Cullen back) Bones, how long is it gonna take you to...(turns to talk to her, but she is gone.) Bones, come on! (looks around for her) (Cut to the hospital, in an office, Brennan walks in on Alexandra, who just finished recharging a bunch of cell phones.) ALEXANDRA: Oh, Dr. Brennan, you startled me. BRENNAN: Mind if I come in? ALEXANDRA: Not at all. I was just trying to keep things organized. What we do here is so important, we can't risk making any mistakes. BRENNAN: Ms. Combs, tell me, what...what do you use these phones for? (looking at the cell phones) ALEXANDRA: Recipients primarily. We never know when a donor organ is going to come in so it's imperative that they can be reached at all times. BRENNAN: Ever use one yourself? ALEXANDRA: (smiles) What can I do for you, Doctor? BRENNAN: Have you always wanted to work in a hospital? I mean, it's incredibly rewarding, I know. But have you ever wanted to study medicine? ALEXANDRA: I did at one time, yes. BRENNAN: How do you fell, Ms. Combs? Have you been coughing at all? Do you feel a tightness in your chest? ALEXANDRA: I feel fine actually. BRENNAN: How often does Dr. Ogden write prescriptions? ALEXANDRA: Rarely. As coordinator he doesn't practice. BRENNAN: Yet, the pharmacy downstairs told the FBI that he wrote you a script for an expectorant for a cough. ALEXANDRA: Well, there must be some mistake. He'd never... BRENNAN: You wrote that prescription yourself, didn't you? (Alexandra chuckles and shakes her head) I know what you've been doing with Martin...to Hastings and the others. See, if you'd finished medical school, you'd know. Bone dust is very dangerous if inhaled. When you were taking those grafts, I doubt you were wearing a mask. You're sick Ms. Combs...and I, I don't just mean in a ment*lly disturbed way. ALEXANDRA: (getting agitated) This is ridiculous. You can't prove anything. BRENNAN: We're in a hospital. Why don't we go get a chest x-ray and find out? (Booth and Ogden enter the office) BOOTH: I'd like to read you your rights. OGDEN: Alexandra, what's going on? (Cut to the lab, in the sitting area above...Angela, Brennan and Hodgins are talking.) HODGINS: So the transplant assistant fancied herself a doctor? BRENNAN: Not a doctor exactly but qualified enough to extricate bone grafts from a cadaver. HODGINS: And what about BioTech Tissue Labs? BRENNAN: Once it was a legitimate company...Combs kept it alive on the web and funneled the money into her own well-disguised bank account. ANGELA: So where does that leave Amy? BRENNAN: Same as where she started, just with answers...that's all. ANGELA: (shakes head) Well, that is perfect (gets up and leaves). BRENNAN: Angela... HODGINS: That's ok, I got it. (Cut to Angela's office, Hodgins enters.) HODGINS: Hey. ANGELA: Hey. HODGINS: You all right? ANGELA: Yeah...(Hodgins turns to leave) No, No I'm not. Look, we can solve hundred-year-old crimes...we can, we can track down serial K*llers and identify people when nothing is left of them but sludge. So, why can't we help a 15-year-old girl? All she wants to do is fall in love and visit the Louvre. HODGINS: You can do that. ANGELA: What do you mean? HODGINS: You made a whole guy out of bone chips and lights. You can create the Louvre. ANGELA: Well, what about love? What do you have to say about love? HODGINS: It's overrated...most of the time. (smiles) (Angela leaves.) (Cut to the hospital, Angela has her computer set up in Amy's room as Brennan, Booth and her parents look on.) ANGELA: Ok. Now tell me what you see. (Puts goggles on Amy). AMY: (Cut to what she is seeing, which is a 3D representation of the Louvre.) Oh, wow. No way. (Cut back to the room, where you see Amy with the goggles and everyone watching her) Angela, this is unbelievable. (laughs) ANGELA: Welcome to the Louvre. AMY: I'm really there. BOOTH: That's amazing. CULLEN: Is this your doing, Dr. Brennan? BRENNAN: No, sir. It's all Ms. Montenegro. MRS. CULLEN: Thank you Angela. ANGELA: You're welcome. So, what do you think? AMY: I think it's like heaven. I don't know what to say. ANGELA: Don't say anything, you don't have to. (Cut to Amy walking around the Louvre.) End.

{"type": "series", "show": "Bones", "episode": "01x20 - The Graft in the Girl"}

foreverdreaming

"The Soldier on the Grave" Episode 1x21 Written By: Stephen Nathan Directed by: Jonathan Pontell Transcribed by: ashiya Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. [Fade in: BRENNAN and BOOTH walk into the scene, ARLINGTON NATIONAL CEMETARY] BOOTH: I never get used to the magnitude of this place, what it's taken to keep this country free. BRENNAN: All socities build monuments to their d*ad, to convince future combatants that it's an honor to die in battle. BOOTH: For these servicemen it was. And somebody to use this place to protest the w*r just pisses me off. These are the lives that gave them the right. These men, they should be respected. BRENNAN: If they were really respected, maybe not so many of them would be buried here. BOOTH: Are we gonna get into something here, Bones? BRENNAN: I don't see why. I think we both wish this place were a lot smaller. AGENT #1: Agent Booth, Dr. Brennan. Right this way. [Camera pans out, AGENT #1, BOOTH and BRENNAN walk towards the scene. Jeffersonian employees are taking pictures of the scene and collecting samples.] AGENT #1: It must've happened in the middle of the night. Place is so big no one saw the f*re. [ZACK is taking photos of a b*rned skeleton, leaning against a headstone. BOOTH, BRENNAN and AGENT #1 approach.] ZACK: The accelerant was charcoal starter. AGENT #1: We didn't find a su1c1de note. BRENNAN: If he was a protester, wouldn't he have left a note? BOOTH: Didn't need to. It's on Charlie Kent's grave. BOOTH (offscreen): Press was coming out to do a tribute to him. [BRENNAN looks up, pulls out latex gloves.] BOOTH: One-year anniversary of his death. BRENNAN: [Nonplussed] Charlie Kent? BOOTH (offscreen): He was in the National Guard. About to be drafted by the NBA when he got shipped out to Iraq. He gave his life taking out a group of insurgents to save his unit. BOOTH: Won the silver star. BRENNAN (offscreen): It's male. BRENNAN: African descent. Approximately 20-29 years old. Too early to determine cause of death. BOOTH: I'm not a pro, but I'm guessin' f*re. [BRENNAN looks up at him pointedly.] AGENT #1: The White House and the D.O.D. want an I.D. as soon as possible. BRENNAN: So they can brand him a traitor. BOOTH: Why do you have to be so cynical? BRENNAN: I'm not cynical. It's a necessary psychology of warfare. Heroes and villains. [BRENNAN stands and circles around the remains.] BRENNAN: Without clear distinctions like that, we'd never be able to fight. BOOTH: Yeah, well, I always found being sh*t at... was a motivating factor. [BOOTH turns and moves away from the remains. Camera turns back to BRENNAN and ZACK, working with the remains.] BRENNAN: Bag these fragments of his clothing. I also want any singed plant life or debris you find around him. [BOOTH moves the crime scene tape, fixated on something beyond the frame.] ZACK (offscreen): I'm on it. [BRENNAN turns to stare at BOOTH. BOOTH shakes his head, standing in front of a headstone not unlike Kent's. BRENNAN joins him at his side.] BRENNAN: What? BOOTH: It's Jamie Richards. [The headstone reads JAMES RICHARDS SFC US ARMY DEC 3 1970 OCT 26 2003 PURPLE HEART OPERATION IRAQI FREEDOM] BOOTH (offscreen): We were in the Rangers together. BOOTH: He was h*t by a roadside b*mb... just outside the green zone. He left a wife and two kids. The fact that he was near this -- BRENNAN: You believe somehow he's still here watching? [BOOTH swallows hard.] BOOTH: Yeah. You don't. I get that. BRENNAN: I know you think he's a good man. That's -- that's enough for me. [BRENNAN turns back to the scene. Camera pans down to BOOTH crouched in front of JAMES RICHARDS' grave.] BRENNAN: Zack, I want pictures of all remaining tissue before he's moved. [CUT to: JEFFERSONIAN MEDICO-LEGAL LAB. A television is tuned into the local news channel.] FEMALE REPORTER: The unidentified su1c1de victim was found at Private Kent's grave this morning. Services had been planned to honor Kent on the one-year anniversary of his death in Iraq. [GOODMAN moves into the scene as the camera pans out. Television report shows footage of KENT playing basketball.] GOODMAN: Ah. I used to love watching Kent play. He could fly. ZACK: He made 46.4% of his three point attempts in his last season. GOODMAN: A basketball fan? I'm surprised, Mr. Addy. [BRENNAN walks onto the platform, and turns off the television.] BRENNAN: Zack, I'd like you to keep cleaning the bones. ZACK: Did you see the game against North Carolina? ZACK: Fifty-three points, and he grabbed 18 rebounds. BRENNAN: Zack? [BRENNAN gives him a pointed look, gesturing to the remains on the examination table as she puts latex gloves on.] [ZACK, chastised, turns back to the remains, turning on a UV light.] ZACK: Sorry. Cleaning. GOODMAN: It's difficult knowing Kent will never play again. Makes the w*r so real. HODGINS: Which is odd since it was all fiction that got us there in the first place. GOODMAN: So you don't think we should stand up to tyrants? HODGINS: Sure. [Smirks] I've been waitin' for the press to do that for three years now. ANGELA: I can't believe you took the bait. GOODMAN: Yeah. Me neither. [Cell phone rings. GOODMAN winces as he pulls it out, rolls his eyes.] GOODMAN: Oh! Press Office of Defense. Please I.D. him. This is the third call in an hour. [GOODMAN answers the call, looking annoyed.] GOODMAN: Hello? [Suddenly looks tired, annoyed and weary.] Yes. It's a pleasure to hear from you *again*, sir. Yes, we're very close. ANGELA (offscreen): All right. ANGELA: I fed his dentals, approximate age, height, along with the rough sketch I made from the tissue markers into the D.O.D. database. [Camera changes, shows BOOTH swiping his card through the security reader and mounting the platform.] HODGINS (offscreen): The victim had lamb about an hour before his death. HODGINS: Of course, it's a little overcooked now. BOOTH: Toasted himself. Who cares what he ate? BRENNAN: Just doing our jobs, Booth. HODGINS: Big boys telling you to sweep this one under the rug? BOOTH: Just can the left-wing conspiracy, Hodgins. BOOTH: Probably one of your nut-ball friends here on the table. HODGINS: Don't think so. Fabric found at the scene was cotton with synthetic polymers. Dye: olive green. [Camera shows BOOTH's face. ANGELA is in the background, still at the computer. HODGINS (offscreen): This dude was wearing a military uniform. HODGINS: He's one of yours, not mine. ANGELA: Okay. His name is Devon Marshall. [BOOTH turns to ANGELA. Scene changes to show BRENNAN looking towards ANGELA and BOOTH's direction.] ANGELA: He served in the Guard with Kent. BOOTH: What? ANGELA: He was there in Mosul the night Kent was k*lled. [Focus on computer screen, shows DEVON MARSHALL's official photo as well as his basic information.] ZACK: He was protesting? HODGINS: Marshall could've had a change of heart. It's not like support for the w*r is increasing. BOOTH: It also could've been survivor's guilt. The guy who saved his life didn't make it. You can't imagine what it's like carrying that around. [BRENNAN looks at BOOTH.] BRENNAN: I don't think so, Booth. There's evidence of damage on the external auditory meatus... [Camera pans to follow BRENNAN back to the remains on the table. Zoom into the skull, which shows a hole in the skull.] BRENNAN: ...here and here. BOOTH: I'm sorry, you know, but I left my phrase book at home. ZACK: The opening in the skull where the auditory nerves feed into the brain. [BOOTH looks and sounds exasperated.] BOOTH: So we're talking ear hole? [BRENNAN looks at BOOTH, looking perplexed and annoyed with him.] BRENNAN: Yes. BOOTH: They simplify these words for a reason, people. BRENNAN: Something was jabbed into his ear. BOOTH: [Slowly] Okay, that's clear. But why? BRENNAN: There's scrapings within the cranium and marks on the inside of the parietal and occipital. BRENNAN: Whatever was used was pushed completely through his skull. HODGINS: Someone scrambled his brain, then set the f*re so there'd be no tissue left to see what had been done. BRENNAN: Exactly. Devon Marshall didn't die in the f*re. He was m*rder first. [BRENNAN looks to BOOTH, camera pans to BOOTH's face staring in BRENNAN's direction, looking tense and grim.] [CUE CREDITS.] [FADE IN: WASHINGTON, D.C. in daylight. A black SUV is driving and makes a turn.] BRENNAN (offscreen): Marshall was against the w*r. [CUT to: BRENNAN and BOOTH in the SUV. BRENNAN is talking to BOOTH as she is on a cell phone. BOOTH stares ahead, driving.] BRENNAN: They knew he'd look like a protester, so no one would expect m*rder. BOOTH: As far as anyone knows, this is still a su1c1de. BOOTH: I want the k*ller to think that he got away with it. BOOTH: He's smart. I want the edge. Br (into cellphone): Okay, Zack, then magnify the marks on the cranium. Call me if you match them to any kind of w*apon. [BRENNAN ends the call.] BOOTH: Y'know, I'm just gonna be asking his mother a few questions. You could've just stayed back there and played with your bones. BRENNAN (offscreen): I know. Just wanted to keep you company, that's all. BOOTH: Company? BRENNAN: Yeah. I'm trying to be more sociable. You know? [BOOTH doesn't look convinced.] BOOTH: Lousy liar. BRENNAN: I just think inside, you're still military, Booth. You might be too close to this one. I just wanna make sure you stay objective. BOOTH (offscreen): I know how to do my job. BOOTH: I was doing it just fine long before I met you. BRENNAN: You're angry. BOOTH: [Annoyed] Well, because I have people all around me with opinions about the w*r who don't know what the hell they're talking about! BRENNAN: I've been in Sudan, Rwanda. For two months I sifted through the wreckage of 9/!! trying to help the families of the victims. BOOTH: All I'm saying is that this is just another case. That's all. It's just-- It's another case. BRENNAN: [Looks away.] You're not such a great liar yourself. [BOOTH sighs.] BRENNAN: I'm your partner. Let me be your partner. [CUT to: a framed photo of DEVON MARSHALL, presumably being held by BOOTH in his office.] BOOTH: Did he, uh, have any troubles since he came back? Any personal problems? [BOOTH hands the photo back to the red-suited figure in front of his desk.] [Camera follows and focuses on an African-American woman, REGINA MARSHALL.] REGINA. MARSHALL: Some days... [She sighs, looks down at the photo and then back up.] I didn't know him. REGINA MARSHALL (offscreen): He used to be very outgoing, happy. [BOOTH and BRENNAN are listening to REGINA MARSHALL, both studying her.] REGINA MARSHALL: But since he came back, all he did was spend time with his little sister... [Camera pans back to REGINA MARSHALL, and there is a younger African-American female sitting next to her. KIARA MARSHALL, DEVON's sister.] REGINA MARSHALL: take her to school, help her with her homework. KIARA MARSHALL: Said his job now is keeping me safe. KIARA MARSHALL: But most of the time, it was like I was taking care of him. [BRENNAN glances over at BOOTH. BOOTH looks back and focuses on DEVON'S SISTER again.] KIARA MARSHALL (offscreen): It was like he was scared all the time. BOOTH: Did he, uh-- Did he talk, you know, to anyone else he served with? KIARA MARSHALL (offscreen): Just Jimmy. He talked to him when Jimmy wasn't in the hospital, the V.A. REGINA MARSHALL (offscreen): When he was over there, he really believed in what he was doing. REGINA MARSHALL: He wrote us all the time, saying how good he felt seeing the people free... Voting. 'Cause he remembered when his grandpa was a young man he didn't have the right to vote. [To Brennan] When can I have my son back? When can I lay him to rest? BRENNAN: Soon, Mrs. Marshall. BRENNAN: We just wanna make sure we have all the facts. [REGINA MARSHALL and KIARA rise to leave. Camera focuses on BOOTH, who looks tired and grim. BRENNAN looks at him and sighs.] [Camera does a wide pan sh*t of a large building.] [V.A. HOSPITAL] BRENNAN (offscreen): I know it's his sister, but it seems odd... [Camera cuts to BOOTH and BRENNAN walking side to side down a hallway. A man using a cane walks by.] BRENNAN: ...for a grown man to be spending so much time with a 13-year-old. BOOTH: You come back from combat, it's still all over you. BOOTH: You know, you wanna be around something pure, something innocent. BOOTH: Adults, they want you to relive it all. BOOTH: They, they want w*r stories like they're entertainment. BRENNAN: It makes 'em feel better. If they hear you survived, then maybe w*r isn't so bad. BRENNAN: John Wayne syndrome. BOOTH: Don't tell me you're gonna trash the Duke? BRENNAN: Wh- are you kidding? I love the Duke. BOOTH: [Imitating] I wouldn't have guessed that one, little lady. BRENNAN: Remember "Stagecoach?" BRENNAN: [Imitating] "Listen, cowboy. Courage is being scared to death but saddling up anyway." BOOTH: What was that? The Duke? That was horrible. BOOTH: That was like, Jerry Lewis. BRENNAN: Was not. [Camera cuts to a painting of a soldier saluting, and continues to pan out into a wide open common/rec room. Men are sitting together, talking.] BOOTH (offscreen): Just a couple of quick questions, Jimmy. [Camera continues to pan and shows, JIMMY, his wife, BOOTH and BRENNAN sitting around a coffee table on couches.] JIMMY: I-I-I can't-- I can't talk about Devon now, man. JIMMY: I-I just can't. JIMMY'S WIFE: Why can't you just leave him alone? He's got enough troubles. BOOTH: I understand, okay? It's-- readjusting takes time. [Camera focuses on JIMMY'S WIFE.] BOOTH (offscreen): It's different for every one of us. JIMMY: It sure as hell was different for Devon. He's gone, man. JIMMY: Son of a bitch should've never checked out on me like that. JIMMY'S WIFE (offscreen): That's when Jimmy came back in here-- when he heard about Devon. [Camera shows BOOTH and BRENNAN listening carefully.] JIMMY'S WIFE: He was doing pretty good before that. JIMMY: [To his wife] Baby, I can't hold a job yet. I can't even provide for my family. BOOTH: Did you and Devon ever argue? JIMMY: Oh, no. We, we had to stick together. That's what it was all about. JIMMY'S WIFE: Devon would call, and Jimmy would take off to meet him. Middle of dinner, playing with Sarah-- It didn't matter. [Bitterly] Jimmy would go. JIMMY: He needed me, Karen. [To Booth] Man, you served. You know what it's like when you get back. You got no one but the guys you served with. BRENNAN: You and Devon would visit Corporal Kent's gravesite? JIMMY: It never should've happened like that. Not to Kent. We would go and tell him that we-- we were sorry. We needed him to know. BOOTH: I understand. BRENNAN: I don't. How did it happen, Jimmy? BOOTH: It doesn't matter, Bones. BRENNAN: But, Booth -- [BOOTH begins to stand up.] BOOTH: We'll see you later, okay Jimmy? KAREN: At home. He'll be at home next time with me and the kids. Right, Jimmy? [JIMMY doesn't answer. BOOTH pats him on the shoulder as he and BRENNAN move to leave the V.A. Hospital.] [Cut to: BOOTH and BRENNAN walking down the hallway.] BOOTH: Jimmy loved that guy. He didn't k*ll him. BRENNAN: Now you're a mind reader. BOOTH: Maybe. You want me to guess your weight? BRENNAN: You do and you could loose a tooth. Booth, you've gotta stay objective. Jimmy was one of the last people to see Devon alive. He admitted they went to the cemetary. Jimmy could've k*lled him. BOOTH: Oh, here we go. I thought you didn't like speculation. BRENNAN: I don't. That's why I took this. Cigarette butt [pulls an object out of her pocket]. See if we can pull any DNA from it and match it to anything he left on Devon. BOOTH: Right. If you got what you need, then why are you giving me such grief? [BRENNAN puts a restraining hand on BOOTH's arm.] BRENNAN: Because I thought you could've been a little tougher in there. BOOTH: I'm tough. BRENNAN: Most of the time. BOOTH: [Chuckles] Do you always have to get the last word in? BRENNAN: I like to, yeah. [BOOTH is about to say something, but is interrupted.] MAN: Booth! [Camera pans out to a man in a wheelchair, looking pleased to see BOOTH.] MAN: Son of a bitch. BOOTH: Hey, Hank! Hey! [HANK pulls him down and they hug, patting each other on the back.] BOOTH: How the hell are ya, man? HANK: Great, just got some new wheels. BOOTH: Sweet ride, man. Hank Lutrell, Dr. Temperance Brennan. HANK: The bone lady. [They shake hands. BRENNAN has a wry look on her face.] BRENNAN: That's me. Hank: I heard you two were working together. Booth and I were in the same unit in Kosovo. HANK (offscreen): Hey you gotta come over for dinner. Janie and the kids keep asking about you. BOOTH: Yeah, I'd love to. I'll call. We'll uh, make it a date, okay? HANK: Great. I gotta roll. I gotta be in court at 3:00. BOOTH (offscreen): Yeah. HANK: They can't start without the judge. [BOOTH pats him on the shoulder as HANK wheels away.] BOOTH: I'll call. HANK: Hey, call me or I'm gonna kick your ass. BOOTH: [Sighs] Uh-huh. BRENNAN: What happened to him? [BOOTH looks exasperated and irritated.] BOOTH: [Curtly] He got hurt. [BOOTH walks away and BRENNAN stares after him for a second before following.] [Cut to: LAB INTERIOR. Close-up of the bones laid out on the table.] ZACK (offscreen): There are signs of additional damage on C-1 at the base of the skull. ZACK: This mark couldn't have come from the as*ault inside the cranium. [Camera pans out to show ZACK, ANGELA and HODGINS in the room, also examining the bones.] ANGELA: [Exasperated] I just think that you should be aware that Booth went through something over there. HODGINS: So I'm not supposed to tell the truth? ANGELA: Truth? It's *opinion* Jack. ZACK: [Frowns] Looks like a dimple in the bone. Could be genetic. HODGINS: There were no W.M.D.'s. That's the truth. ANGELA: Every major intelligence agency in the world thought there were. [HODGINS looks amused and stubborn.] ZACK (offscreen): We should get magnification of the area to determine what else could've caused it. HODGINS: Are you defending what's going on over there? ANGELA: No. Mistakes were made, *obviously*. HODGINS: Yeah! Like establishing military bases over there instead of investing a fraction of what this w*r costs into alternative energy projects. ANGELA: Nothing is that simple. HODGINS: To me it is! We're ruled by the corporate oligarchy. Face it. [ANGELA looks exasperated and clearly unamused; ZACK continues his analysis.] ZACK: There's also some discoloration. You should do some scrapings to see what it might be. ANGELA: [Sighs] You want to make the world a better place, Jack? Try shutting your yap long enough to hear something other than the sound of your own voice. [ANGELA walks away.] HODGINS: [Surprised, calls after her.] Hey, where are you going? ZACK: The scrapings? HODGINS: Huh? HODGINS: Oh, yeah. I thought we were having a good time. [Scoffs] [Cut to: NATIONAL GUARD MILITARY BASE - OFFICE. COL. SHORE stands up; BRENNAN, CPT. FULLER and BOOTH follow.] COL. SHORE: It's a pleasure to finally meet you, Dr. Brennan. You've helped us with some casualties that we never thought we'd be able to I.D. BRENNAN: Someday, maybe I won't be needed. COL. SHORE: That's what we all hope. CAPTAIN FULLER, give Agent Booth and Dr. Brennan all the help they need. CPT. FULLER: [Snaps to attention.] Yes sir. [Gestures for BOOTH and BRENNAN to move ahead.] Please. [BOOTH and BRENNAN move to sit in front of CPT. FULLER's desk.) BOOTH: So uh, this is your third tour in Iraq, Captain? CPT. FULLER: Yes. A National Guard unit can be difficult to lead. Nothing against the Guard, but usually they're inexperienced, shortchanged on equipment. CPT. FULLER: But Kent's unit, they were one of the best I ever had. BOOTH: And Devon Marshall? CPT. FULLER: Marshall was a good soldier. But after he came back, he seemed to turn against the military. Saw us as the problem over there. You must've known men like that. BOOTH: Some people just aren't cut out for it. BOOTH: Like Jimmy Martin. CPT. FULLER: Jimmy's been having some troubles, but he still supports us. BOOTH: Both Marshall and Jimmy, uh, seemed like they had trouble getting over Corporal Kent's death. Any idea why it was so tough for 'em? BOOTH (offscreen): Tougher than usual. [CPT. FULLER looks at BOOTH. BOOTH stares back knowingly. CPT. FULLER looks away.] CPT. FULLER: We were on a patrol in Mosul. Cpt (offscreen): Intel reports indicated there were insurgents in this neighbourhood. CPT. FULLER: We were canvassing the area. [Camera whites out and fades back in to show a SOLDIER sitting in the driver's side of a military vehicle.] CPT. FULLER (voiceover): PRIVATE CAMPBELL, she stayed in the Humvee as the unit headed towards a small house up the street. [Five SOLDIERS climb out of the military HUMVEE, armed and checking their equipment.] CPT. FULLER (voiceover): There were five of us -- Kent, Marshall, Martin, Lefferts, myself. [They move in a line towards the house. CPT. FULLER stops and gestures for two soldiers to go around.] CPT. FULLER: It was a small house -- two rooms. I looked through the slat and saw three insurgents in the back room, one a woman. [Camera shows fleeting images of a man with a g*n slung on his shoulder, another man with a g*n standing next to the woman.] CPT. FULLER: They men had AK-47s. I sent KENT and LEFFERTS to cover the back so no one could run. [KENT and LEFFERTS quickly round the corner, g*n ready. KENT looks back and LEFFERT nods tensely. CUT back to CPT. FULLER, MARSHALL and MARTIN at the front door.] CPT. FULLER: I was getting the others into position when one of the insurgents must've spotted Kent. [FLASH to KENT peeking into the door and FLASH back to FULLER's group.] CPT. FULLER: I heard the pop, pop, pop of the enemy AK-47. [KENT comes barging through the door, g*n raised and f*ring into the room. CPT. FULLER: Kent made entry to take them out before they could get to the rest of us. Lefferts followed him in while we were kicking in the front door. [LEFFERTS fires at the insurgents, quickly shadowing KENT.] CPT. FULLER: When we got to them, Kent had already been k*lled taking out the insurgents. [CPT. FULLER, MARSHALL and MARTIN kick in the door and move quickly, making sure that other insurgents were not present. They stop at the entrance to the room; LEFFERTS looks up as he applies pressure to KENT's wounds.] CPT. FULLER: Sight like that stays with you. Two part-times like that, I guess it was too much. [Camera whites out and cuts back to present time.] CPT. FULLER: But whatever Marshall was trying to do desecrating Kent's grave, Kent saved the unit. Marshall can't take that away. BOOTH: [Flatly] Devon Marshall was m*rder, captain. CPT. FULLER: God. BOOTH: Any bad blood between him and Jimmy Martin? CPT. FULLER: Not that I know of. BRENNAN: We only have the after-action summary of the incident. I'd like to have the full report, Kent's autopsy, the photographs you took of the scene and any other evidence that exists. CPT. FULLER: You'll have whatever you need. [Cut to: BRENNAN and BOOTH walking out of CPT. FULLER's office.] BRENNAN: I thought we were keeping the m*rder to ourselves. BOOTH: He's the company commander, Bones. He's a decorated officer. BRENNAN: And you think a soldier wouldn't k*ll someone? BOOTH: Huh, and suddenly it's your job to question the motives of everyone who served? BRENNAN: No, it's my job to solve a m*rder. Yours too. [Opens the car door and climbs in.] Treat him like you would anyone else involved in an investigation. You're not in the military anymore, Booth. BOOTH: [Irritated] I will find out who k*lled Devon Marshall. That's all you need to know. [CUT TO: LAB - BRENNAN'S OFFICE - Camera pans to show ANGELA leaning on BRENNAN's desk.] ANGELA: How's Booth doing? BRENNAN: He's angry. I think I said some things. ANGELA: Sweetie -- BRENNAN: [Defensively] He wasn't being objective. I just had to get him to focus. ANGELA: You have to think before you speak. BRENNAN: Why? I can say anything to you without thinking about it first. ANGELA: Yeah. Men aren't like us. They're much more fragile and needy. The fact that they think *we're* the needy ones is a testament to our superiority. BRENNAN: [Grins, amused.] Yeah. I guess I forgot. [ZACK walks in.] ZACK: Dr. Brennan, the military delivered all the paperwork you requested. [Offscreen] Private Kent's autopsy report is careless and incomplete. There was no incison, no X-rays. [Camera turns to show Angela looking down, dismayed] So there's no way to confirm the amount of b*ll*ts he was h*t with. BRENNAN: The M.E. marked seven entry points but the report says there were only six b*ll*ts. ZACK: I could've done better with a Crayola. BOOTH: [Throws the folder down] Medical reports are done on the fly in combat situations. That doesn't mean that they're falsified. BRENNAN: Booth, the report is a mess. [Turns to Angela] Ange, I'd like you to input these photographs and enhance them for as much detail as possible. [HODGINS walks onto the platform.] HODGINS: I couldn't salvage much flesh from Marshall's ear but I'm sending anything useful up to Pathology, see if they can match anything with the DNA they pulled from Jimmy Martin's cigarette. [Faces Angela] Were you really mad before? ANGELA: Why? Because of your strident, paranoid ramblings? HODGINS: I'm guessing mad. Fair enough. Can I at least give you some material to read? ANGELA: [Doesn't look up at Hodgins] You could try, but you'd walk funny for a week. HODGINS: [Cowed] I'd better, uh, work on these scrapings for Zack. BRENNAN: This is a m*rder. We know Devon would visit Kent's grave. Jimmy said to apologize. He knew something about Kent, Booth, something these reports will never tell us. BOOTH: [Furtively looks around, then looks at Brennan] So what do you wanna do? BRENNAN: I wanna exhume Charles Kent. BOOTH: [Incredulous] Exhume a *w*r hero*? Do you have *any* idea what you're asking? BRENNAN: [Stares back at Booth squarely, determined.] It's the only way we'll really know what happened to him. BOOTH: The report. BRENNAN: Which is sloppy and incomplete. BOOTH: He is supposed to be honored this week, Bones, not humiliated. BRENNAN: Doesn't Devon Marshall deserve as much respect and honor as Kent? BOOTH: [Shakes his head] I'm sorry Bones, I can't let you do this. BRENNAN: I'm not asking for your permission Booth. I can get the court order on my own. I was just kind of hoping for your support. [Walks off.] [BOOTH stares as she leaves, turns his head and looks tired and conflicted.] [CUT to: ARLINGTON NATIONAL CEMETARY - CPL. CHARLES KENT'S GRAVE. A dirt-covered but ornate coffin is lifted out as BOOTH, BRENNAN, BRADLEY KENT, TINA KENT and two anonymous soldiers look on.] [Camera moves to MRS. KENT, who looks heartbroken and angry as she walks over to BOOTH and BRENNAN.] TINA KENT: Agent Booth, I'm Tina Kent. BOOTH: Listen ma'am, I'm very sor- [Cut off as TINA KENT slaps him across the face.] [BRALDEY KENT leads his wife away.] [FADE TO BLACK] [FADE IN: LAB - MORGUE. A bird's eye-view of Cpl. Kent's body on a gurney; the crew surrounding the table. BOOTH stands away, examining Cpl. Kent's belongings laid on the next table.] [BOOTH picks up one of the medals, taking it in.] BOOTH: You know, this is a Silver Star. [In the background, Hodgins and Brennan look over towards him. Booth clenches the medal in his hand.] BRENNAN: I know how much you hate this, Booth. BOOTH: [Swallows hard.] Let's just get this over with, all right? BRENNAN: [To Zack] Okay, I want a full set of X-rays, and a clear picture of all fracture patterns. [To Hodgins] And a tox screen and analysis of any particulates in the wound. GOODMAN: D.O.D. wants this done fast. They want this out of the press as soon as possible. BRENNAN: [To Goodman} It will take the time it takes to do properly. [To Angela] Can you run scenarios on the angles and the entry order of the sh*ts? ANGELA: Yeah. [Leafs through photos] I should be able to give you something. HODGINS: [Turns to Booth, starts to ramble] I know we don't see eye to eye on a lot of stuff because you know, politically, I think we live in an Orwellian nightmare due to -- BOOTH: [Crosses his arms and tensely interrupts] What-- what are you trying to say? HODGINS: Just-- I'm sorry, man. I reall am. [Walks past him] [Camera lingers on the carefully-folded uniform and the medals laid out on top of it, and Booth gives it a final glance as he turns towards Brennan.] BRENNAN: I'll need X-rays of L-1 through four, and the left scapula. BOOTH: Uh, he's just a kid. BRENNAN: It's always the young. Anthropologists have theorized that wars break out when there's an increase in the population of unmarried men under the age of 25. [BOOTH sh**t her a blank stare.] BRENNAN: [Awkward, apologetic.] I'm sorry. I need to create a distance from the victim. It's how I deal. I-- I didn't mean-- BOOTH: [Tense, uncomfortable] Just, you know, do what you have to do. I'm gonna go do my thing. [Quickly walks off.] [BRENNAN stares after him, looking unsure, but even more unsure as to what to say.] [CUT to: INTERROGATION ROOM. Jimmy Martin is pacing the room as Booth sits in the chair, watching him.] JIMMY: I-I-I should've been with Kent, man. May-maybe I could've shielded him, you know? But, but the captain, he put me and Devon on the front door. And by the time we got to Kent, it-it was too late. BOOTH: What did you see from where you were? JIMMY: Oh, no. [Sits down] Come on, man. I don't need to go through that again, okay? The captain told you. You-you read the report. BOOTH: [Leans in, looking earnest] Come on Jimmy. Please. All right? This is for Kent and Devon. [Jimmy shakes his head for a few seconds, but looks up at Booth.] JIMMY: It was the first action we saw. Man, nobody was ready. [Camera whites out and fades in; five soldiers walk away from the HUMVEE. Quick cut to the soldiers standing by the front door.] JIMMY (voiceover): We were outside the front door, sweatin' in the heat. [Camera cuts back to the interrogation room.] JIMMY: Just waitin'. BOOTH: What's the first thing you heard? JIMMY: First? It was the pop, pop, pop of the enemy AK. And all hell broke loose. [Booth looks at him oddly, leans back.] [Camera cuts back to the soldiers as they burst through the front door.] JIMMY (voiceover): We broke down the door and made entry. [Soldiers moving in, camera shows quick sh*ts of the d*ad Iraqis.] Those people, the Iraqis, they were already d*ad when we got to the backroom. Kent too, Lefferts standing over him all freaked. [Kent lies on the ground, his eyes closed; camera cuts to Cpt. Fuller, Marshall and Martin standing there, looking shocked and dismayed at Lefferts, who looks stunned as he stares back at them, still pushing on Kent's chest. Marshall slowly lowers his g*n, follwed by Martin.] JIMMY (voiceover): We were all freaked, man. These were real people, you know? BOOTH: [Scrutinizes Jimmy] Did you see 'em f*ring on Kent? JIMMY: No. But like I said, it took time to kick in the door and push through to the backroom. If I'd got there faster, I-- [Pauses] There was nothing I could do, you know? I swear. [CUT to: LAB - MORGUE. The X-ray of Kent's chest is displayed on the monitor. Camera pans to the side to show BRENNAN and ZACK as they go through the X-rays.] ZACK: The X-rays show that six of the b*ll*ts are still in the remains. BRENNAN: I need to see which entries were fatal. Anything more on Devon Marshall? ZACK: We're still working on the bone dimple on his neck. BRENNAN: All right. Set up a tray so we can start extracting b*ll*ts. ANGELA: [Walks over to Hodgins, but doesn't look at him] Did you find anything in the wounds that might've changed the trajectory of the b*ll*ts? HODGINS: [Looks discomfited] Not yet. Just residual sesquioxide, in silico accumulation. A little decayed organic matter. Probably food that was on the floor. So-- ANGELA: Thank you. [Turns to leave] HODGINS: Look, Angela. [She stops and turns back.] Look, I run on sometimes, I know. I guess I think if I yell loud enough, maybe someone will listen. ANGELA: Well you have to be careful people don't go deaf. [Sighs] You know, what you did for Booth before... showing him you understood, that was good. Everyone hears something like that. [ANGELA gives him a small smile as she walks away. HODGINS watches her before turning back, looking bashful, please and contemplative.] [CUT to: INTERROGATION ROOM. BOOTH is sitting across from a woman. This is PRIVATE CAMPBELL, the driver of the Humvee that night in Mosul.] CAMPBELL: I joined the Guard 'cause they helped pay for medical school. All my life I wanted to be a doctor. It's all I ever wanted. [Looks rueful] I never thought I'd get sent overseas, much less Iraq. BOOTH: Your service record is exemplary. CAMPBELL: I survived. That's my achievement. BOOTH: Look, I'm sorry to do this, Miss Campbell. I'm just trying to reconstruct the night of the firefight. CAMPBELL: [Sighs, looks up and then back to Booth] I was parked in the alley. The Captain told me to stay in the Humvee. Women aren't supposed to engage in direct combat. [Camera flashes white and fades into the scene of Cpt. Fuller climbing out of the Humvee, the other four following him.] CAMPBELL (voiceover): He took the unit to the house. [The soldiers are advancing up the street carefully] The street was quiet. I was waiting. [Cuts to Campbell sitting alone in the driver's seat.] Then I heard the pop, pop, pop of the AK-47. [Cuts the interrogation room to Booth, who stares at her intensely.] Then Kent and Lefferts f*ring...the captain and the others breaking down the door. Then everything stopped. [Quickly cuts to a lone soldier running.] CAMPBELL (voiceover): It went quiet again. Then the captain came back, told me Kent had been h*t. [Camera shows Cpt. Fuller talking to Campbell, no sound. Campbell runs out of the car, carrying a medkit.] He knew I was a med student, so he sent me in while he radioed for a medevac. [Cpt. Fuller is rapidly talking into a radio.] [Campbell quickly walks in and kneels next to Kent. Lefferts is on his other side, his hands still on Kent's chest.] CAMPBELL (voiceover): As an intern, I've seen a lot of horrible things. [Campbell listens for breathing, checks his pulse but finds nothing as she stares back up, looking bleak.] But when it's your friend... [Quick cut back into the interrogation room] someone you serve with-- BOOTH: [Quietly] Yeah. [Another man is sitting in the chair. LEFFERTS is wearing a suit, looking discomfited.] LEFFERTS: Been in the Guard for years. Didn't think I'd ever get called up again. I mean, I'm 45. There's just not enough men for this mess. BOOTH: Look, Mr. Lefferts, if we could just-- [Booth pushes away from the wall and sits in the chair.] [LEFFERTS looks away for a long moment, seemingly trying to get his nerve. Closes his eyes and starts to talk.] LEFFERTS: We were 22 hours into a 12-hour detail. You try that when it's 110 degrees out. [Sighs] They called me Dad 'cause I was the old guy. [Cuts to Cpt. Fuller signalling Lefferts and Kent to go around back.] [Voiceover] Kent was a kid. Captain sent us around back. I was supposed to look out for him. [Kent moves in front of Lefferts, alert, g*n raised. Lefferts scans around as they round the corner.] It got like I really was the damn kid's father. LEFFERTS: Kent was g*n-ho, you know? [Cuts back to the interrogation room] Would've fought the whole damn w*r himself. Heh. So he sees something move inside. Something shines off the light. [The Iraqi woman walks into the backroom.] A barrel, he says. And then we hear people moving around. Somebody coming towards us from inside. [Bright lights flash in the small window of the door.] Then somebody fires. BOOTH: What did it sound like-- the sh*ts? [Looks at him intently] LEFFERTS: It was like a pop, pop, pop. [Cut to Kent kicking the door in, f*ring as a man moves into his line of sight.] [Voiceover] Then Kent rushes in, sees the first guy, blows him away. He wasn't supposed to go in by himself. So I rush in. [Lefferts moves in, f*ring his g*n. The Iraqi man jerks and falls to the ground.] I take out the last guy. And then it all stops. And when it does, Kent is lying there. [Lefferts gapes and then crouches next to Kent's body.] [Cut back to the interrogation room. Lefferts is looking horrified, reliving those moments.] LEFFERTS: I-I-I can't believe it! I'm-I'm-I'm staring down at Kent, and-- [Cut to Cpt. Fuller and the others coming into the back room] And then the others, they ask, "What happened, Dad? Dad, what happened?" [Lefferts breathes hard, cut back into the interrogation room.] LEFFERTS: [Moaning] And I'm-- And I'm staring down at Kent like he really is my kid. I'm a lawyer! [Sighs] A damn lawyer. I shouldn't have been there. *None* of us should've been there. [BOOTH continues to stare at him, a grim look on his face.] [CUT to: LAB - PLATFORM. BRENNAN is working with a piece of evidence under a microscope.] BOOTH: Their stories don't line up. BRENNAN: You said the events seemed consistent. BOOTH: Exactly. We got a group of traumatized soldiers who all managed to say the same words to describe the first sh*ts. "Pop, pop, pop." It was rehearsed. [BRENNAN looks at him, curious.] BOOTH: They're hiding something. BRENNAN: That makes sense. [Pulls out a b*llet from one of the entry wounds, squinting at it.] There's something Devon knew about. BOOTH: And someone else didn't want to get out. [BRENNAN pulls out another b*llet, studies it and places it in a tray.] ZACK: That's all of them. BRENNAN: The way the blood pooled around the b*ll*ts these three were the ones that k*lled him. BOOTH: [Looks at the screen with the fatal b*ll*ts displayed] These rounds aren't from an AK-47. [Gestures to the other tray] These are. BRENNAN: Well, they didn't k*ll him. Circulation had stopped by the time these b*ll*ts h*t. BOOTH: Wait. The ones that k*lled him are from an M-14. [Pauses in realization] Those are from our w*apon. BRENNAN: [Knowingly] Friendly f*re. BOOTH: Oh, God. BRENNAN: Booth-- BOOTH: [Interrupts] You know what? Let's just find out who did this. All right? Not all personnel in a unit carry the same w*apon. We have to find out who was issued the M-14. [BRENNAN nods and looks down while BOOTH looks aside, arms crossed.] [CUT to: WASHINGTON, D.C. - STREETS. A quick look of the WASHINGTON MONUMENT] [CUT to: INTERIOR - BOOTH'S SUV.] BOOTH: Lefferts was the only one issued an M-14. BRENNAN: So Kent runs into the house f*ring. The insurgents f*re back. Lefferts follows Kent in. Lefferts is sh**ting, and he kills Kent. BOOTH: Devon wanted to tell the truth, but Lefferts, he's got a succesful legal practice. Too much to lose. Lefferts kills Devon. Son of a-- [CUT to: OFFICE. Lefferts is d*ad, hanging lifelessly from the ceiling by the cord wrapped around his neck. He's still dressed in the shirt and tie he was wearing in the interrogation room. Camera pans away to show local police and forensics people crowding by the door.] [Camera then pans onto BOOTH, staring at the d*ad man stonily. BRENNAN walks into the room behind him.] BOOTH: [Holds up a piece of papers and reads.] "I sh*t Kent that night. I'm sorry. I didn't mean to. But I can't live with it anymore." BRENNAN: His assistant says he was out of town the night that Devon Marshall died. He couldn't have k*lled him. The m*rder's still out there, Booth. [CUT to: Black.] [FADE IN: J. EDGAR HOOVER BUILDING - BOOTH'S OFFICE. BRENNAN is sitting in front of his desk.] BRENNAN: Devon Marshall was too badly b*rned. Hodgins couldn't get enough useable tissue to match the DNA from Jimmy Martin's cigarette. BOOTH: The one person who had a motive k*lled himself, but he couldn't have k*lled Marshall. BRENNAN: The M.E. confirmed su1c1de? BOOTH: Yeah. Plus, no one was in or out of the office. [Hands her a folder] He uh, definitely k*lled himself. BRENNAN: [Paging through the file] But we still have no idea who k*lled Devon Marshall. [Knocking] BRADLEY KENT: Agent Booth? [Booth and Brennan look towards the door.] BOOTH: Mr. Kent. [Stands] This is Dr. Brennan. BRADLEY KENT: I know. BRENNAN: I'm sorry I exhumed your son, sir. But we needed-- BRADLEY KENT: No, please. Thank you. It's important for us to find out how he died. BOOTH: You wanna sit? BRADLEY KENT: No. I-I just wanted to ask. There's so many conflicting stories. Now the captain says he can't talk to us. I just wanted to ask you to find the truth. My wife and I can't live not knowing what happened to Charlie. We need the truth. BOOTH: Of course. [BRADLEY KENT backs out and leaves the office.] [CUT to: NATIONAL GUARD BASE - EXTERIOR. CPT. FULLER is walking with BOOTH and BRENNAN.] CPT. FULLER: I can't talk to the family. There's an ongoing investigation. BRENNAN: Convenient. BOOTH: Bones. BRENNAN: What? BOOTH: And you had no idea this was a friendly f*re incident? CPT. FULLER: If I had, don't you think I would've reported it? BRENNAN: Well, there are just so many inconsistencies in the report, captain, it seems like-- CPT. FULLER: [Cuts her off] You're good at your job, Dr. Brennan, but you don't know the first thing about combat. We were taking f*re. One of my men was k*lled. The area wasn't secured. Do you think I'm counting b*ll*ts and drawing pictures? CPT. FULLER: [To Booth] You've been through it. Does it ever go the way you want it to? Is it ever the way it should be in combat? BOOTH: We have to ask these questions. It's a m*rder investigation. You understand that? CPT. FULLER: And I'll cooperate any way I can. I don't want any more of my men to die either. Now, if there's nothing else-- [Turns and leaves. BOOTH and BRENNAN share a look.] [CUT to: a close-up of a b*llet wound with jagged items protruding from the skin.] HODGINS: Got something. A splinter pattern. Particles of wood were blown back into one of the exit wounds from the AK-47s. BRENNAN: The missing b*llet. ZACK: But he wasn't leaning against wood when he was sh*t. He was in the middle of the room. [Image on the screen changes as Hodgins goes through them.] HODGINS: No. He was on the *floor*. BRENNAN: Someone stood over him and squeezed off some rounds from an AK-47 after he was already d*ad. ZACK: The missing round passed through him and into the wood floor. ANGELA: Yeah, but all the insurgents had already been k*lled and they were the only ones with AK-47s. HODGINS: I hate to say conspiracy, but, my peeps, we've got a conspiracy. [Grins] BRENNAN: Someone wanted to cover up the friendly f*re incident by making it look like he was k*lled by the insurgents. [Camera is on Hodgins, who looks incredulously gleeful at this news.] BRENNAN: Angela, enhance all the pictures of the aftermath so we can see body positions, b*llet holes, damage to the house. I wanna reconstruct what happened that night. [CUT to: a waiter bringing out dishes from the kitchen; pan out to see BOOTH and HANK sitting at a table.] HANK: Look at the two of us-- you with a badge, me in the courtroom. Both trying to find justice, eh? BOOTH: That's why we fought, right? HANK: That's what they told us. BOOTH: What? You don't believe it? HANK: Sure I do. You don't look like you do. [Groans] You're not gambling again, are ya? BOOTH: No, man. No, I've been good. You know, I've been going to my meetings. I haven't even played a game of Monopoly. [HANK leans in.] BOOTH: Listen, Hank. Um, I got this case. Uh, Charles Kent. [Swallows] It's friendly f*re. HANK: Oh, God. BOOTH: Yeah. Covered up. Two of the members of the squad are d*ad. One m*rder. You know, whatever went down must've been pretty ugly. [HANK shakes his head.] BOOTH: You know, Hank-- heh, you know what, uh-- You know what we did-- HANK: Don't go there, Booth. BOOTH: Was it worth it? I mean, look at you. HANK: You saved my life. I got a great family because of you. BOOTH: Yeah. But I mean, why was it always a secret? HANK: We were given a choice. They always gave us a choice. BOOTH: Yeah, but that last time-- HANK: Well, you knew what was at stake. BOOTH: Yeah. Yeah. [Nods] HANK: [Leans in closer] You never talked to anybody about it? [Booth shakes his head] You've got to. How about your girlfriend? That doctor? BOOTH: Nah. No, she's-- You know. She's just my partner. [Quickly] You know, look, I got work. I should go. HANK: [Bemused] Sure. Uh, we're on for Sunday dinner, right? BOOTH: Yeah. HANK: Okay. BOOTH: See you Sunday. [Walks off] [HANK turns to watch him leave, a look of concern on his face.] [CUT to: ANGELA at the computer, the photos from Cpl. Kent's death on the screen. BRENNAN leans in to see the pictures.] BRENNAN: I wanna see all the walls. Can you scan them for b*llet holes? [Computer beeps] Okay, single out the ones that came from Lefferts' w*apon. This is hard for Booth. He's idealistic. ANGELA: Well, it's nice to know somebody that wants to keep honor and responsibility alive. BRENNAN: I feel like Booth thinks I'm taking that away from him. [Looks down at the files] Okay, it says Insurgent "A" opened f*re when he saw Kent and Kent took him out. Let's see "A" again. [Photo changes to the Iraqi man with his hands held out, g*n in his lap.] ANGELA: You're just doing your job. He knows that. BRENNAN: I guess. [Frowns] Magnify his hands. ANGELA: What are you looking for? [Computer zooms into the photo, focusing on the d*ad man's hands.] BRENNAN: Well his hands are splayed like he was shielding himself from the rounds coming at him. Cadaveric spasm. The muscles became rigid when he died. He might not have been holding that w*apon. ANGELA: What do you mean? BRENNAN: Show me Insurgent "B." [Photo changes to a man lying face-down on the carpet, g*n by his side.] BRENNAN: [Sighs] I tell Booth we're on the same side. [Flips the page] I'm not the one who's disillusioning him. It's my findings. But when I look at him, I-- [Sighs] I don't know what else I can do. ANGELA: I do. BRENNAN: Ange. ANGELA: [Huffs] As a friend, Brennan. BRENNAN: Yeah, that whole "friends with benefits" thing, that's-- that's not happening. ANGELA: I'm not talking about that. I'm-- I'm talking about being there for him. Knowing when a simple touch is enough. BRENNAN: Maybe I can write him a note. I can be very articulate on paper. [Angela concedes defeat] Zoom in. Okay, magnify the blood smear. [Computer zooms in on the blood smeared on the carpet.] BRENNAN: I mean, you can see by the smear he was moved, turned, that g*n placed next to him. Okay, show me "C." [This photo shows Kent lying in the foreground, d*ad. Behind him lies a woman, lying on her side.] ANGELA: Okay, this is the third insurgent woman, about 40, holding the unexploded grenade in her hand. BRENNAN: Magnify her torso. ANGELA: Wait, she's lying on a dinner plate. BRENNAN: The serving spoon is next to her. She'd been holding it when she was sh*t. ANGELA: And a grenade? [Looks skeptical] [BOOTH walks into the office.] BOOTH: Found anything yet? BRENNAN: Yeah. [Turns to face him] None of these people were armed when Kent went in there. All of the w*apon were plated on them after they died. Fuller's unit k*lled an unarmed family. [BOOTH and ANGELA are stunned.] [FADE OUT] [FADE IN: LAB - ANGELA'S OFFICE, direct continuation from the previous scene.] BOOTH: Kent sh*t unarmed people? BRENNAN: They look like a family. ANGELA: About to sit down to dinner. BRENNAN: Were there any other questionable operations with this unit? BOOTH: None. They served another six months without incident. ANGELA: How could something like this have happened? BOOTH: Woman could've heard 'em. She was on her way to the backdoor. Kent probably thought the spoon was a w*apon. BRENNAN: A spoon? BOOTH: It's dark. It happens. [Flash to the serving spoon held in the woman's hand.] He's inexperienced. He's scared out of his mind. You only have an instant to make a choice. Kent probably thought he was being att*cked so he burst through the door. [Flash to Kent bursting into the house.] BRENNAN: From the spray pattern, he was sh**ting as he entered. [Cut to the muzzle of Kent's g*n flashing, woman and man falling to the ground, sh*t.] He must've k*lled the woman first, the others as they rushed to the woman to help. BOOTH: He probably thought they were attacking too. Lefferts hears all the f*ring. He goes in. [Cut to Lefferts coming through the door, g*n raised.] Kent turns. w*apon's still pointed. [Cut to Kent turning, g*n at the ready. Lefferts fires. Kent goes down.] Lefferts sh**t, k*lling Kent. It all happens in seconds. ANGELA: But if Kent turned to face him-- BOOTH: It doesn't matter. I mean, after all the sh**ting all Lefferts sees is a w*apon pointing right at him. He just reacted. ANGELA: God. BOOTH: Yeah. ANGELA: So this was more than a friendly f*re incident. BOOTH: [Nodding] A hell of a lot more. [CUT to: BOOTH bursting through a door.] BOOTH: You son of a bitch! [Grabs CPT. FULLER and slams him against the cabinet] You covered up the whole thing! CPT. FULLER: Stand down, Agent Booth! BOOTH: They were innocent! CPT. FULLER: I don't know what you've heard, but my report clearly states-- BOOTH: We've taken your report apart! We have the *facts*, Captain! Your squad blew away a family of innocents! CPT. FULLER: Kent! Kent did! [Booth releases him] A kid so green he never should have been there in the first place. Do you know what that town was like? Our guys were being blown up by I.E.D.'s every day while we were trying to build hospitals and schools. A mistake was made. No one likes it. But you know what happens. If it got out what we did that neighbourhood, the whole damn city would've exploded. CPT. FULLER: What would you have done? Would you have let the city burn? This can't come out, Agent Booth. Don't make this any harder with an ugly story like this. BOOTH: I don't know what you're fighting for, Fuller, but it sure as hell wasn't my country. [Pulls out handcuffs] We'll start with obstruction of justice. CPT. FULLER: [Leers] You have no jurisdiction on this base. MAN (offscreen): But we do, Captain, and we're cooperating fully with Agent Booth. You will not disgrace us, Captain. You will be held accountable. [BOOTH turns CPT. FULLER around and cuffs him harshly.] [CUT to: JEFFERSONIAN INSTITUTION - EXTERIOR.] BOOTH: Devon Marshall's k*ller is still out there. Fuller placed some confiscated w*apon on the Iraqis, pressured the others to keep quiet, but he still has an alibi for the night of Marshall's m*rder. BRENNAN: Zack found some discoloration on Devon's vertebrae. It was caused by residue from pethidine, an opiate affectionately known as Demerol. BRENNAN: Someone jabbed a syringe into his neck, creating the indentation in the bone. He would've been unconscious in seconds. That's why the instrument could've been placed in his ear without a struggle. ZACK: It was a nine-inch surgical curette like this. [Holds up the item.] BRENNAN: So we're looking for someone with access to surgical tools and prescription drugs. BOOTH: Someone the army sent to medical school. [CUT to: CLINIC - INTERIOR. PVT. CAMPBELL places a band-aid on a young girl's cut on her shoulder.] CAMPBELL: All done. [BOOTH, BRENNAN and Army soldiers walk in. CAMPBELL looks up and is not surprised, but resigned. BOOTH and BRENNAN look expectant. CAMPBELL looks down, nods to herself and looks back up.] CAMPBELL: He was gonna tell. I-- It's like the w*r was still going on. I was just trying to survive. [CUT to: ARLINGTON NATIONAL CEMETARY - GROUNDS.] MAN: Forward! [A line of soldiers holding ceremonial g*n and dressed in their formal gear march past KAREN and JIMMY MARTIN, REGINA and KIARA MARSHALL, COL. SHORE, all standing by DEVON MARSHALL's casket.] [The MARSHALLs walk towards the gathered mourners, BOOTH and BRENNAN standing in the front row.] REGINA MARSHALL: My boy was just trying to do the right thing. Thank you for letting people see that. BRENNAN: You can be proud of him. [They leave, leaving BRENNAN and BOOTH alone. They meet with the KENT family, and TINA KENT embraces REGINA MARSHALL, sharing their mutual loss.] BRENNAN: I would never have expected to see that. BOOTH: Well, people will always surprise you. BRENNAN: That hasn't always been my experience. BOOTH: I've done some things. BRENNAN: I know. BOOTH: No, no, you don't. BRENNAN: But it's okay. BOOTH: Well, not-- not as a secret... [Booth sits] it's not. I have to be uh, honest about myself. [Brennan sits next to him] I-- I have to be able to tell someone. BRENNAN: You will in time, Booth. You will. BOOTH: [Haltingly] I was sent to Kosovo. There was this Serb, General Raddick, who led a unit who would go into villages and, you know, destroy 'em. Women, children, all-- all k*lled because he wanted to ethnically purify his country. He'd done this twice before. I mean, we had facts, proof. 232 people just erased. BOOTH: I was the sn*per sent in to stop him. He was set to leave in a couple hours. It was his son's-- son's birthday. A little boy maybe about six or seven. I can still hear the music from the party, you know? That song just playing in my head. Nobody knew where the sh*t came from, but, you know, they knew why it came. BOOTH: They said I saved over a hundred people. But, you know, that little boy who didn't know who his father was, who-- who just loved him... he saw him die, fall to the ground right in front of him. That little boy all covered in his daddy's blood was changed forever. [Sighs] It's never just-- It's never just the one person who dies, Bones. Never. Never. [BRENNAN places a hand on his forearm, silent. BOOTH sniffles, and places his hand atop hers, grateful.] BOOTH: You know, we all die a little bit, Bones. With each sh*t, we all die a little bit. [Camera pans to show BRENNAN's own tears, and then moves down to show BOOTH's thumb rubbing her hand.] [FADE TO BLACK]

{"type": "series", "show": "Bones", "episode": "01x21 - The Soldier on the Grave"}

foreverdreaming

"The Woman in Limbo" Episode 1x22 Written By: Hart Hanson Directed by: Jesus Trevino Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. ACT I (Open - Medico-Legal lab - Booth is trying to get Brennan out of the lab, and everyone keeps stopping her) GOODMAN: All I ask is that you stop by the archeology section and identify the skull as a Syrian, Hetite or Egyptian BRENNAN: I'm in court today. I need my notes. GOODMAN: Well, there's a photocopy in the file BRENNAN: No. The last time I read from photocopies, the defense lawyer told the jury I was winging it. BOOTH: Ready? (claps hands) Chop, chop. BRENNAN: I can't find my original notes... BOOTH: Photocopy in the file. BRENNAN: No. The last time the defense lawyer told the jury that I... BOOTH: (cutting her off) It was a ploy. It failed. Let's go. HODGINS: I found glass. I found pollen. Which do you want first? BRENNAN: Pollen. GOODMAN: Perhaps you could swing by archeology on your way to your ah..court.. BOOTH: No. No swinging. ANGELA: Alright. Her height makes no sense and her spine length is..wacky. ZACK: Dr. Brennan? BRENNAN: Okay. Calculate the height off the femur and assume that f*re shrunk her spine. BOOTH: I don't think you should talk about other cases so much on court day. You might get confused. GOODMAN: One simple question. A Syrian, Hetite or Egyptian? ZACK: Dr. Brennan? GOODMAN: 5 Minutes. BOOTH: Bones! BRENNAN: (to Zack) What's up? ZACK: Buttercup. If you sign off on these tissues markers, Angela can finish the facial reconstruction. BRENNAN: Why did you say buttercup"? ZACK: What's up, buttercup is an amusing, rhyming, linguistic meme. This (points to skull) is the latest Jane Doe from Limbo. BOOTH: How 'bout this for an amusing, rhyming linguini. See ya later, alligator. GOODMAN: Please don't refer to bones storage as "Limbo". (turns to Brennan) 5 minutes. ZACK: There are thousands of human remains down there waiting to be identified. Limbo seems an appropriate name. BRENNAN: No sign of foul play. GOODMAN: If you have time for this, you have time for my Hetite. BRENNAN: Tissue depth of the cheekbones and along the jaw line looks a little deep to me, but otherwise-- BOOTH: ..out of limbo, back on earth and on our way to court. Thanks. (Booth guides Brennan off the platform and into the hallway where they run into DAVID SIMMONS, Brennan's Boyfriend) DAVID: Oh, Temperance. Hi. BRENNAN: David! (she kisses him on the cheek) What are you doing here? BOOTH: She has to get to court so - DAVID: Agent Booth. Nice to see you again. Especially when I'm not in custody. Listen, I read your manuscript. I couldn't wait to tell you how great it is. BRENNAN: Thank you. Really? BOOTH: You read her manuscript? BONES: Uh, uh, uh..(takes manuscript away from Booth) DAVID: Her second novel. Bone Free. It's kinda like "Born Free" except no lions. BOOTH: Yuck on the title. Am I in it? (At the same time) BRENNAN: No! DAVID: Definiately. BOOTH: Ah! BRENNAN: Uh, we have to get to court - - DAVID: Hope you remembered your original notes, because last time.... BRENNAN: Told you, Booth! BOOTH: No. Bones. We don't have time! Our - all right, listen. Uh, Three minutes. I'll wait for you in the car. (David and Booth circle each other like two lions in the jungle) BOOTH: (laughs) So are you two, uh - DAVID: Yeah, sort of. Is that a problem? BOOTH: Yeah. Bones is very literal. So in the future, no jokey advice on a court day. DAVID: Okay. (Cut to: Brennan inside the lab heading to her office. She pauses when she sees the image of a woman on the Angelator) GOODMAN: Is something wrong? BRENNAN: (to Angela) What's this? ANGELA: Zack's Jane Doe. He said that you okay'd the tissue markers BRENNAN: No, that can't be right. That can't possibly be right. You did it wrong. It's a mistake, Angela. ANGELA: Alright, fine. Sweetie. I'll turn it off. (Brennan turns and runs out of the room) BRENNAN: Zack. The artifact bag from your Jane Doe - do you have it? (Brennan runs onto the platform without swiping her card, the alarms start blarring) ZACK: Yes. I also have three - (Brennan runs off with the bag) SECURITY GUARD: (into to walkie talkie) It was Dr. Brennan. ZACK: ..Three bags of soil samples from where the remains were buried. (Cut to: Brennan going into to her office to examine the contents of the bag. First she pulls out a bag containing a marble - but then focuses more closely on another bag containing a dolphin belt buckle - she flashes back to a woman wearing that very same belt buckle and starts to break down) (Cut to:Booth entering the Angelator Room) BOOTH: Any of you see Bones? We're due in court, like -hello--Now. (Angela, Zack and Goodman are all standing around the Angelator with confusion on their faces. They look at Booth.) BOOTH: What? ANGELA: This.. (she brings up the image of the woman) totally freaked her out. (Booth picks up his phone and dials) ZACK: My theory. Caffeine intolerance. BOOTH: Yeah. You're gonna want to take Dr. Brennan off the witness list today. No. She can't make it into court. Thanks. ANGELA: Alright. What's going on. BOOTH: That... Is Christine Brennan. GOODMAN: Good God. BOOTH: You just found Bones's mother. (cut to opening credits) ACT II (Brennan sits in her office staring at the belt buckle. Booth approaches the doorway.) BRENNAN: I have to miss court. BOOTH: I know. BRENNAN: I remember this belt buckle. I borrowed it without asking first day of high school. My father had it specially made for my mother because she loved dolphins. BOOTH: Bones...I'm sorry. BRENNAN: I always knew that for my parents to disappear like that (flash back to her parents in a car waving goodbye) They - They had to be d*ad. I thought that when it was confirmed, I'd feel relief, but- BOOTH: It's still bad news. (Zack appears in the doorway) BRENNAN: You have the file, Zack? ZACK: Jane Doe, Number 129-0998. BRENNAN: Where was she found? BOOTH: Bones, I- BRENNAN: What does it say? ZACK: (reading from file) "In September of 1998, a grave-digging crew at the Sunset Memory Cemetery in Salisbury, Pennsylvania, uncovered human remains in a completely advanced stage of decomposition." BOOTH: Is it from a grave? ZACK: No. It appears that somebody just dug a hole at the edge of the cemetery and...plopped the body in there. BOOTH: Zack.... ZACK: Sorry. (goes back to reading the file) "The local coroner found no obvious evidence of foul play and sent the remains, a few artifacts and soil samples to the Jeffersonian, hoping we could identify her. Technically, you mother's been at the Jeffersonian as long as you have. (Brennan is visibly shaken) BOOTH: Zack. ZACK: Sorry. But they both got here in 1998. (Goodman enters) GOODMAN: Dr. Brennan. Miss Montenegro has volunteered to drive you home. BOOTH: Temperance. Go home. (Cut to: Overview of Washington D.C) (Cut to: Brennan sitting at her dining room table looking at old pictures and reminiscing - until she's interrupted by a knocking at the door. She opens it to find Booth, with food from Wong Foo's in hand) BRENNAN: It's after midnight... BOOTH: Well, I was driving by, I saw that lights. I thought you might like some Wong Foo's. BRENNAN: You saw my lights from the road? BOOTH: That is correct. (Brennan can tell he is lying - and she lets him in) All right! (Cut to: Booth and Brennan eating at the table) BOOTH: After you gave me your parents' missing persons file, I did some poking around. BRENNAN: You worked on it? BOOTH: Well, there wasn't much I could do. There was no evidence, no clear jurisdiction. (Booth sighs) Listen, Bones. Finding your mother's remains means that I can open an official F.B.I. case. I mean for the first time, a real investigation can occur. (Brennan flashes back to her parents in the car waving goodbye, again) BRENNAN: Three days after my parents disappeared, they found our car at a rest stop a thousand miles from where we lived in Chicago. BOOTH: Yeah. I found it in a Federal impound lot in Jersey. I'm having it trucked to the Jeffersonian. BRENNAN: They kept it all those years? BOOTH: Well, nobody claimed it.. (looks at file) Your father was a high school science teacher. He had no trouble with anyone at work. And then your mother - That's a different matter. BRENNAN: She was a bookkeeper. BOOTH: MMM, she was a witness for the prosecution. Twice.On evasion charges. That gives motive. Then there's uh, your brother. BRENNEN: Russ - The brother who deserted me. BOOTH: He's on parole. He ran a chop shop processing stolen cars for parts. BRENNAN: Figures. BOOTH: He says that you blame him for your parents' disappearance? BRENNAN: You talked to Russ? BOOTH: I called him. Just asked him a few routine questions. He didn't give me much. We're gonna find out what happened to your mom. Okay? (Cut to: Jeffersonian - Medico-Legal Lab) HODGINS: Adipocere and decomp residues in the bagged soil, indicate the body was buried at least five years. ZACK: That's congruent with , uh, P.H. in the soil, climate and degree of decomp BRENNAN: No. Seven years. It should be seven years. HODGINS: I'm still going through the soil samples, but something in there might allow me to be more specific. BRENNAN: She was buried near Christmas 1991. (Booth enters) BOOTH: I need the room, guys. ZACK: The whole lab? For what? HODGINS: It's a cop way of saying, "Get lost." BRENNAN: What? BOOTH: When you first gave me the file on your parents, I..I looked back into their lives three to four years before they disappeared. Jobs, friends. BRENNAN: Okay... BOOTH: I looked back a little further and I found that...Christine Brennan didn't exist before 1978. BRENNAN: What are you telling me? That - That this woman isn't my mother? I was born in 1976. Obviously, my mother existed. BOOTH: Do you know the most common way of creating an identity? BRENNAN: Getting the birth certificate of someone deceased who was born the same year you were...and take over that identity. BOOTH: I found a one, Matthew Brennan. Born and died, in 1948 (Brennan looks at Booth in disbelief) BOOTH: Do you understand? BRENNAN: I don't know what it means. I don't know what any of it means. BOOTH: It means your parents weren't who you thought they were. It means that they were living under...assumed identities. (Brennan sighs) (Cut to: At a town carnival in Moorehead City, North Carolina - which is where RUSS BRENNAN is working) CARNIVAL OWNER: Every minute this is down, I'm losing money RUSS; want faster work, grab yourself a cup of coffee. Let me alone, man. BOOTH: You licensed for this job? RUSS: You're a cop. BOOTH: You know who recognizes cops? RUSS: Other cops. BOOTH: ..and crooks. I talked to you a couple of months ago on the phone. I'm Booth. RUSS: You gonna ask me some more questions about my childhood? (Booth holds up the picture of Christine Brennan that was rendered from the Angelator - Russ takes it and looks at it) RUSS: You found my mother? BOOTH: Your sister did the I.D. RUSS: What about dad? BOOTH: No. RUSS: What do you want? BOOTH: Do you remember being anyone else besides uh....Russ Brennan? RUSS: No. BOOTH: You wouldn't lie to me, would you, Russ? RUSS: Cops always think I'm lying. BOOTH: (laughs) I want you to come back to D.C. and help out in this investigation. RUSS: I got a job, man. BOOTH: You know, the alternative is I just cite you for performing unlicensed repairs on heavy equipment, get your parole revoked. Tell you what? You give me a call when you get into town. (Booth sticks his business card in the railing) Oh, and if you ask me, this -this thing here-(in regards to the ride) is beyond hope. (Russ starts up the ride) Look at that. It works. I'll see you soon. (Russ takes Booth's business card out from the railing and looks as Booth walks away) Act III (Jeffersonian - Medico-Legal Lab) ANGELA: What is it? HODGINS: A clump of cellulose. It came from soil samples collected at Brennan's mom's burial site from the same depth as her bones. ANGELA: You said you had a giant problem. HODGINS: I used the laser scanning confocal microscope. ANGELA: Which one is that? HODGINS: It looks like an espresso machine. Now it showed that this is mass-produced cardboard. Now electron dispersion spectroscopy indicates that the cardboard is coded with ethylenically unsaturated monomers, which kept it from completely deteriorating... ANGELA: Hodgins. What's the giant problem. HODGINS: It's a movie ticket. A little U.V. analysis, some guesswork..I come up with "The Fugitive" ANGELA: So what's wrong? You don't like Brennan's mom's taste in movies? HODGINS: The Fugitive was the third top-grossing film of 1993. (She finally realized what he's getting at) ANGELA: Brennan's parents disappeared in December of 1991. HODGINS: Yet, mom's going to Harrison Ford movies almost 2 years later. ANGELA: Oh, god. This IS giant. HODGINS: What do I do? Pretend I never found this? (Angela is speechless) (Cut to: Observation platform Brennan is studying her mother's skull and has a flashback to her.) HODGINS: Dr. Brennan? (stands up, visibly shaken but trying to regain her composure) BRENNAN: Yes, um. Did you find something in the soil? HODGINS: Yeah, uh.. this was in the soil samples alongside your mother's remains. BRENNAN: A movie ticket? ANGELA: Rialto Theater. 9pm showing of "The Fugitive". September 22, 1993. BRENNAN: Well, how did it get there? HODGINS: Either your mother had it in her possession when she was buried, or it was somehow buried with her. ANGELA: Either way, it dates the burial. BRENNAN: No. That's..that's impossible. My mother disappeared in 1991. ANGELA: Sweetie... BRENNAN: It's possible mom was buried somewhere else, for a year and a half, then moved. HODGINS: No. That's not possible. ANGELA: Maybe it is. HODGINS: We decided to tell you the truth..and this is the truth. (Brennan walks away and goes back to examining her mother's skull) ANGELA: You alright? BRENNAN: I'm pretty sure I just found cause of death. Zack? ZACK: Yes. Dr. Brennan. BRENNEN: See the discoloration on the inside of the skull. (Angela leaves) ZACK: (he examines the skull) Left side, extending from the coronal suture, crossing the superior and inferior temporal lines to the squamosal suture (Brennan sees Booth come through the door with her brother, Russ.) Subdural hematoma. Whoo! A big one. (Brennan appears to no longer paying attention to what Zack is saying and has a flash back to her and Russ as teenagers.) Dr. Brennan? BRENNAN: Probably fatal. ZACK: There are no indications of a blow to the outer skull. (Brennan sees Russ as he approaches the platform) BRENNAN: (to Zack) Scan the outside of the skull. Look for histological changes, microscopic modeling. (Brennan gets up, and stops next to Booth) BRENNAN: (to Booth, whispering) I don't want to talk to him. (She brushes past him and Russ) BOOTH: Bones. Bones. (Booth turns to Zack) Alright, listen, Zack. If this guy moves, sh**t him with a tranquilizer...dart or something...(Booth goes to chase after Brennan) ZACK: I don't actually have a tranquilizer g*n... BOOTH: Hey, Bones. Come on. BRENNAN: My mother died of a subdural hematoma. Bleeding in the brain. BOOTH: You want to proceeded rationally, correct? BRENNAN: Chances are the subdural hematoma was caused by a blow to the head. BOOTH: Great. You got the how. Now let's get the who. You just told me that your mother was m*rder. I mean, who better to help us than - than your brother? (Cut to: Brennan's office - Russ holding the Dolphin belt buckle) RUSS: Mom loved dolphins. This was mine! (has a flash back to him playing with a marble when he was younger) My favorite marble. What was she doing with that? BRENNAN: Where did Booth find you? RUSS: It's not hard for an F.B.I Agent to find a parolee. BRENNAN: I didn't ask how. I asked where. RUSS: Moorehead City, North Carolina. I call every year on your birthday. You never pick up. BRENNAN: Take a hint. RUSS: (holds up marble) Can I have this, please? BRENNAN: It's evidence. RUSS: Of what? It's a kid's marble. BRENNAN: It's the rules. I can't let you have it. RUSS: (Hands the marble back to Brennan) Same old Tempe. Never met a rule worth breaking. BRENNAN: Same old Russ. On parole. (Cut to: Angela's office) BOOTH: Angela, I might send Russ in to describe some people to you. ANGELA: Okay. What people? BOOTH: Some people a seven year old boy might remember. ANGELA: That's a little vague there, Booth. BOOTH: The drawing - I mean, that's important. It's more that I trust your instincts. ANGELA: When it comes to men? (she laughs) BOOTH: (laughs then gets serious) When it comes to suspects. (he starts to leave but stops and turns back to Angela) Why do you think that Bones asked her boyfriend you know, to uh, read her book and not me? (Angela goes to answer but Booth cuts her off) You know, maybe...maybe because there was just too much of me in the story. Oh, she was embarrassed. You think? May--Maybe? (Cell phone rings - he answers it) Booth. Yeah, I'm on my way. Thanks. (to angela) Uh, the family car just arrived. (Cut to: lab/garage - Evidence Processing Room) FBI TECH #1: Are we on the look out for anything in particular? BOOTH: Treat it like a brand new crime scene. Full workup. FBI TECH #1: Let's go. BOOTH: But tear through the whole car, treat it, and then go through it with a fine tooth comb. RUSS: That's are old car, all right. BRENNAN: The name of my school is scraped off, Woodside Elementary. They said they didn't find anything in the car. BOOTH: There was a bloodstain. Front seat. Passenger side. (to the crew working on the car) Guys! Everybody! (whistles) I need the space! Now! FBI TECH #2: What? Now? BOOTH: Yeah. Now. FBI TECH #1: Take 5. Everybody! BRENNAN: Twice in two days. BOOTH: I had N.C.I.C. database check for a married couple who disappeared in 1978. Meet Max and Ruth Keenan. (Brennan looks at mug sh*ts) RUSS: That's mom and dad alright. BRENNAN: The N.C.I.C. database? That's ..that's criminals. My parents were on the list of Federal Offenders? RUSS: How do you like that? I guess a criminal nature runs in the family. BRENNAN: (hold up a picture of her and Russ as kids in the car) You were seven years old, Russ. Old enough to remember. What - What is your real name? What is MY real name? BOOTH: Bones, it's right here in the file. BRENNAN: No! No! I want him to tell me! What is my real name, Russ? RUSS: My name was Kyle. Your name was Joy. BRENNAN: You are not my brother (Brennan slaps Russ across the face) BOOTH: Bones! BRENNAN: No! He lied about that! What else are you lying about? What else are you not telling us? (Brennan storms out, leaving Russ and Booth behind) ACT IV (At the Medico Legal Lab - Catwalk.) BRENNAN: At first, I thought the worst thing was that they were missing. ANGELA: Except "d*ad" means no more hope. BRENNAN: My mother was alive for almost 2 years after they disappeared. She abandoned me. ANGELA: You don't know that. Look. You finally got to slap Russ. (Brennan laughs) You've been wanting to do that for years. BRENNAN: I worshipped him. You know? Oooh. (flashes back to her brother as a teenager) God. He was so cool. Everyone knew I was Russ Brennan's little sister. I wasn't cool or pretty, so being his sister - You know that game, Marco Polo? (angela nods) I'd be sitting in class, and I'd hear out the window "Marco!" It'd be Russ, checking in on me and letting everyone know that I was his little sister. ANGELA: Did you "Polo"? BRENNAN: Yeah. Sometimes it'd be the only word I said all day - "Polo". And then mom and dad disappeared and Russ took off. (flashback to Russ getting in his car and leaving) Suddenly, no one cared where I was. I miss that. Someone caring where I am all the time. BOOTH: Bones! Bones! You up there? Come on. Let's go. (claps hands) Chop. Chop. I found the Agent that was assigned to your parents' case. (Cut to: FBI Headquarters - Booth's Office) SPECIAL AGENT WARNER: I was the F.B.I. liaison on a bank robbery task force, working out of Cincinnati in the mid-to-late '70's. Secret Service, State Police, A.T.F. - All of us after a pretty bad bunch of armed robbers working Ohio, Kentucky, Iowa. You know, excuse me. Am I to understand that I'm addressing the family of one of these robbers? BOOTH: Max and Ruth Keenan's children. WARNER: Max and Ruth. Yeah. They never really belonged in that crew. BRENNAN: Why? WARNER: They worked smart. Specialized in safe deposit boxes. No g*n. They'd either con their way in or case out the place. Break back in on the weekend. Took their time. We never got a handle on the size of their scores. RUSS: Why? WARNER: Well, people keep jewelry and cash in safety deposit boxes. BOOTH: And a lot of stuff they don't want to report stolen.. WARNER: None of us understood why stand-up criminals, like Max and Ruth, would join the Midwest strong arm crew. Links to white supremacists, real dedication to firearms and v*olence. A job in Dayton went really bad. Two innocent bystanders were k*lled. One state trooper, seven wounded. BOOTH: When was that? WARNER: July 4, 1978. RUSS; Never caught them? WARNER: Not us. No. A few years later, one of them turned state's evidence for an F.B.I. Agent out of Louisville. Sent the rest to jail. My understanding is they're all d*ad. RUSS: Our parents were bank robbers...who morphed into a high school science teacher and a bookkeeper? WARNER: Their particular brand of safety deposit break-ins stopped. At the time, I figured the strong-arm crew k*lled them for their cut. FBI TECH #1: Agent Booth. We found blood in the car. BOOTH: Well, we expected that. FBI TECH #1: Yeah, but here's the wrinkle. We got blood from two separate individuals. (Cut to: Medico Legal Lab) HODGINS: Now, these two DNA charts are from the blood in the car. These two are from Dr. Brennan and her brother. These three match, and this one, does not. BOOTH: These three people are related? BRENNAN: This is mom, me and Russ. HODGINS: But this chart - A male, but it's definitely not your father. BOOTH: So we'll just run it through Codas and the Convicted Offender Index and see what pops up, all right? (Cut to: Angela's Office) ANGELA: So you describe someone to me and I draw them. That's the drill. RUSS: Who do I describe? ANGELA: I don't know yet. Booth put us together so I could charm you into telling me the truth. RUSS: Trust me. I got no more truth. ANGELA: You know, your sister is my best friend, so when she says you can't be trusted, I trust her. RUSS: This is you being charming? Does Tempe really hate me that much? ANGELA: Russ, she loves you. It'd be easier if she hated you. Hate is a lot easier to deal with than love. Especially, disappointed love. RUSS: You know what's ironic? Tempe doesn't trust me because I keep a promise. ANGELA: What promise? RUSS: (flashes back to when he was a kid) Seven years old. Dad and me in the backyard, this was in Ohio. My dad tells me. "You're not Kyle anymore. Forget about Kyle. You're Russ." He says, "If you ever tell anyone - the police, anyone - you will be k*lling your mother and your sister." (flash back to Ruth and Joy) "Swear" he says. "You swear on your baby sister's life you won't tell" He makes me say my new name a hundred times - Russ Brennan, Russ Brennan, Russ Brennan. He say it with me. Russ Brennan. Russ Brennan. Russ Brennan. ANGELA: Around that time, when Kyle became Russ..Maybe you saw someone. Maybe you saw someone who scared you? (a face flashes in his mind) Someone who scared you because you had instincts. The instincts of a frightened kid. Was there someone like that? (the same face flashes in his mind, again) RUSS: Yeah. A man came to the house one day.Um, my dad said if I ever saw this guy again, to grab my sister, and hide. ANGELA: Well, when you're ready, you'll describe that man to me. RUSS: All right. (Cut to Brennan's apartment - Late night) BRENNAN: If you keep bringing Chinese food in the middle of the night, we're both gonna get fat. BOOTH: I know what you've been thinking. BRENNAN: I doubt it. BOOTH: You've been thinking that your family is made up of liars and criminals. And that makes you feel lonely. There's a story here we don't know yet. BRENNAN: Like what? BOOTH: Bones, "don't know" means it's a mystery. BRENNAN: What were your parents like? BOOTH: (laughs) My parents, uh - my dad, he, uh -He drove thuds and phantoms in Vietnam. Those are fighter jets. After that, he was a barber in Philadelphia and my mom, she wrote jingles for a local advertising agency. BRENNAN: So they didn't go out at night after you were asleep and rob banks? BOOTH: Listen, Bones. You know - parents, um, they have secret lives. If they didn't, they wouldn't be parents. It is a little late for Chinese, isn't it? Thanks for the meal. See you tomorrow. (Cut to: Medico-Legal lab- that same night) ZACK: Dr. Brennan, is it morning? BRENNAN: No, I couldn't sleep. Why are you still here? ZACK: We're all here. No one's leaving until we figure out what happened to your mother. BRENNAN: (touched) Thank you. ZACK: Don't thank me. I'm failing. I've gone over every millimeter of the skull and found no evidence of remodeling., which makes no sense because any wound that results in a subdural hematoma that big should leave a mark on the living bone. BRENNAN: What if the subdural hematoma, started out much smaller? ZACK: And grew over time? BRENNAN: Over the course, of say, a year. That might explain the gap between the time my mother sustained the injury and the time she was buried. ZACK: And the blow itself might not have left a mark on the bone. BRENNAN: Show me the surface of the skull directly above the center of the hematoma. ZACK: Hundred times magnification. BRENNAN: Go to 500? Oh. See here? ZACK: Microscopic fractures of the osteons and is that the result of bleeding into the interstitial spaces? I can map the fractured osteons. That might lead us to the w*apon. (Cut to: Brennan's office- Booth enters and finds her asleep on the couch - she wakes and sits up when he gets near) BRENNAN: I'm awake. BOOTH: Yeah, I could see that. Caught a break on the DNA in the car. BRENNAN: You know who is it? BOOTH: Not exactly. See it's a closed file. Whoever it is, is in Witness Protection. I'll make a request, but they're pretty tight over there. ANGELA: What if you had a face? BRENNAN: Who's that? ANGELA: Somebody your father pointed out to Russ when he was seven. Somebody he's still afraid of. BOOTH: Hey, know what? I'm gonna play hardball with Witness Protection. If they don't cooperate, I'm gonna put his face in the paper. BRENNAN: Wouldn't you get in trouble for that? BOOTH: Well, we'll find out. (he leaves) ANGELA: You know what? Sometimes, he is just - Whew. (Brennan looks at Angela, amused.) What? (Cut to: Medico-Legal lab) ZACK: This is the pattern of fractured osteons. ANGELA: It suggests a blow from the front that grazed the skull. BRENNAN: A b*llet? HODGINS: There would've been particulates left behind by a b*llet. Especially fired from a short range. ZACK: I Isolated the most fractures osteons and this pattern emerges. HODGINS: It looks like the business end of a tire iron. ANGELA: No, the size is wrong. Too small. The w*apon was actually chasing the skull when it landed. I believe that the victim was pulled away at the last second so that most of the force was lost leaving only the slightest impression. BOOTH: Bones. I got what I need from Witness Protection. Let's go for a drive. (Brennan turns to leave to go off with Booth, but turns around once more before she goes) BRENNAN: Everybody. Thank you. I - (she hesistates) Thank you. (Cut to: Pig Farm - Booth and Brennan pull up the car) BOOTH: Okay, Bones. (they get out of the car) Just listen to me. This guy, McVicar, he might be a pig farmer now, but he used to be a mechanic with ties to the strong-arm crew that your parents ran away from. BRENNAN: A mechanic? Like Russ. BOOTH: Not like Russ. Russ, fixes things. This guy, he used to k*ll people. VINCE MCVICAR: Can I help you folks? BOOTH: (Booth draws his g*n) Yeah, put your hands up. Do it. BRENNAN: Booth... BOOTH: Check him for a g*n. MCVICAR: What's going on? BRENNAN: (scoffs) He's got a .45 BOOTH: . 45. Check his ankle. BRENNAN: (scoffs) He's got a .38. BOOTH: .38. I'm always right. I'm FBI. I know who you are. MCVICAR: Stever Beers, Pig Farmer. BOOTH: Vince McVicar. The pig farmer, huh? MCVICAR: You want to talk to Vince McVicar. You do it through the Federal Marshals. BOOTH: I do it through the Federal Marshals, I'm gonna have to tell them about a pig farmer who carries two concealed w*apon. BRENNAN: Three. .22 in the small of his back. BOOTH: .22. I'm always right. BRENNAN: No you're not. BOOTH; Yes, I am. Bones, will you put the g*n down. MCVICAR: What do you want? BRENNAN: I'm Ruth Keenan's daughter. MCVICAR: Joy? You're Joy Keenan? Yeah (he laughs) I can see that. (Cut to: s*ab) BRENNAN: They found your blood in the car. BOOTH: You hurt lots of people, Vince. You bashed in their heads. MCVICAR: Well, they never proved that, or I wouldn't be in Witness Protection. BOOTH: Yeah, we know how it works, Vince. You rat out your crew. Everybody loses interest in a few old m*rder... BRENNAN: My mother was h*t on the head. MCVICAR: Yeah, I know. I was there (shows scar on his forehead) Thirty-two stitches. BOOTH: She fought back, huh? MCVICAR: Ruthie fought back, alright, but not against me. BRENNAN: Then against whom? MCVICAR: Your father. BOOTH: Why did he att*ck you? MCVICAR: Think about it a second, all right? BRENNAN: You and my - my mother? MCVICAR: Me and Ruthie had run off together. Max caught us pulling into a motel outside of Champaign, Illinois. We were nuts about each other, Ruthie and me. Crazy in love. BOOTH: Okay, let's just skip that part, okay? MCVICAR: Well, he h*t Ruthie first. BRENNAN: With what? MCVICAR: Tire iron. h*t my arm, caught me a roundhouse to the head. Lights out, baby. I came to, Ruthie and Max were gone. Never saw neither of them again. You ask me, Max k*lled Ruthie and buried her somewhere and vanished. Our plan, once we set up - most likely in Florida - was to bring you down. Your father is a hard man, Joy. BRENNAN: My name is Brennan. I'm Dr. - (she sighs) I'm Dr. Temperance Brennan. (MCVICAR scoffs and walks out of the barn) BRENNAN: I work at the Jeffersonian Institution. I'm a Forensic Anthropologist. I specialize in identif - (she starts to break) in identifying - in identifying people when nobody knows who they are. My father was a science teacher. My mother was a bookkeeper (she starts to cry) My brother - (she wipes her tears) I have a brother. (now her tears are flowing) I'm Dr. Temperance Brennan. BOOTH: I know who you are. Hey. I know. (He pulls her into him and holds her tight.) It's okay. Shh. It's gonna be alright. Act V (Cut to: Brennan's apartment) RUSS: No way dad hits mom. Now way. BRENNAN: If he caught them together.. RUSS: No way mom cheats on dad. No way. BOOTH: Men like McVicar, he lies the way you guys take a drink of water. He k*lled people, then snitched to save his own ass. BRENNAN: You don't believe him? BOOTH: No. I don't believe him. BRENNAN: Give me one piece of evidence that doesn't back up his story. BOOTH: You're school sticker on the back of your parents' car - it was scraped off. RUSS: What does that prove? BOOTH: Well, the only reason to do that - to keep you guys hidden, safe. BRENNAN: From McVicar. BOOTH: McVicar performed hits for the crew your mom and dad ran out on. BRENNAN: What else? BOOTH: Well, there's a story that tracks for me, but without evidence, it's - it's just a story. RUSS: Tell us. BOOTH: Your parents go out Christmas shopping one day. They spot McVicar, the h*t man. Alright? They lead him away from your home. BRENNAN: Scrape off the name of the school so he can't trace it back to me and Russ. BOOTH: He take out your father.. BRENNAN: ..and my mother gets away with a head wound. BOOTH: She leaves the car a thousand miles away, finds friends, but she can never go back to see you guys because the crew is still looking for her. It's just a story. BRENNAN: Fits the evidence. BOOTH: Alright. You know what? The w*apon that McVicar had on him, they're a violation of his agreement with the Witness Protection Program. I'm gonna take him into custody. I'm gonna get a warrant. I'm gonna search his farm. RUSS: Search for what? BOOTH: McVickar like to bash in people's heads. Maybe we'll get lucky and match the w*apon he used on your mother. BRENNAN: It's unlikely. BOOTH: In that case, we'll still ruin his day. (Booth leaves) RUSS: Tempe, that theory explains why mom never cam back for you during that year and a half before she died. BRENNAN: What's your excuse, Russ? RUSS: You're the one that left me. You needed someone to blame. You chose me. BRENNAN: I was Fifteen years old. RUSS: I was nineteen! My parents were gone. My sister hated my guts. Everyone's telling me that she'd be better off in foster care. BRENNAN: You didn't even ask me. RUSS: I tried, Temperance. You wouldn't talk to me. You still wouldn't be talking to me if mom's bones hadn't shown up. And I kept trying. Every year. Every year on your birthday. You're the on that gave up! You turned your back on me and you made yourself a new family. (Russ leaves, leaving Brennan alone) (Cut to: Medico Legal Lab - platform - the crew is examining w*apon taken from McVickers farm.) BRENNAN: What's going on? HODGINS: The FBI delivered all these tools and w*apon from the pig farm guy. ANGELA: We went through them to see if any of them match the mark on your mother's skull. BOOTH: We got 20 hammers, a dozen hatchets.. HODGINS: Man loves his blunt instruments. ZACK: Seven tire irons. None of them match the wound, even allowing for shrinkage. BRENNAN: It was 15 years ago. Even if McVicker k*lled my mother, what are the chances he hung on to the exact w*apon? BOOTH: Uh, It's always like this with McVicker. Alright, ya know, some mook is found with his forehead bashed in. The FBI goes in the basement, collects about 40 hammers and nothing matches. BRENNAN: Always the forehead? BOOTH: Yeah. That's his signature k*ll, yeah. Not that anyone could ever prove it. BRENNAN: You said guys like McVicker get comfortable with a way of k*lling... BOOTH: Yeah. BRENNAN: Where did McVicker grow up? BOOTH: He grew up a farm kid in Iowa. Why? BRENNAN: How do you slaughter a pig? (Cut to: McVicker's Farm) BRENNAN: Why is he here? (looks towards McVicker, who is standing with the cops) BOOTH: He gets nervous, we know we're getting close. FBI TECH #1: Found this in the barn. (hands object to Brennan) This is a spring-loaded c*ptive bolt stunner. The animals restrained. It's pressed to the forehead. BRENNAN: (examines the stunner) Hmm. (presses into the wooden fence and pulls the trigger, causing a section of the fence to be blown out) BOOTH: Oh! FBI TECH #1: What kind of person could use this on a human being? BRENNAN: What kind of person could use this on a pig? BOOTH: It's the perfect dodge. Blood, flesh - it can all be explained. BRENNAN: I think I just became a vegetarian. BOOTH: So what do you think? BRENNAN: Yeah. Same shape as a tire iron, but smaller. This could be a match. MCVICKER: (yells from the distance) Before you decide anything, we should talk. BOOTH: (to Brennan) I'd call that nervous, wouldn't you? MCVICKER: There's no way to prove that's the exact w*apon that k*lled your mother or anyone else. BOOTH: You'd be surprised what she can prove. MCVICKER: (to Brennan) I need to speak to you alone. BOOTH: Forget it. BRENNAN: Booth, it's alright. BOOTH; No. BRENNAN: It's alright. BOOTH: You got two ways to look at this. One is, you score a private chat. The second one is, you att*ck her and I'll drill you through the forehead. MCVICKER: How could I possibly att*ck her. BOOTH: I'll decide what is and isn't an att*ck -like say, a hiccup. BRENNAN: Booth. Come on. (Booth watches like a hawk and Brennan and McVicker move away to talk) BRENNAN: You k*lled my mother. MCVICKER: Gonna be hard to convince a jury. BRENNAN: I'm pretty persuasive. I'll put you away. MCVICKER: Here's the thing, Joy. Two people know what really happened that night. Me and your father. BRENNAN: You k*lled him before you att*cked my mother. MCVICKER: Then how did I get this scar on my head? You got a choice, Joy. You drop the bolt stunner down the well, and you'll know what happened. You put me in front of a jury, not only will you fail to convict, but you'll never know the truth. (Brennan looks over at Booth) You can't live with that, Joy. You can't live not knowing. BRENNAN: I found out what happened to my mother. I will find out what happened to my father, too. (she starts to walk away) We're done. MCVICKER: You will NEVER know what happened to your father. (Cut to: Booth & Brennan in the car - night) BRENNAN: Why are you letting me drive? BOOTH: It's your reward.. BRENNAN: For what? BOOTH: For totally pissing off a h*t man. Can I read your book? BRENNAN: After it comes out. BOOTH: Not before? BRENNAN: No. BOOTH. I let you drive. BRENNAN: Just let it go. BOOTH: Where are we going? BRENNAN: I'd like to make up for a little lost time. (Cut to: Town carnival in Moorehead City, North Carolina - Booth and Brennan approach Russ.) BOOTH: I'm gonna go get a funnel cake.Okay? BRENNAN: I have something for you (she holds up the marble and give is to Russ) RUSS: Thanks, Tempe. BRENNAN: Russ. You were right. You were only 19, but at the time, I didn't understand what that meant. Sometimes people need to explain things to me, I guess. RUSS: Then, you have to let them talk to you. BRENNAN: If you can maybe come back and stay a couple days longer? Please? At my place, I mean. RUSS: (he pauses for a moment) Marco. BRENNAN: Polo. (Brother and sister are united and they hug. Booth watches them and smiles) (Cut to: Brennan, Russ & Booth all enter Brennan's apartment) BRENNAN: Anybody thirsty? RUSS: Is it too early for a beer? BOOTH: Ah, I gotta go. You know, I'm Picking up Parker for the weekend. (Booth spots Brennan's manuscript sitting on the table. The original title "Bone Free", crosses out) Yeah, I'll take one. RUSS: You have boy? BOOTH: Yeah. (He lifts up the front page and sees the dedication "This book is to my partner and friend, Special Agent Seeley Booth.) RUSS: The woman I'm seeing, she's got uh, two daughers. BOOTH: (puts the page down and smiles) Nice. (he looks at Brennan) Girls are nice. (Brennan hands the two guys a beer - they raise their bottles to toast.) BOOTH: To us. RUSS: Whoever the hell we are. BRENNAN: To what we're becoming. (Brennan goes to play back her phone messages) ANSWERING MACHINE (female voice): "New message recorded today. 3p.m." MAN'S VOICE: "Temperance? You have to stop looking. Y-You have to stop looking for me right now. This is bigger and worse than you know. Please stop now." BOOTH: Who's that? (flashback to Brennan and Russ's father - "stop") BRENNAN: That was my father. (another flashback to Brennan and Russ's father) End.

{"type": "series", "show": "Bones", "episode": "01x22 - The Woman in Limbo"}

foreverdreaming

"Titan on the Tracks" Episode 2x01 Written By: Hart Hanson Directed by: Tony Wharmby Transcribed by: seralis8 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (BOOTH and BRENNAN are driving at night in the rain, with sirens and flashing lights on.) BOOTH: What'd you do? BRENNAN: I read, walked on the beach, chilled. BOOTH: You chilled. In Darfur. You chilled in Darfur. BRENNAN: In North Carolina. I changed my vacation plans to spend time with my brother. Russ and I talked about it and we really want to find Dad. BOOTH: No, okay, well just so you know, the FBI is going to find your father, no matter what you want. BRENNAN: My brother and I don't want the FBI to backburner it's search. BOOTH makes a sharp left turn, and the tires squeal on the wet pavement. BRENNAN: Is it okay to go over on two wheels like that? BOOTH: Only when making sharp turns at high speeds. Okay, Bones, why don't you have a little, uh, you know, faith in me, okay? I'm not gonna backburner the case all right? I'm gonna...find your father. BRENNAN: My brother said you'd say that. BOOTH: You really keep saying 'my brother' a lot. BRENNAN: Well, I lost Russ for fifteen years. I like the sound of it. ...my brother. (she makes a face) What's with the siren? And why are you driving like a maniac? (Cut to: A car engulfed by flames, panning out to show BOOTH and BRENNAN arriving at the scene. We see several people milling about, as well as a f*re truck in the background; firefighters are working to put out the car f*re as well as a smoking overturned train car. A man with a bloody face is being treated by a paramedic.) BOOTH: Got passenger cars on the tracks, one on the side...there's gonna be fatalities. (DR. CAMILLE SAROYAN emerges on screen, holding a severed arm.) CAM: Stan! I need some gauze. Danny? You don't find the owner of this in the next ten minutes, he'll bleed to death. Starting...(sets timer on the watch around the wrist of the severed limb)...now. (CAM looks up, and spots BRENNAN and BOOTH.) CAM: Seeley. BOOTH: Camille. CAM: Don't call me Camille. BOOTH: Don't call me Seeley. Dr. Brennan, Dr. Saroyan. You two know each other, huh? BRENNAN: No. CAM: No. BOOTH: Uh-oh. CAM: Dr. Brennan, I'd like you to check out the automobile this train h*t. It's probably what caused the derailment. BOOTH: Accidental? CAM: NTSB guy says the train struck the car at least 200 yards from the nearest access. BOOTH: Deliberate. CAM: (over her shoulder) Eight minutes, Steve! (to BOOTH) Probably su1c1de. (to BRENNAN) Why are you still here, Dr. Brennan? BRENNAN: Because I'm not a coroner, and I don't work for you? CAM: You got that half right. BRENNAN looks at BOOTH questioningly. STEVE: Got him, Cam! Still breathin'! CAM: Thanks, Steve! All right. (tucks the severed arm beside the man who is being carried away on an emergency gurney) Every survivor is one less person for me to autopsy. (to BOOTH) You look good out of your suit, Seeley. But then, you always did. CAM walks off, and BOOTH turns to watch her go. BOOTH: Yeah, that's...great to have you back in D.C., Camille. BRENNAN: One minute she's holding a severed arm, the next, she's hitting on you. BRENNAN moves towards the burnt out car, and BOOTH follows. BOOTH: No, she wasn't hitting on me, and you know what, she is your boss, Bones. BRENNAN: What? Goodman's my boss. (to FIREFIGHTER) May I approach? FIREFIGHTER: All yours, Dr. Brandon. BRENNAN: Brennan. Dr. Brennan. FIREFIGHTER: You wanna guess my name? BRENNAN: (leaning into the car from the front passenger side with a flashlight) No, but there are thousands of you in D.C. and only one of me. BOOTH: You know, while you were away, Goodman decided that there should be a head of forensics at the Jeffersonian. Never occurred to you to check in, huh? The flashlight illuminates a charred, skeletal hand, with a silver band around the wrist. BRENNAN: Why didn't Goodman hire me? BOOTH: Oh, my guess? People skills. BRENNAN: I have people skills. BOOTH: Oh, all right. That firefighter's name is Nelson, and it's at least the fourth time that you've met him. Odds are, Cam knows his kids' names after meeting him once. We see a blackened leg still wearing a black shoe. BRENNAN: A lot of jewellery. Male. Thigh bones suggests he was tall. I.D. bracelet. It's good quality gold, slightly melted. Scene flashes to a pair of hands on f*re; we see the I.D. bracelet melting slightly in the heat. BRENNAN: Too melted for a regular car f*re. Do you see a skull? BOOTH: Hey Bones, I'm not looking for a skull. BRENNAN: Burn damage to the body is more intense than I'd expect from a car f*re. Even if the fuel t*nk ruptured and was absolutely full at the time of impact. We see what appears to be a thigh and knee, blackened and covered with what remains of the victim's flesh. BOOTH: Do you see anything on this car that isn't ruptured? CAM: Booth! Three deaths in the first class car. BOOTH: Oh, homicide! That makes it my case. CAM: One of them's a senator. BRENNAN: That makes a difference? BOOTH: Facts of life, Bones. BOOTH hurries off, leaving BRENNAN with the car. (Cut to - Jeffersonian - Medico-Legal Lab - Platform - BRENNAN swipes her security pass to enter the central platform.) ANGELA: Apparently Cam is autopsying a senator. (ANGELA and HODGINS watch BOOTH and CAM's friendly conversation nearby.) HODGINS: A senator? Oh, we're moving up in the world. ANGELA: They have a past. HODGINS: Cam and the senator? ANGELA: Cam and Booth. Look how she touches his arm when he laughs. HODGINS: You touch my arm when I laugh. ANGELA: No, no. You touch me. It's a big difference. HODGINS is left speechless as the mechanical beep of the security system heralds BOOTH's arrival. BOOTH: Okay, what have we got? ZACK: Male. Forties. Approximately 6 foot 7, right-handed. BOOTH: 6 foot 7? (he turns the monitor towards him, but is thwarted by BRENNAN, who turns it back to it's original position.) BRENNAN: Athlete in his youth, worn shoulders from repetitive motion. BOOTH: Baseball pitcher, maybe. BRENNAN: More like a...(makes a pushing upward motion with her right arm) (In UNISON) BOOTH: Basketball. ZACK: Basketball. ANGELA: At 6 foot 7, it makes sense. ZACK: Every bone in his body is broken. HODGINS: Dude, he got h*t by a train. We see the melted I.D. bracelet on the computer screen, the engraving mostly b*rned away. HODGINS: W-A-R...it's all I can make out of one name. And then, 'love Brianna'. ...dude. ZACK: You're saying 'dude' way too much. HODGINS: Forties. 6 foot 7. W-A-R...Brianna? This is Warren Lynch. (In UNISON) ZACK: Who's Warren Lynch? BRENNAN: Who's Warren Lynch? BOOTH: No way. ANGELA: Wait, Warren Lynch as in Lynchpin International, Warren Lynch? HODGINS: Yeah. CAM: I am not telling the press that Warren Lynch k*lled Senator Paula Davis until we're completely certain. BRENNAN: I know Senator Davis. I signed a book for her to give to her daughter. ANGELA: Man, I love Paula Davis. She could have been President. HODGINS: Warren Lynch and Senator Davis, k*lled in one accident? No way it's a coincidence. CAM: Hey, Hodge-Podge, all engines reverse. First we identify beyond a shadow of a doubt, then we get paranoid. HODGINS: Cool. As long as paranoia's on the schedule somewhere. BRENNAN: It wasn't su1c1de. ZACK: The jagged edges to the breaks. Small fragments. Lack of circular or radiating fractures or adherent spurs*. CAM: What does that mean? BRENNAN: This man was d*ad for several hours before the train h*t him. Cut to a black and white scene of a man sitting in the driver's seat of a car, head facing the left, eyes open and unblinking. A white light approaches, grows brighter and brighter until the whole screen is white. END TEASER ACT I (Cut to - Jeffersonian - Medico-Legal Lab - Upper Level Lounge Area) CAM: We are tighter than a nun's knees on this one. No press, no conjecture with anyone outside this room. ZACK: Why? CAM: Because, we are going to find the details of Senator Davis's death without giving Oliver Stone or Michael Moore any more ideas. BRENNAN: Are we assuming Senator Davis's death was a coincidence? CAM: You want to k*ll someone, planting yourself in front of a train probably not the best idea. (HODGINS gives ANGELA an amused look.) But, too early to make any assumptions. I am a diuretic seagull, people. Everything goes through me. Ten AM, here, tomorrow? Zackaroni, your turn to bring the doughnuts. ZACK smiles and nods as everyone stands to leave. BRENNAN: Zackaroni? ZACK: Cam noticed that I eat macaroni and cheese every day for lunch. BRENNAN: Every single day? ZACK: Yup. (Cut to - Jeffersonian - Medico-Legal Lab - BRENNAN's office) HODGINS: You should be okay with Dr. Saroyan getting the Head of Forensics job. BRENNAN: Why is that? HODGINS: Because you are strictly rubber-to-the-road, hardball scientist. Not a flesh pressing, ink stained, policy making...wanktard. BRENNAN: What are her qualifications? CAM: Chief Coroner of New York for two years, Assistant Federal Coroner before that. How am I doing? BRENNAN: Very well. Impressive. BRENNAN's cell phone rings, and she reaches for it as CAM turns her attention to HODGINS. BRENNAN: Brennnan. HODGINS: We were discussing her mother's case. CAM: Fine. BRENNAN: (on her phone) I'll be there in fifteen minutes. BRENNAN exits her office in a hurry. CAM: Yes. Good, Dr. Brennan. We'll chat later. BRENNAN turns around to give a brief wave of acknowledgment. HODGINS: (laughs nervously) It's a...very interesting case. Brennan identified skeletal remains as her mothers. k*lled by a blow to the head. Initial suspect was her father, but in the end we arrested a pig farmer hitman in Witness Protection Program, added wrinkle, but- CAM: (interrupts) Dr. Hodgins? You're chattering me to death because you're hoping I'll forget you called me a wanktard. HODGINS: It's a...made up word. No meaning. (Cut to - FBI HQ - Conference Room) LISA SUPEK: My name is Lisa Supek and I am the Assistant U.S. Attorney attached to this case. I'd like to hear first from the National Transportation and Safety Board, Mr. Hobbs? HOBBS: Thank you. At 8:04 this evening, a high-speed commuter train struck a private vehicle from a car derailed, k*lling three people including Senator Paula Davis. Preliminary indication shows that it was placed there, purposely. LISA SUPEK: Dr. Brennan, was the Jeffersonian able to confirm that the driver of the car was Warren Lynch? BRENNAN: Dental records and physical characteristics establish that, yes. BOOTH: The vehicle is registered to Mr. Lynch, we verified that the jewellery found on the body was his, plus we have this. (picks up a remote and presses a button.) We see a wide screen, pulling up a picture of a man in the driver's seat of a car, taken head on, through the windshield. LISA SUPEK: A photograph from the carpool lane? BOOTH: At 1:56 this afternoon, Mr. Lynch drove illegally in the diamond lane on I270. The good ol' Maryland state police cameras, they caught the infraction. BRENNAN: This is definitely the vehicle found on the tracks. BOOTH: No one saw or heard from Warren Lynch after this photo was taken. (Passes around prints.) LISA SUPEK: You can't honestly expect someone to believe that Warren Lynch committed su1c1de by driving into a train. DANIEL BURROWS: Daniel Burrows, Securities Exchange Commission. We were about to lay charges against Mr. Lynch that would not only wipe him out financially, but send him to prison for several years. LISA SUPEK: I'd heard rumours, but for a man like Lynch to k*ll himself... BRENNAN: Mr. Lynch did not commit su1c1de. BOOTH: Dr. Brennan's examination shows that he was d*ad for at least six hours before the train struck his car. LISA SUPEK: d*ad how? BRENNAN: I don't know that yet. LISA SUPEK: But can we assume that it was foul play? DANIEL BURROWS: When it become public knowledge that Warren Lynch is d*ad, the stock in Lynchpin International is going to plummet. LISA SUPEK: Well, it sucks for the people who invested in Lynchpin, but otherwise... BOOTH: That's motive for m*rder. BRENNAN: How is losing money a motive? DANIEL BURROWS: How is losing money a motive? Basically you bet the share price is going to fall, and if it does, you collect. LISA SUPEK: How much we talking? DANIEL BURROWS: Tens, maybe hundreds of millions. (Cut to - FBI - Booth's Office) BRIANNA LYNCH: Yes, these are Warren's things. I bought him the ID bracelet on our first anniversary. (We see the back of a damaged watch, with an engraving.) BOOTH: (reading) Casu Consulto. What does that mean? BRENNAN: Accidentally on purpose. BOOTH: (aside) Why do you know things like this? BRIANNA LYNCH: It was kind of my husband's motto. DIANNE HOCHMAN: Mr. Lynch wrote about it in his autobiography. He played basketball in college. Made it all the way to the national championships. BRIANNA LYNCH: Warren was about to score, but another player locked him out of the key... DIANNE HOCHMAN: He injured the opposing player, sent him to the hospital, and made it look completely inadvertent. BOOTH: Accidentally on purpose. BRENNAN: He wrote this about himself, as if it were a good thing? DIANNE HOCHMAN: Well, you don't become Warren Lynch by playing by the rules. BRIANNA LYNCH: I'm still his wife, so this all comes to me now, is that correct? BOOTH: Still his wife? Mrs. Lynch, were you and Mr. Lynch having marital problems? BRIANNA LYNCH: Warren and I were separating. BRENNAN: Why? BRIANNA LYNCH: Infidelity. BOOTH: Hmm. On who's part? (BRENNAN raises her eyebrows at BOOTH.) BRIANNA LYNCH: I found out that Warren was seeing someone, only someone turned out to be - DIANNE HOCHMAN: Some dozen. BOOTH: I'm going to need a list. DIANNE HOCHMAN: When Brianna confronted Warren, he had a private investigator look into her activities. BRIANNA LYNCH: I admit, he didn't come up dry. BOOTH: Private investigator's name? DIANNE HOCHMAN: Rick Turco. He was one of Lynch's all-purpose, go-to, dirty-work fixer. BOOTH: Yeah, I'm familiar with Rick Turco. Thank you, for your cooperation. (Cut to - Jeffersonian - Booth & Brennan walking) BOOTH: Cheating spouse that stands to inherit all corrupt business practices and Turco the private dick, where do we start? HODGINS: Two types of glass were embedded in what was left of Lynch. BRENNAN: Start with glass. HODGINS: Tempered automotive safety glass and silicate. BRENNAN: Tempered glass came from the car windows, what about the other? HODGINS: It's 70% amorphous silicon dioxide. BRENNAN nods and heads off. BOOTH: What's that? HODGINS: It's like a common domestic container. BOOTH: Oh! Like a jar. Why can't we just say a jar? (Cut to - Jeffersonian - Another Room) BRENNAN: (entering an experiment lab) Anything new Zackaroni? BOOTH: Zackaroni? ZACK: The victim's left elbow and shoulder were badly dislocated post-mortem. BOOTH: You mean the between the time he died and the time he got h*t by the train. BRENNAN: Blood flow was non-existent when the dislocation occurred. BOOTH: Okay. You guys do this stuff and I'll start on Turco. ZACK: What's that? BRENNAN: Private investigator. BOOTH: Turco's an affliction. I'll set up a meeting and call you. ZACK: You shouldn't call me Zackaroni. BRENNAN: Yeah, I knew that the moment I said it. I'm going to get a bone mineral density reading. (Cut to - Jeffersonian - Medico-Legal Lab - Platform. A bone being placed on a glass table, through which we can see ANGELA and BRENNAN talking.) ANGELA: You didn't actually want the job, did you? BRENNAN: I don't even know what the job is. ANGELA: Well, Goodman won't explain his decision. BRENNAN: Goodman appointed Dr. Saroyan while I was on vacation, then took a two-month sabbatical to avoid me. That explains a lot. ANGELA: Okay, well I think it's because you are very task-oriented. BRENNAN: Zack? (to ANGELA) Task oriented is a euphemism for lacking overall perspective. ANGELA: Oh, no. No! ...well, yeah. Yeah, a little. Like, when's my birthday? BRENNAN: I can get the computer to remind me about birthdays. ANGELA: (groans) That's one of a gajillion examples. BRENNAN: You could tell me the other gajillion minus one. (pointing to computer screen) What do you see, Zack? ZACK: Bone loss. Lack of bone density suggests that Warren Lynch was much older than his forties. But the other indicators of age - epiphyseal rings, radial sutures - all disagree. BRENNAN: Age doesn't explain the ossification of cartilage where the ribs meet the sternum. ANGELA: What does explain it? BRENNAN: Opiates. (Flash of white, and we see a filled syringe, into which blood billows.) BRENNAN: Warren Lynch was a heroin addict. ACT TWO (Cut to - Royal Diner - Night) RICK TURCO: Agent Booth, I'm a private investigator. My greatest asset is my discretion. BRENNAN: Brianna Lynch already told us that you worked for her husband, Mr. Turco. RICK TURCO: Well, Miss Lynch is welcome to say whatever she likes. BOOTH: You know the client confidentiality routine no longer exists when the client is d*ad. RICK TURCO: That's not the assurance I give my very demanding, very high-profile clients. Till death do us not part. BOOTH: Yeah, how would your very demanding, very high-profile clients feel if they find out you procured heroin for Warren Lynch. RICK TURCO: What? BRENNAN: Warren Lynch was a heroin addict. BOOTH: I open up a drug investigation on you, Mr. Turco. Once the press gets wind of that, your high-profile clients find some other unprinciples Mr. Fix-It. RICK TURCO: Warren Lynch was a junkie? What's your evidence? BOOTH: Bones? (BRENNAN hands RICK TURCO a file of their findings.) RICK TURCO: Well. So what does all of this mean? BOOTH: Sum it all up for me, Bones. BRENNAN: Warren Lynch suffered declining bone mass, due to long-term abuse of his hypothalamic pituitary gonadal axis. BOOTH: Nothing says 'junkie' like your gonad's axis, Ricky. RICK TURCO: I had no idea. I certainly never procured any heroin for him. BOOTH: Warren Lynch sure wasn't trolling for ten dollar hits in Lincoln Heights. RICK TURCO: Well, Agent Booth. You know my rep. I'm a sin eater. I make problems go away. BRENNAN: You mean like when Lynch's wife found out he was sleeping with other women?RICK TURCO: All right, anything I say, strictest confidence, correct? Warren Lynch brought me in to deal with a blackmailer. BOOTH: Warren Lynch was being blackmailed? BRENNAN: By one of his girlfriends? RICK TURCO: That would be my assumption, yes. I'd paid them off before, but this was a much bigger deal, more serious. Had to be the heroin, right? BOOTH: Let it play out. RICK TURCO: I negotiated the payment from a mill. to a quarter million, paid 'em off, that was three days ago. BOOTH: How? RICK TURCO: d*ad drop at Rock Creek Park. BOOTH: And you have no idea who it was. RICK TURCO: No. I got a phone call. When I traced it back, it d*ad ended on a stolen cell phone. (Cut to - Jeffersonian - Medico-Legal Lab - Platform. BRENNAN picks up a reconstructed skull.) BRENNAN (to ZACK): You did a good job. CAM: Given your heroin b*mb, I went back to what tissue remained traces of laudanine and reticuline, alkaloids found in the opium poppy. BRENNAN: (to ZACK) I'd like Angela to do a facial reconstruction. (to CAM) Confirm my finding? (CAM nods) ZACK: It's handy having a pathologist right in the building. CAM: To turn opium into heroin, it's exposed to hot acetic anhydride, which produces eighteen neutral impurities. The ratio of these impurities indicates the heroin's origin; in this case, Mexico. BRENNAN: Mexican heroin is very common. I wonder if there's anything we can do to narrow it down further. CAM: Gas chromatography shows there's also fentanyl in the heroin. BRENNAN: What's that? ZACK: This reminds me of when you interviewed me to be your grad student. (to CAM) She knows what fentanyl is. (CAM smiles and nods.) CAM: It's a narcotic which boosts the effects of the heroin. According to Metro cops, fourteen addicts OD'd this week, off this one shipment. BRENNAN: Have you told Booth? CAM: No, I'll leave that up to you. ...how'd I do? (CAM leaves) ZACK: I thought she did quite well. BRENNAN: You said you had something else to show me? (Cut to - Jeffersonian - Experiment Room. A humanoid figure is on f*re, inside a glass enclosure while HODGINS, BRENNAN & ZACK watch it) ZACK: In a car f*re, gasoline ignites at 28 degrees Celsius and rises to a temperature of 2200 degrees. HODGINS: If the gas t*nk were full at the time of impact, the f*re should have b*rned for approximately twenty minutes without intervention. (We see an unidentifiable part of the burning figure drop onto the mesh floor of the case, still flaming.) BRENNAN: Tell me that's not a real skeleton. ZACK: No, we made him out of calcium phosphate and hydroxyapatite. HODGINS: And SPAM. ZACK: Twenty minutes now. (HODGINS turns off the flames.) BRENNAN: It's still a significant amount of SPAM. HODGINS: According to the f*re department report, the car b*rned for forty minutes and it still took four minutes to put out. ZACK: Which means there was extra fuel. BRENNAN: And the extra glass you found? HODGINS: Five gallon Mason jars. ZACK: Six of them. BRENNAN: Filled with gasoline. HODGINS: That, or moonshine. CAM: (walks in) Why does the whole lab smell like a luau? BRENNAN: Zack and Hodgins are proving there was extra accelerant in the Lynch's vehicle. CAM: Using what medium? BRENNAN: Artificial bone covered with SPAM. CAM: Turn this off. All look at CAM in surprise; HODGINS turns to BRENNAN who nods her assent. He then turns the flames down. CAM: Why wasn't I told about this? BRENNAN: (chuckles) I encourage independent inquiry. CAM: Your encouragement does not signify my authorization. If it happens again, I will take action. And I'm from New York, which means that I will take New York action. Am I clear? BRENNAN: Not at all. ZACK: I'm from Michigan. HODGINS: Dr. Saroyan means she'll make us watch musical theatre. CAM: Wrong New York. I'm more from the get-mugged-in-broad-daylight tradition. This is not a high school science fair; this is the Jeffersonian Institute. Unauthorized experiments in forensics will get you fired. ZACK: But...we're Hodge-Podge and Zackaroni. BRENNAN: And, they work for me. CAM: You know, what I'd really like to do here is enjoy a meeting of the minds. But, if you insist on an organizational pyramid, I will be at the top. (As CAM walks away, HODGINS turns up the flames with a huff.) (Cut to - Royal Diner - Day) BOOTH: Spam? BRENNAN: There were Mason jars in the backseat, intended to break when the train h*t. BOOTH: And they got this with SPAM? BRENNAN: Yeah, SPAM. BOOTH: Mmhmm. And Cam, she got all...bent out of shape. BRENNAN: She wants to authorize all experiments. BOOTH: Great, you know Zack and Hodgins, they do an experiment with fake bones in spam. BRENNAN: What is your spam fixation? BOOTH: Defence lawyer hears spam, he makes a joke, and the jury laughs, and everything we get from the Jeffersonian is framed as 'goofy science', you know, from a bunch of squints with no connection to the real world. BRENNAN: That wouldn't happen. BOOTH: Oh, really, and the time you dropped a d*ad monkey down the elevator shaft... BRENNAN: No, that was to show - (smiles) Okay, I take your point. BOOTH: Cam's goal is a successful prosecution in a court of law. BRENNAN: Same as mine and yours. BOOTH: Oh, you're all about finding the truth. BRENNAN: Okay, your words say 'good', but your tone says 'bad', so it's confusing. BOOTH: Cam knows that too much truth is just as bad as too little. (His cell rings, and he reaches inside his jacket to pick it up.) Which is why she got the job. (on the phone) Booth. BRENNAN looks at him incredulously before leaning over. BRENNAN: You know, Angela says that you and Cam had a sexual relationship. Does that affect your view of her? BOOTH: (on his phone) Patch me through. (to BRENNAN) Wildly out of line, just so you know that. (on his phone) When? BRENNAN: You know, personal prerogative is at the heart of scientific inquiry. BOOTH: Bones. (on his phone) Thanks for the notification. BOOTH closes his cell phone and put it back in his jacket pocket. BRENNAN: What? BOOTH: The man who was charged with m*rder your mother. BRENNAN: The pig farmer. Vince McVicker. BOOTH: He was k*lled. Today, at Alexandria Federal Holding Facility. BRENNAN is shocked, tearing up. BRENNAN: I don't...he was the only connection to my father. His trial was going to be my...(she shakes her head) How am I ever going to find out what really happened? (Cut to - Jeffersonian - Holographics Room. A rotating image of a man's head being projected by the Angelator.) CAM: That's not Warren Lynch. How accurate is this thing? BRENNAN: It's not the machine that's accurate, it's Angela. And she's good. CAM: That is not Warren Lynch. ANGELA: Hey, Zack provided a skull, and this is the face that goes with it. BOOTH: Could it be the wrong skull? BRENNAN: Zack doesn't make that kind of mistake. He's also very good. CAM: What about the dental records? ANGELA: I'll check 'em for tampering. BOOTH: So you're certain that the body in the car... BRENNAN: Is not Warren Lynch. Absolutely certain.(Flash to a man in a car, apparently d*ad on the steering wheel) ACT THREE (Cut to - Jeffersonian - Holographics Room) LISA SUPEK: The man in the car was not Warren Lynch? ANGELA: No. This was the man behind the wheel. (hands her a photograph) LISA SUPEK: You had dental records. ANGELA: Well somebody digitized Lynch's dental records and then re-filmed them utilizing authentic alpha-numeric bar codes. CAM: The records were expertly faked. LISA SUPEK: Then where the hell is Warren Lynch? CAM: I've informed the FBI that they might want to start looking for him. In the meantime, we're moving to I.D. this guy. LISA SUPEK: Mistakes like this cannot happen when a case concerns a d*ad Senator. CAM: Miss Montenegro uncovered a fraud; that's the opposite of a mistake. LISA SUPEK: Save it for the press conference, Dr. Saroyan.(she leaves) ANGELA: Thank you. CAM: Hey, if you had made a mistake, I'd have thrown you to the wolves. (Cut to - Alley - Night - Booth and Brennan are on a stakeout in a car) BOOTH: Metro cops say that the guy pushing the Mexican heroin laced with fentanyl is Eddie Bean. Young guy, bald-headed, 5'5", 145 pounds. (BRENNAN sits up in the passenger seat to look. BOOTH pulls her back down and gives her a disparaging look.) BRENNAN: You know, if drugs were legalized, they could be dispensed from a clean, safe, controlled outlets by trained personnel. Not in alleyways by criminals. BOOTH: Yeah, right. (A guy in a leather jacket walking down the street.) BRENNAN: Hey, that's our guy! (She moves to exit the car, but BOOTH stops her.) BOOTH: Oh, no, no, shh. What we gotta do is we got to wait until he deals. Catch him in the act. (They both look out the driver's side window.) BRENNAN: We wait? For how long? BOOTH: However long it takes. BRENNAN: Well what do we do while we wait? BOOTH: This is a stakeout. We converse. BRENNAN: Well, I tried to initiate conversation about the drug w*r, but... BOOTH: (sighs) Oh God. Fine, you know what, let's talk about something we're not going to argue about. (They sit in silence.) BOOTH: Been out to your mother's grave? BRENNAN: Not since the funeral. BOOTH: Really? BRENNAN: Why would I? BOOTH: You know, to connect. BRENNAN: She's d*ad. BOOTH: Fine. You know what? Forget it. BRENNAN: d*ad. As in, gone from this world. (BOOTH continues staring out the window. BRENNAN leans over, and taps his shoulder.) BRENNAN: Excuse me? I'm curious. What you...talk to the headstone? What do you say? BOOTH: It looks like I'm talking to the headstone, but what I'm really saying is...forget about where the words are aimed. What I say is that I remember them. BRENNAN: They can't hear you. Because they're d*ad. BOOTH: My mouth moves, words come out, but none seem to get across the drawbridge to the princess I know who waits within. (Two figures across the street, and one reaches into his jacket to pull something out.) BOOTH: We're on. They both exit the car, hurrying to the alley. BRENNAN: What princess? (BOOTH looks back to wave her question off as they near the two men in the alley.) BOOTH: Whoa, hey, hey, hey. (The buyer runs from the alley, and BOOTH shoves EDDIE to the ground by the throat.) BOOTH: Pockets, watch out for needles. BRENNAN: Don't you have to read him his rights before you strangle him? (checks his pockets) Empty. BOOTH: You know I had to hold his throat closed so he wouldn't swallow the evidence, all right? (to EDDIE) If you bite me, I will squeeze your little pinhead off. Okay. (he reaches into EDDIE's mouth.) Ugh, okay, easy. (he pulls a tied-off condom of heroin from EDDIE's mouth). BRENNAN: You shouldn't swallow heroin. It's dangerous. (BOOTH hauls EDDIE off the ground and throws him against the wall.) BOOTH: (slaps EDDIE around) Eddie? Eddie, Eddie, Eddie, Eddie. I'm going to ask you a question, okay? You answer, you walk away, all right? You don't answer... EDDIE: You book me, I get sick, I know the drill. (He grabs EDDIE by the face) BOOTH: You don't answer, and I'm going to cram this back down your throat without the protection, all right? (waves the heroin in front of his face) You sold some of this crap to a tall guy. Over six and a half feet tall. Show him, Bones. BRENNAN: What? BOOTH: Show him! BRENNAN: Oh, um...(she extends her arm above her head) Like...that tall? EDDIE: Uh, nobody I know. (BOOTH breaks the condom open, and shoves it into EDDIE's mouth, who coughs and resists) BOOTH: Okay, c'mon, here. Eat it. Eat, that's it. Get it in there, that's it. (EDDIE spits it out, coughing.) EDDIE: Ray. BOOTH: Ray. Ray, tell me about Ray. EDDIE: Everybody knows him down here, man. He's a long time skould? Scauwld? BRENNAN: When was the last time you saw him? EDDIE: Bought a stick of dynamite about three days ago. BRENNAN: I feel I should alert you. There's an additive in this heroin that causes overdoses. BOOTH leads BRENNAN away. EDDIE: Hey, where'd you find her? BOOTH: Museum. (his cell phone rings) Oh! BRENNAN: He should warn the addicts. BOOTH: Yeah, like they do on a pack of cigarettes. (on his phone) When? Thanks. BRENNAN: What? BOOTH: They found Warren Lynch. (Cut to - Hospital Room) DOCTOR: Mr. Lynch was thrown from a speeding car. It's a minor miracle he's still alive. Maybe because he was already unconscious at the time. BOOTH: Unconscious? DOCTOR: Yes, badly beaten. Internal bleeding, broken ribs, both legs. Some spinal damage, broken pelvis. BRENNAN: When can we talk to him? DOCTOR: Any time you want, as long as you don't expect a response. This man has severe brain damage. Off the record, he's not going to wake up. Best case scenario, he spends the rest of his life hooked up to feeding tubes. BRENNAN: This is one of the richest men in the country. DOCTOR: Most of the time, that might mean something. Not now. BRENNAN: Doctor Lawrence, this man holds the key to how and why Senator Paula Davis died. DOCTOR: I'm sorry. Anything that man has in his head; it's going to stay there. Excuse me. ACT FOUR (Cut to - Jeffersonian - In the Holographics Room) ANGELA: After Zack nagged me a hundred times... ZACK: It's important for us to show how the victim's shoulder and elbow were dislocated. ANGELA: I recreated the most likely sequence. (The projected arm bending backwards with a snapping sound that we hear again as the shoulder dislocates.) BOOTH: Ouch! ZACK: The victim was d*ad when this happened. He didn't feel it. BOOTH: Run it again. ANGELA re-runs the simulation. BOOTH: It's like he was putting his jacket on. ANGELA: Corpses don't usually do that. ZACK: These injuries occurred when the corpse was forced into a jacket. ANGELA: Yeah, most likely by two people. BOOTH: Yeah, in a big hurry. ANGELA: They had a train to meet. BOOTH: Anything on the HOV lane photograph? ANGELA: Yeah, it was relatively easy to get the license plate numbers from these two cars. (Two car license plates being pulled up on the computer screen: IRA 5C3 and 742 1J1 from Virginia.) BOOTH: I'll check 'em out. ANGELA: There was another car. ZACK: In the next lane. BOOTH: How do you know that? ANGELA: Rich guys keep their cars shiny. (A reflection of the car in the next lane on the side of Lynch's car being highlighted and refined.) ZACK: Adjusting for the defraction of light caused by the curve- ANGELA: It's an Navigator. But get this. (she crops and enlarges the image) I don't know if that's any use to you. BOOTH: Yeah. That's of use. ZACK: Booth. Do either of these count as experiments? ANGELA: 'Cause if they do, we could both get fired. By your old sweetheart. BOOTH: You know, you just...quit telling Bones who you think I've slept with. ANGELA: Think? What do you mean, think? (Cut to - Jeffersonian - Autopsy Bay) CAM: Two people forced the corpse into the jacket, that's excellent work. (taps the reflection image) Who's that? BOOTH: I think it's Rick Turco. CAM: Means Turco's probably the last person who saw Lynch before he fell off the radar. BOOTH: Of course, Angela and Zack are scared that this counts as an experiment and you're going to f*re them. CAM: Ah! I am getting through. BOOTH: Why did you take this job, Camille? CAM: Why shouldn't I, Seeley? BOOTH: Because it's basically herding cats, and you're a dog person. CAM: Dogs herd cats. BOOTH: Dogs...don't do that. CAM: Chase 'em up trees, whatever. BOOTH: Seriously, Cam. Why did you take this job? CAM: These. (picks up a metal implement) Are titanium rib-clippers from Germany. My last job? Used bolt cutters from Home Depot. These are much, much nicer. This autopsy table? Has downdraft ventilation. No rotting corpse smell, Seeley. My last table didn't even have a drain. Think about that a second. Leaky corpse, no drain. BOOTH: So you took this job for better equipment. CAM: I've spent my whole professional life in basement rooms with no windows. Now I'm in the Jeffersonian Institute. ...what? BOOTH: Gotta ask. CAM: You so do not. BOOTH: Did you take this job because of - (gestures to himself) CAM (laughs): God, the ego! BOOTH: Say it. CAM: Nothing to do with you. BOOTH: I need Bones this afternoon. CAM: Okay. BOOTH: It's about her mother's m*rder and her father's disappearance. CAM: Plus, she dedicated her book to you, so... BOOTH: It's a legitimate case, Cam. CAM: I know. I read the file. (he moves to leave) CAM: Why hasn't she confronted me? BOOTH: About what? CAM: About me, being parachuted in over her head? Finds me intimidating, right? (BOOTH laughs.) CAM: Hey, I intimidate people. BOOTH: Yeah, Bones doesn't intimidate. CAM: Then...what? BOOTH: Have you seen the way she stares at human remains before she makes a decision? CAM: Yes. BOOTH: You're human remains and...she hasn't made a decision yet. CAM: How do I help her make the right decision? BOOTH: Go for the truth. You know, Take care of her people. Oh, and I like the whole intimidation thing. I think it's cute. (Cut to - Alexandria Federal Prison - inmate sitting in a holding room.) DOWNS: Got no reason to lie. Facing life at least. Probably going to get ex*cuted. BRENNAN: What did you do? BOOTH: Mr. Downs k*lled his entire family. DOWNS: I k*lled your friend, 'cause he cut in the cafeteria line to snag the last orange juice. Broke off a sharpened toothbrush in his jugular. BRENNAN: Mr Downs, the man you k*lled- DOWNS: McVicker. BRENNAN: He's not my friend. He k*lled my mother. DOWNS: You come to tell me thanks? BRENNAN: No, McVicker was my last chance to find out some things. McVicker might have known something about my father. I can't ask my father because he left a message on my answering machine telling me to stop looking for him. DOWNS: I'll tell you what. Maybe...look at McVicker's m*rder as a second message from Max. One that he didn't use the phone for. (he looks up to signal the guard) BRENNAN: We never mentioned my father's name was Max. BOOTH: Did you perform a h*t for Max Keenan? (The guard leads DOWNS away.) BOOTH: Did you perform a h*t for Max Keenan?DOWNS: Take it as a sign from God. (Cut to - In the SUV, driving - Night) BRENNAN: How am I going to tell Russ that our father ordered the death of another human being? BOOTH: If he did that, and I'm not saying it happened that way, then your father took down the man who m*rder his wife. BRENNAN: Good people don't have other people m*rder. Good people don't even know how. BOOTH: Well, your father buried your mother in a pair of new shoes in a cemetery. With her dolphin belt buckle that reminded her of you because you both loved dolphins. BRENNAN: That does not make him a good man. BOOTH: People can be more than one thing. We were a d*ad end! All right, we know that your father got to Mitchell Downs, persuaded him to k*ll McVicker. We find out how he did that, we're that much closer to finding out what happened to your old man. I mean that's...if you still want to find him. BRENNAN: I do. BOOTH: Okay. Silver lining. (Cut to - Jeffersonian - Brennan's Office - Night. She is looking at old photographs. She picks up her mother's dolphin belt buckle and turns it over in her hands. [SONG: "The Greatest" by Cat Power]) (Cut to - Hospital - WARREN LYNCH in the hospital, a gold ring on his finger) (Cut to - FBI - Booth's Office - Brennan walks in) BRENNAN: Warren Lynch was in on it. BOOTH: Where did that come from? BRENNAN: He had his own dolphin, that NC-lots of "A"s, national championship ring? BOOTH: His own dolphin. BRENNAN: All the rest of his jewellery was removed and placed on the d*ad man. His ten thousand dollar watch, his I.D. band from his wife, his two other rings...but not the championship ring. BOOTH: That's good, Bones. BRENNAN: The only reason they wouldn't rip it off his hands is 'cause... BOOTH: 'Cause Lynch was calling the sh*ts. And I know exactly who was in on it. (Cut to - FBI - Interrogation Room) RICK TURCO: So Warren Lynch and I conspired to disappear him for a few days so we could profit from shorting Lynchpin stock, huh? BOOTH: Well, you know, that's my thinking. RICK TURCO: (chuckles) And dress a junkie in Warren's clothes, planted him in front of a train, and - wait, did I m*rder the junkie? BOOTH: No, Bones said you probably found him d*ad. But what I think is that you and Lynch intended a white-collar crime. But, a Senator died... RICK TURCO: And then I got all hickey and I tossed Warren out of the car at eighty miles an hour? BOOTH: Is that a confession? RICK TURCO: Naw, naw. Just getting it straight. You know, as a professional investigator myself, I have to point out that blackmailers make much better suspects. BOOTH: Lynchpin has no record of a quarter-million payout three days ago. RICK TURCO: Well, there's not exactly a column for blackmail payouts in the corporate books. If I had only agreed to the full payout, Lynch might never have been taken by those animals. BOOTH: Hey, let's play a little show-and-tell, huh? 'Cause we can put you with Lynch moments before he fell off the radar. (shows him the reflection image) RICK TURCO: That's maybe me. Before he fell off the radar. We worked together. Huh, you got nothing. (BRENNAN bursts into the room.) BRENNAN: Booth. (She leaves, and BOOTH rises to follow her out.) BRENNAN: Do that lying thing! BOOTH: Could you be more specific? BRENNAN: Tell him...Lynch woke up and gave a statement incriminating him. BOOTH: Turco knows the lying thing. BRENNAN: Tell him Lynch said something that only Lynch could say. BOOTH: Ooh, great idea, except for the 'only Lynch could say it' part. BRENNAN: The ring? BOOTH: He'll ask for specifics of the conversations. I gotta cut him loose. BRENNAN: He's going to get away with it? BOOTH: Well, that happens sometimes, Bones. That's the brown, little smelly part of the job. BRENNAN: Shoulder and elbow. The junkie's shoulder and elbow were dislocated when they forced him into Lynch's jacket. BOOTH: We don't know if Lynch was there for that. BRENNAN: Well, It took two people! It was him. C'mon Booth. The part of you with a big gambling problem must love this idea. BOOTH: Right there. Mhmm. That's the reason you didn't get Cam's job. (They both re-enter the interrogation room) RICK TURCO: Oh, two against one? That's unfair. BOOTH: Warren Lynch woke up. RICK TURCO: Ah, and he's talking, right? Huh? Is he pointing his finger straight at me? BRENNAN: That's correct. RICK TURCO: What's he saying? BOOTH: That you let him take all his jewellery except his championship ring. RICK TURCO: No, I asked, what did he say? In words? Both BOOTH and BRENNAN are silent. RICK TURCO: (getting to his feet) Hey, unless I'm under arrest, I'm leaving, folks. BRENNAN: Mr. Lynch said it was difficult getting his jacket onto the corpse. BOOTH: Rigour mortis. You have a train to meet. You're in a hurry. BRENNAN: And the sound of the shoulder popping? (A flashback to the junkie's arm being pulled back and dislocating.) BRENNAN: And the elbow. Like...knuckles popping. (flashback to the elbow making a popping sound) Only louder. BOOTH: Sickening. (Cut to - Jeffersonian - Medico-Legal Lab - Upper Level Lounge Area) LISA SUPEK: Turco will admit to helping Lynch place a body in Mr. Lynch's car, and rigging it to burn, with the intent of moving the market. Everything else, including placing it on the tracks, he said Mr. Lynch did himself. BOOTH: Well, he's lying. LISA SUPEK: There's the small matter of proving that in court. CAM: What's the maximum sentence on those charges? LISA SUPEK: Ten years. ANGELA: He k*lled three people. HODGINS: And put one in a coma. ZACK: Yeah, but Lynch deserves to be in a coma, so it doesn't count. BOOTH: All right, look, Turco puts all the blame on Lynch, does the ten years, and he gets all the money from shorting the stock. LISA SUPEK: It's ten years or nothing. I can only work with what I'm given, and the forensic work on this was not good enough. BRENNAN: What? LISA SUPEK: You were fooled by fake dental records, you baked some SPAM. CAM: What did you want us to do? LISA SUPEK: Your job. BOOTH: Hey! CAM: No, Ms. Supek, you want us to do your job. My people gave you all the evidence you need to fry Turco with any reasonable jury. LISA SUPEK: Forensically- CAM: We gave you everything you needed to arrest Turco. LISA SUPEK: Arrest is not a conviction. CAM: We gave you enough to reject his plea bargain and indict him on the wrongful death of a Senator. LISA SUPEK: Indictment is not a conviction. BOOTH: You accept that plea bargain, the investigation stops. BRENNAN: Indict him. Give us time to give you what we need. CAM: You accept this plea bargain, you don't deserve to be a federal prosecutor. LISA SUPEK: Dr. Saroyan- CAM: Yeah, it's scary. The whole country will be watching the trial, and you don't want to go in with less than a sure thing. But you put my people on the stand as expert witnesses and that's a sure thing. In UNISON: BRENNAN: Not Zack. ANGELA: Not Zack. HODGINS: Not Zack. CAM: You tell people the story of what happened using the evidence these people provided and if you have any ability as a prosecutor, you'll win the case. LISA SUPEK: Are you finished? CAM: No, Ms. Supek. In the future, when you have problems with my team, you register them with me in private, not by grandstanding in a public forum. (With a tight smile, LISA SUPEK leaves, followed by CAM.) BRENNAN: Okay, I, um, sort of see why she got the job. (Cut to - Graveyard - Day - BOOTH and BRENNAN are standing in front of a grave.) BOOTH: Well, looks like your brother was here. BRENNAN: Never understood the idea of bringing flowers. BOOTH: (handing her a bouquet) Just for once, Bones, do what people do. Kay? See how it feels. That's it. I'm going to go stand over here, while you talk to your Mom. BRENNAN: I told you, I don't do that. BOOTH heads off, leaving BRENNAN standing alone in front of her mother's grave. BRENNAN: Mom, it's me. Temperance. I have questions, but you can't answer them. No offence, but I don't think there's anything here of you but your bones, so...(quietly) can't believe I'm doing this. (pauses) Is Dad a good man or...a bad man? He had someone k*lled. Had him m*rder and...what's the truth? Do I...do I keep looking, or do I let it go like he asked? Who's he protecting? Himself? Or me, and Russ? (She falls into silence and looks doubtfully at BOOTH.) BRENNAN: Booth? I asked the questions and guess what? No answer. BOOTH: Well, maybe if you weren't standing right on top of her, took a step to the left, showed just a little respect. Sometimes it takes a while to get an answer, okay? Just leave the flowers. (BRENNAN reluctantly leaves the flowers at the base of the headstone.) BRENNAN: I get answers from a lab, you get them from people. Nobody gets answers from a slab of stone. BOOTH: Yeah, well I see an answer in the stone. See, you buried your mother as Christine Brennan, the woman that you knew as your mother and not by her real name, Ruth Keenan. That tells me who you are. BRENNAN is preoccupied with pulling on a latex glove to pick a tiny silver dolphin up from the base of the headstone. (SONG: "Be Here Now" by Ray LaMontagne) BOOTH: What do you got? BRENNAN: A dolphin. (She slips the dolphin into a plastic bag.) BRENNAN: What does that tell you? BOOTH: What does it tell you? BRENNAN: My father was here. BOOTH: Because he loves your mother, grieves her loss, and he came here to talk to her. (He takes the dolphin out of the bag.) BRENNAN: You're tainting evidence. BOOTH: It's not that kind of evidence, Bones. It's evidence of something else. Something that can't be tainted. (He hands her the dolphin, which she holds up and examines) BRENNAN: It's beautiful. BOOTH: Yeah. (Fade out as they stand, looking at the dolphin) END.

{"type": "series", "show": "Bones", "episode": "02x01 - The Titan on the Tracks"}

foreverdreaming

"Mother and Child in the Bay" Episode 2x02 Written By: Stephen Nathan Directed by: Jesus Salvador Trevino Transcribed by: Eden Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open in Jeffersonian - Brennan's office, Booth is removing her windbreaker from a hook) BOOTH: Cops say the body washed up on the bay. They think it could be Carlie Richardson (He crosses to hand the jacket to Brennan) BRENNAN: And I'm supposed to know who that is? BOOTH: Yeah. Disappeared a year ago, she was pregnant. C'mon Bones, you have to get a TV, y'know. Or, hey, or at least just, uh, hey, thumb through a People at the checkout stand BRENNAN: Was it in the Journal of Forensic Anthropology? (Brennan starts to walk out of her office, Booth follows her as they walk through the lab) BOOTH: Oh, you know, I forgot to renew my subscription. You know what, Bones? You really need to take up some other interests. BRENNAN: (a little tersely) Well, I'm reading Ted Gioia's History of Jazz, was she mentioned in there? Or maybe in McGhee's Science and Lore of the Kitchen? Or perhaps I should develop an interest in the mainstream media's exploitation of crimes for their entertainment value. BOOTH: (laughing a little) You know, it's amazing Bones. You can really be snotty sometimes BRENNAN: (ignores his chuckle) So, Carlie Richardson? BOOTH: Carlie Richardson, newlywed. Everyone assumed she was m*rder. (Brennan swipes her card and walks onto the lab platform, Booth follows) Husband was cheating on her, there was evidence that they had a fight that day. He was covered in scratches. Witnesses said they saw him down by the marina. Yeah, but, hey you know without the body, they had to kick him free. (Brennan begins packing supplies into her field bag) BRENNAN: Well if she's been in the water for a year, the bones will be saturated. I'll need nylon mesh bagging and- BOOTH: Cam's bringing in everything on the truck. BRENNAN: Well after a year there's not going to be a lot of flesh for Cam. BOOTH: Well, you know, hey, Bones, you know, Cam is - she's in charge now. She runs the place, it's her call. BRENNAN: Then lets hurry, I don't what my remains to be compromised. (Brennan picks up her now packed back and begins to leave the platform, forcing Booth to jog a little to keep up with her) BOOTH: Okay (hums to himself as he follows) BRENNAN: I don't care if she's the boss (Booth's cell phone rings and he goes to answer. BRENNAN: The bones belong to me. BOOTH: Hey, oh. (into phone) Booth. Oh, yeah. Rebecca. (Bones stops walking and turns to watch Booth's conversation) BOOTH: Whoa, wait a second, slow down, okay? This is my weekend with Parker, okay? I am his father, all right? Stu is your boyfriend. (he sighs) (Brennan sees Cam crossing the lab on her way out. She is followed by Zack, both carrying equipment.) CAM: We're going to be in the water, Doc. Remember to bring Traxon and soluble tape. (Zack waves at Brennan and he and Cam exit the lab) BRENNAN: (Insulted, she moves towards Both who is still on the phone) Does she think I'm new at this? I developed the use of Traxon - (Booth makes a 'silence' motion, cutting her off) BOOTH: (whispers) On the phone, Bones BRENNAN: I know, get off. We have to go. (She tries to pull him away but he shakes her off) BOOTH: (into phone) It's - Rebecca, he's spending a lot of time with Parker and I don't even know this guy. (Brennan tries again to interrupt Booth) BRENNAN: She took Zack, Zack's mine. BOOTH: (Still on the phone) Because you know what? I just - I just want to make sure that he's a good influence. The fact that he (drops his voice to a whisper as Brennan repeatedly taps his shoulder), you know, rocks you - rocks your world, surprisingly, that really, you know, doesn't concern... BRENNAN: I'll just meet you there. (Brennan walks towards the lab doors) BOOTH: - doesn't concern me. I - I gotta run, okay Rebecca? We'll talk about this later. (He hangs up the phone and runs after Brennan) Bones, wait up! (CUT TO: Booth's car, driving through DC streets) BRENNAN: (VO) Why can't you go faster? I don't see why I couldn't drive. (CUT TO: Inside the car, Booth is driving) BOOTH: Because you're agitated. BRENNAN: I am not. BOOTH: You know what, you've turned this into a competition between you and Cam. BRENNAN: I just like to be first on the scene, that's all. To protect the evidence. BOOTH: She's not going to disturb anything. BRENNAN: No, it's all tissue and blood and DNA with her. She doesn't appreciate the skeletal system. (points out the windshield) You can take the I-70, it'll be quicker. BOOTH: Don't back seat drive, okay? BRENNAN: (smiling) Oh, I think I know who's agitated. BOOTH: (scoffs) Someone is annoying me, okay? That's different. BRENNAN: Your ex. BOOTH: Huh? BRENNAN: (in a teasing tone) That's who's annoying you because she had a new man in her life BOOTH (clearly not amused): That's funny, you know? Okay, I am concerned about my son. I wanna know what kind of guy this new boyfriend is. And you know what? If she's not gonna tell me, I'll find out on my own. BRENNAN: You're going to run a background check on him? BOOTH: You have kids and we'll talk. BRENNAN (sarcastically): That's a lot to ask for a little conversation. (Booth scoffs dryly at her as Brennan indicates outside again) if you make a right we can cut through Grafton. BOOTH: Fine. (CUT TO: Divers removing a plastic wrapped body from a body of water. FBI agents secure the crime scene, erecting tape and running around generally. A Police Officer is talking to press gathered behind the yellow tape) POLICE OFFICER: We have no information right now. (His voice fades away, indistinct as we see Zack and Cam unloading equipment from the Jeffersonian truck. They kneel down beside the body, now resting on the grassy bank, and begin to unwrap the plastic. Booth's SUV pulls up.) BRENNAN: (as she climbs out of the car) She b*at us here, she was in a truck. BOOTH: Well, you know, you're the one who wanted to go through Grafton. BRENNAN: Well, you could have used the siren. You know, why do you have one if you're not going to use it? BOOTH: (groans) What's that smell? (They approach where Cam and Zack are working with the body) CAM: Zack, I need some sterile tubes before she's fertilizer. (Booth stares at the body for a moment before exhaling) BOOTH: Okay, that's the smell. (Brennan kneels down beside the body, quickly examining) BRENNAN: Caucasian, female, 25-30. (she examines something on the body) And barnacle and small muscle incrustation indicates she's been in the water for about a year. CAM: Mmm-mm, they have. (She peels back the plastic sheeting around the body to reveal the skeletal remains of a very small baby) BOOTH: (looks horrified) God. BRENNAN: (now examining the infant) Size of the fetal bones indicates this fetus was viable. BOOTH: How could someone do this to their own kid? (He and Brennan exchange a look as Zack begins to speak) ZACK: Multiple fractures. They could be from an as*ault or from being battered by rocks and debris while in the water. (he examines the skeletal remains, indicating the chest area) s*ab wounds evident on ribs, manubrium and clavicle. BRENNAN: And ulna, radius. One to the sphenoids. (CUT TO: The sound of a woman screaming, played over a Kn*fe s*ab up and down, blood spattering everywhere. CUT BACK: to Brennan) BRENNAN: This was a very violent att*ck. BOOTH: Find the m*rder w*apon? CAM: Not yet, scoop guys just got here. (She indicates the diving team, now working out in the water on a life-raft. BRENNAN: Then tell them to look for a left leg and missing fetal bones. CAM: (sighs) Looks like we finally get to put Richardson away. I love being a hero. BRENNAN: A heroine. CAM: Mmm, sounds too druggy. I'm going with hero. (She moves to scrape something off of the bones) BRENNAN: (Stops Cam) Whoa, whoa, what are you doing? CAM: Scraping the adipocere from the hand. BRENNAN: (clearly agitated) No, you could compromise the bones. You should use suction back at the lab. If you want a conviction. (she tosses up her hand) Of course it's your call. BOOTH: Are we gonna have another m*rder here or what? CAM: No, no. I have the utmost respect for the doc. (She begins to stand up) Glad she works for me. (As Cam stands up, Brennan gives Booth an incredulous look. Booth ignores her look and keeps talking) BOOTH: Good. And, you know, the clothes, they match the ones she was last seen wearing. The rope could be a match to the type found in Richardson's house. (he indicates the group around the bones) While you two do your thing, I'm gonna go bring the son of a bitch in. (He walks off) (CUT TO: A front door being smashed in by police. Booth and several uniformed police enter the house, g*n drawn. A TV plays in the background) WOMAN ON TV NEWS: ...the body of a mother and child thought to have - (Booth leads the police through to the kitchen where a very blonde woman is standing, obviously scared. She has a cut lip and is holding a towel to her face) BOOTH: Where's Richardson? KAREN: Uh, I don't know. He saw this (she indicates the news on TV) and then he took off. (her voice wavers) I tried to stop him but then he h*t me. (Booth lowers his w*apon as she begins to cry) He said he's never coming back. WOMAN ON TV NEWS: Sources indicate both the mother and her fetus were s*ab to death. Kyle Richardson remains the chief suspect. END OF TEASER CREDITS ACT ONE: (Open on Jeffersonian Lab - Autopsy Room. Booth enters, carrying a white evidence box sealed with red tape.) BOOTH: Cam, this is the evidence taken from Kyle Richardson's house a year ago. (he places the box on a bench before her and opens it). So, we got rope, the plastic sheeting, Kn*fe set - one Kn*fe missing, Richardson's DNA results. CAM: File says witnesses placed Richardson at the marina on the bay this night that she disappeared. Looks like he's not walking this time, Seeley. (Booth walks over to where Brennan, Hodgins and Angela are examining the body) HODGINS: Ironic since he's running now. ANGELA: Hodgins, you know Booth is bigger than you, right? HODGINS: (confused) Right. (Looks up at Booth's tight expression) Wasn't your fault, dude. CAM: Let's focus people, this should be a slam dunk. We screw this one up, I'm gonna look like a fool and someone's gonna have to pay for that. BRENNAN: (Looks up from the body) We just started collecting evidence. CAM: There are boxes of evidence. The remains are the icing on the cake. (Booth watches this interaction with slight amusement, aware of Brennan's annoyance with Cam) CAM: Let's just hand the prosecutor what she needs to I can have a nice weekend knockin' back sh*ts and playing poker. BRENNAN: (scoffs) Yeah, that should motivate us. CAM: (puts on gloves) I'm gonna strip the flesh and adipocere. Remove anything from under the fingernails. ZACK: There was a d*ad fish in the plastic. (Offers it to Hodgins on a tray) HODGINS: Ooh! And it's not even my birthday! BOOTH: (To Cam) You saved the fish? CAM: (smiling) Yeah. BRENNAN: The stomach contents and particulates could give us drift patterns, show where she was left before she washed ashore. CAM: (Hands deep in the body now) Now much left of the organs. Looks like I can still find a few surprises from what's left of this lung. (poking through organs) Looks like some liver here. HODGINS: I'll take any tissue that's stuck to the plastic. There'll be sediment and organic particulates. CAM: (To Angela) What do you want? ANGELA: George Clooney naked on a white sandy beach. But, I can give you faces after the skulls are reconstructed. BRENNAN: Zack will start on them right away. After you've stripped any tissue I'd like to reassemble the victim and the fetus. CAM: (nodding) Sounds like fun, let's do it. (Cam and Brennan begin removing organs and generally examining the body while Booth watches somberly.) (We see that he is looking at the tiny skeleton of the fetus reconstructed on a small white exam table. Brennan walks up.) BRENNAN: It was male. BOOTH: 'He'. Not 'it', Bones. I'm gonna go talk to his girlfriend. No mistakes on this one. (He tosses aside the file he was holding and walks out quickly) CAM: He always was a little touchy. BRENNAN: Yeah. (Fade into FBI - Interrogation room. Booth is interviewing Kyle Richardson's girlfriend, Karen. Her lawyer, Michael Jules is present) KAREN: I - I didn't know Kyle then. We started going out after his wife went missing. BOOTH: Did he ever mention the night she disappeared? KAREN: Of course. I mean, it was terrible for him. I just tried to support him and help him get past it. BOOTH: (looking through photographs) It looks like he has a lot of people to help him. (Places photos down on the table that show Kyle Richardson with various women, eating out and kissing) I mean, he looked really, really broken up. KAREN: I know he dated other women. But he is not who you think he is. BOOTH: (sarcasm evident in his voice) Nah, of course not. (Booth places down photographs of the body from the crime scene on the table before Karen. She gasps and covers her mouth, looking horrified) KAREN: Oh, my god. MICHAEL JULES: Agent Booth, is that necessary? BOOTH: Just trying to help her remember. KAREN: He would never do this. He could never do this! He h*t you when he was leaving, didn't he? KAREN: (stammers) This is because I wanted to go with him. A-And he knew everyone would be after him. He was just trying to protect me. BOOTH: Yeah, he's a real prince. (Karen looks at booth for a moment, clearly not impressed by his sarcasm.) BOOTH: If he contacts you, call. Otherwise you're looking at obstruction of justice, aiding and abetting and I'm sure we could find a few other charges to make it worth the money you're paying your lawyer. (CUT TO: Jeffersonian Lab - Bone room. The bones, now clean, are arranged on a lighted exam table. Brennan is looking at them with a magnifier, Angela watching and taking notes.) BRENNAN: There's another gash on the second rib, right side. Approximately 45 degrees, left to right. (She demonstrates with a blade) ANGELA: Why didn't he just divorce her? BRENNAN: Why did they have to get married in the first place? It's an antiquated ritual. Carlie Richardson believed in it, trusted her husband and look what happened. ANGELA: (amused) So this is marriage's fault? BRENNAN: Committing yourself to one person isn't in the interest of the species. I mean, you have multiple partners. ANGELA: Don't say it like that. I date. BRENNAN: The notion of a committed relationship, it's fantasy. Look at Booth. Fighting with his ex, his son caught in the middle. ANGELA: We make our lives out of chaos and hope and love. Someday you'll meet somebody. BRENNAN: I don't need anything more than I have now. ANGELA: (nods and raises her eyebrows a little) Talk about a fantasy. (Zack enters, carrying a tray) ZACK: The sculls are in multiple pieces, but the damage is from debris in the water. BRENNAN: Then let's start on the s*ab wounds. I'd like to confirm the type of Kn*fe used in each of these. ZACK: These all appear to be from the Kn*fe that was missing from the set taken from Richardson's. BRENNAN: Appear? No conclusions without corroboration. ZACK: But Dr Saroyan seems certain that Richardson- BRENNAN: Seems? You're my grad student. You work for me. CAM: (entering the room) Remember Doc, were building a case here. Not getting our rocks off on research. BRENNAN: Rocks and sediment are Hodgins's specialty. CAM: You're serious? (There is a pause as Brennan looks at Angela, a little confused) Okay. I bought your hand back (Hands Brennan a tray which contains a skeletal hand) Found organic materials under the fingernails, should match Richardson. And I found something else I'd like you to look at. (CUT TO: Cam showing Brennan something in one of the organs which is projected up on a TV screen in the Autopsy Room.) CAM: It's here in the lung, it's a locket. (She lifts a piece of tissue to reveal the edge of a gold, heart-shaped locket) BRENNAN: It must have been around her neck and melted into the lung during putrefaction. CAM: before I remove it I wanted to see if any of your cyborgs could do anything with the photo paper. (Cam removes the locket and places it in a Petri dish) BRENNAN: There's not enough left, it's liquefied. (Cam squirts liquid over the locket, cleaning away tissue) CAM: It's probably just another picture of the lovebirds anyway. (She lifts it from the dish with forceps) Oh, what's this? (Cam places the now-clean locket under the magnifying camera. She zooms in on the image to reveal the words 'I LOVE YOU KENNY' engraved in the locket) CAM: Oh, no. BRENNAN: Who's Kenny? CAM: I don't know, I don't want to know. Just want it to be Richardson. BRENNAN: That's right because of the drinking and the poker. (CUT TO: Royal Diner. Booth is sitting at the counter, speaking into his cell phone. Brennan enters) BOOTH: (Into phone) Yeah I know there's a lot of animals at the zoo. The monkeys - the monkeys are Daddy's favorite. Did you see? They're just like people! (Booth begins to make monkey noises into the phone. BRENNAN: (Sitting down beside Booth) Actually 3 million base pairs of the genome differ in protein coding and other functional areas. BOOTH: (confused) What? BRENNAN: Genetic differences between chimps and humans. BOOTH: (whispers) I'm talking to a four-year-old, Bones. (Louder, into phone). Oh. Yeah. You're spending a lot of time with Drew, huh? Oh, that's great. Okay, you gotta go eat. Okay, go eat. Make sure - Okay, I love - (The call ends and he hangs up the phone) Yeah. BRENNAN: New boyfriend spending a lot of time with your son? BOOTH: Yeah. So you got any new information for me Bones? BRENNAN: I'm sorry. BOOTH: Ah, there's no need. BRENNAN: It must be hard not being able to see him when you want to. BOOTH: See, this is information that I already know, Bones. Why don't you - Let's just say we discuss the case, hmm? BRENNAN: (eyebrows raised) Sure. BOOTH: (Nodding, trying to be jovial) You know, I'm his father. You know, Parker knows that. I mean, that - that's what's important not some stupid trip to the zoo. BRENNAN: No, absolutely. BOTH: Right. BRENNAN: Yeah. BOOTH: Done! BRENNAN: Of course. BOOTH: Boom. (They are silent for a moment, Booth still a little unsettled. After a moment Brennan offers him the locket, sealed in a plastic evidence bag) BRENNAN: We found this in her lung. BOOTH: What? Her lung? BRENNAN: It was enveloped during decomp. BOOTH: (examining the locket) 'Kenny'? BRENNAN: Any reference to a Kenny in the case file? BOOTH: No, but whoever Kenny is liked her enough to get her a locket. Maybe Kyle wasn't the only one who was cheating. BRENNAN: Opens up a lot of possibilities. BOOTH: (pockets the evidence) Yeah. What do you say we just go talk to Carlie's friends and see if they know who Kenny is? (Booth and Brennan get up to leave the diner) (CUT TO: A children's playground, Booth and Brennan are interviewing a group of mothers, Mary, Tina and Faith. All three women have babies in their arms.) FAITH: The four of us got so close being in the same Lamaze class. Losing Carlie was like losing a sister. TINA: It was her idea to start this baby group. MARY: We all felt so connected. Feeling something growing inside, waiting to meet them. Do you have kids? BRENNAN: He does. MARY: They make you feel whole. BRENNAN: It's just a release of serotonin necessary for the survival of the species. MARY: Huh? BOTH: Never mind. Um, we found this locket on Carlie's remains. (Shows her the locket) It says, uh, 'I love you Kenny'. Did she ever mention a Kenny? MARY: (smiling) Yes. FAITH: She talked about Kenny all the time. BOOTH: He was never mentioned in the police report. TINA: Kenny was her dog. BOOTH: Her dog? FAITH: Kyle bought her the dog when things were better between them. She loved that dog. There used to be a picture of the two of them in there. BOOTH: Well, where is her dog now? FAITH: It died. Mary took care of it. MARY: I'm a vet. They brought it in a few months before Carlie disappeared. Kyle said he backed over it accidentally. Carlie always felt he did it on purpose. He was a real piece of work when he got mad. (CUT TO: Jeffersonian Lab - Autopsy Room. Cam is placing containers into a fume hood) CAM: A d*ad dog, excellent. BOOTH: So we're back to one suspect: Richardson. CAM: I like this. Good work. BRENNAN: Do you want children? CAM: What? BRENNAN: Children? CAM: Maybe, if I could find one that sleeps late and cleans. Does this apply to the case in any way? BRENNAN: No, just curious. (Turns to Booth) Most people think it's odd when a woman doesn't want children. (Turns back to Cam) But, obviously, you don't. CAM: (nodding, not sure where this conversation is going) Are you pregnant? BRENNAN: No. I'm not, no. BOOTH: Why are you looking at me? CAM: Well, as long as you aren't leaving the lab every two minutes to pee. BRENNAN: No intention of it CAM: So all of this back-and-forth was for nothing? Good to know. Now unless the liver has a written confession in it by a pet parakeet we should have enough to build a solid forensic case against Richardson for the prosecutor. HODGINS: (Entering the room) I found something that might put a new wrinkle in things. BOOTH: Great. (Booth and Brennan leave with Hodgins, Cam leans forward on the Autopsy table, clearly frustrated.) CAM: Oh, god. (CUT TO: Hodgins showing the others the d*ad fish, magnified on a screen on the lab platform) HODGINS: The fish was a Pomatomus saltatrix, a blue fish common to Delaware Bay. And there were dinoflagellates consistent with the salt water in the bay. (Hodgins moves to one of the computer terminals to being something up on screen) CAM: Dozing off, Hodgepodge. HODGINS: But I also found Didinium, a ciliate. And Oomycota, a mold. Both of which are found in freshwater. BRENNAN: So the body was in fresh and salt water. HODGINS: Exactly. Fresh water first for at least six months. BOOTH: Okay, we have witnesses that put Richardson at the marina that night. There is no freshwater in that area. BRENNAN: So, maybe Richardson didn't do it. (Cam sighs, looking very frustrated. Booth walks off, also seeming frustrated. Hodgins and Brennan exchange looks as the other two walk away.) END OF ACT ONE ACT TWO: (Open in the Jeffersonian Lab, Cam, Hodgins and Brennan are walking down the stairs into the lab.) CAM: What the hell's going on here? Richardson is the only logical suspect. Are we working for the defense now? BRENNAN: I'm working for the victims and we have to be open to the evidence as it presents itself. CAM: The Kn*fe, the rope, the plastic sheeting are all from Richardson's house, that's been confirmed. We're trying to build a case here, people. BRENNAN: Don't ignore facts just because it might change the outcome of the case. CAM: Not asking you to. I just want you to fill in the blanks. There must be freshwater close enough for Richardson to have dumped the body. HODGINS: It has to have the same sediment, larvae, archea, helminths. CAM: Great. Whatever the "hell-minths" those are, find them. BRENNAN: And if we find a body of water that matches, it has to be dredged for additional body parts. We're still missing the left patella, tibia and calcaneus. And the fetus- CAM: Okay, fine. Just stop talking and do it. (Cam walks off leaving Brennan and Hodgins on the lab floor) (CUT TO: The shores of a lake, Booth is overseeing a search operation) BOOTH: Hey, so, is this the only freshwater near the bay? (We pan back t reveal Hodgins standing knee deep in the water, safari helmet on, taking samples in small tubes.) HODGINS: The only body of water that might have algae and sediment that could match what we found on the remains. (He lifts up a full tube, examining it with a magnifying glass) Whoo! Seems to be a lot of Gamophyta. BOOTH: Is that good? HODGINS I won't know until I compare it to the samples in the lab. BOOTH: Then why'd you act so excited? HODGINS: I guess I just like Gamophyta. BOOTH: You know, you really don't have to act any geekier. The whole outfit does it for you. HODGINS: Geek chic, dude. Agent Blondie over there thinks I'm hot. (calls to pretty female agent standing on the shore) How you doin'? (Booth tries not to laugh). (Behind Hodgins in the water, Brennan surfaces in full scuba gear, obviously having been searching the lake for more bones.) BOOTH: Anything? BRENNAN: Another Top-Flite! (She tosses the golf ball to Booth who catches it neatly. Brennan dives back under the water.) HODGINS: You know, I went out with a woman who had a little kid once. BOOTH: Aren't you supposed to be looking for slime? HODGINS: (Ignoring his attempt at change of topic) The kid hated me. You know, he said I used too many big words. BOOTH: (miming putting with the golf ball Brennan threw at him) Well, he got that right. HODGINS: He h*t me I the head with a Tonka truck. Ah, I could never sleep with his mom again. BOOTH: Well, you know, at least the story ends well. HODGINS: I was good to him though, you know. I did not deserve an 18-wheeler into the parietal bone. (Examines another sample of water) Oooh! Nematodes and planaria. BOOTH: Does that mean anything? HODGINS: Not sure. (Booth sighs and tosses his hands in frustration just as Brennan surfaces again) BOOTH: Anything? BRENNAN: (holding up a container of water with something in it) Bones, could be from the fetus. Hamate, triquetral, portions of the phalanges. And another Top-Flite. (tosses the golf ball at Booth who catches it neatly, again) (CUT TO: Jeffersonian Lab - Bone Room. Carlie's skeleton is once again laid out on the lighted exam table, as it the fetus. Zack and Brennan enter the room) ZACK: According to the reconstruction with these new bones the fetus has seven fingers (he shows her on the remains) BRENNAN: And two right hands. ZACK: I don't understand, was there another victim? BRENNAN: Double the magnification. (Zack does this and the hand gets bigger on the computer screen) Okay, look at the structure of the phalanges. ZACK: (realizing) Ah. The bones from the lake are from a raccoon. BRENNAN: Mm-hmm. The formation of the hands is almost identical to an infant's hand. (Hodgins enters the room) HODGINS: How did you do? BRENNAN: I found a raccoon. You? HODGINS: Sediment and organic material from the lake doesn't match what was taken from the remains. I have to look for another body of freshwater, I don't think it's around here. (Cam enters the room) CAM: What have you got? BRENNAN: (shaking her head) Nothing. HODGINS: The next body of freshwater that might match is over 60 miles away. BRENNAN: Richardson couldn't have been there, it wouldn't match the timeline. CAM: (sighing) I've got the board of the Jeffersonian, the federal prosecutor and Nancy Grace ready to devour me if I don't hand them enough to indict Richardson. BRENNAN: Well, if you want us to manufacture evidence- CAM: No, I want us to find out who k*lled Carlie and I'm pissed 'cause whoever did it is messing with me and I don't like that. I like doing the messing. BRENNAN: Then we have to determine whether we're wasting our time on Richardson. CAM: Tell me what you need. (CUT TO: FBI Building - Conference Room. Agent Sanders is briefing Booth on the search for Richardson) SANDERS: His plates were founding a ditch on Route 432, his car in a vacant lot in Huntsville. He could be using another car or he could be hiding out. BOOTH: Anybody ID him? SANDERS: We've got ID's coming in from all over the place. This is where the concerned citizens all come out for the reward (Door to the room opens and Carlie Richardson's parents - Dennis and Patricia Campbell - enter) DENNIS: Excuse me, Agent Booth. BOOTH: (To Sanders) Let me know if you find something else. SANDERS: Sure. (Sanders exists, Booth stands to great the couple hovering near the doorway) DENNIS: I'm Dennis Campbell. This is my wife Patricia. We're Carlie's parents. BOOTH: Yes, I know. Please, sit down. (He gestures to the conference table and all three sit.) I'm so sorry for your loss. PATRICIA: Well, at least now our daughter can rest with her baby and Kyle can never touch them again. DENNIS: The reason we're here- PATRICIA: We were going through some photos for the funeral and we came across this one. (Patricia shows Booth a picture of Carlie and Kyle Richardson sitting at a dinner table in a restaurant, various people in the background) DENNIS: Kyle used to go out of town on business. His firm had an office in Boston. Carlie went with him once. PATRICIA: This is them with some people in Boston. That woman on the news, Karen Tyler, she said she met Kyle after Carlie disappeared. But - but here she is, looking at him. (Indicates a woman in the background of the photo who we can now clearly see is Karen Tyler, looking at Kyle) DENNIS: he admitted to being involved with those other girls. Why did he lie about knowing her? BOOTH: May I keep this photo? PATRICIA: Of course. DENNIS: (very upset) We need them to answer for this. She was our little girl. She wasn't supposed to go before us. That's not the way its supposed to be. BOOTH: (quietly) I know. We'll find Kyle, I promise. (Fade out and into FBI Building - corridor. Booth comes around a corner, talking on his cell phone) BOOTH: You want me to what? (Cut to Jeffersonian - Lab. Brennan is on the phone with Booth. The scene cuts between the two of them) BRENNAN: s*ab the body for me. We need to match force with the injuries recorded on the remains. BOOTH: Okay, I'm s*ab the body. BRENNAN: Well, it's a replica. We're all going to do it, you're just the closest to Kyle Richardson. BOOTH: Okay, you know what, that's great. I'll be there in 20. But in the future you're just going to have to ask me differently, Bones. Because you know what? Come over to your place to s*ab a body - that is just freaky. (A blonde woman chases Booth down, calling out) REBECCA: Seeley, you son of a bitch. (Booth turns, surprised and hangs up his cell phone) BOOTH: Oh, I - Rebecca. Wow. You look great. REBECCA: Yeah, okay, save it 'cause I need a lot more than compliments from you right now. (As they talk, Booth is walking backwards towards his office, Rebecca stalking him down. He makes shushing motions with his hands as they cross through a crowded area) BOOTH: Okay, just, keep it down a little bit. 'Cause I'm at work, all right? (They enter Booth's office) REBECCA: You sent agents to investigate Drew? Because you're going to stop that now. BOOTH: Okay listen, I'm just being cautious. What do you really know about this guy, anyway? (Rebecca continues to advance on him, forcing him to walk backwards around the back of his desk) REBECCA: (clearly annoyed) I know - I-I-I know that he has a good job. And I know that he fixes stuff around the house when he says he's going to And I know that Parker is crazy about him and he's not terrified every time he goes off to work that he's going to get sh*t. And I know that I love him. (Booth turns, finally facing her) I love him. And now everyone at work thinks he's a criminal. BOOTH: Well, he's been spotted with expl*sives. REBECCA: He is a construction foreman, he does demolition. You must have figured that out when you were doing all ok your snooping. BOOTH: Okay, well I have a right to know who's around my son, all right?. He spends more time with Parker than I do. REBECCA: Okay, you think that I would put Parker in danger? BOOTH: Let me ask you a question. Why is it that you keep all the men in your life such a secret? REBECCA: Because you always interrogate them or intimidate them, and it freaks them out! BOOTH: Well, I mean, c'mon. A lot are a little strange. I mean, the guy with the tattoos on his neck? REBECCA: I don't even have to let you see Parker, okay? Not-not-not legally. That-that's one of the upsides of not being married. BOOTH: (forcefully) Don't. (Rebecca feigns shock) I'm a good father. You know that. (There is a moments pause) REBECCA: You're got to stop trying to run things. I've got things in my life that have nothing to do with you. (She makes to leave but Booth grabs her arm) BOTH: Look, we are always gonna have something to do with each other because we share a son. REBECCA: Drew's a good man. And you need to back off or you're not gonna see Parker again, I swear. Back off. (She turns and leaves, Booth looking worriedly behind her) (CUT TO: Jeffersonian - Lab Platform. The squints are all gathered around as Booth enters) CAM: Here comes Kyle. BOOTH: Ha, ha. Funny. Don't we have something to s*ab? ANGELA: This. I hate my job. ZACK: From the depth of the s*ab wounds we can tell the approximate force required in Newton meters to inflict the marks we see on the bones. BRENNAN: (she indicates a mannequin dressed in women's clothes) So we have to measure the amount of force generated when we s*ab to give us the size, weight and body type of the assailant. BOOTH: Mm-hmm, you had to dress her up? (he indicates the mannequin) ZACK: The clothes she wore figure in the resistance to the blows. (Hodgins comes over and hands Brennan a Kn*fe) BRENNAN: The Kn*fe is consistent with the one that caused the wounds. We fitted it with an instrumented blade that with give us a digital readout of the Newton meters of each s*ab. ZACK: It's a dual-mass drop system. CAM: All I hear is blah, blah, blah. HODGINS: Cliff Notes version: we all s*ab, one of us is the k*ller. BOOTH: Thank you. ANGELA: Sort of like a real creepy party game. BRENNAN: (Standing before the mannequin with the rigged Kn*fe in her hand) The v*olence of the att*ck shows rage. So everyone should s*ab as hard as they can. (She looks around at Angel and Booth who both have pained expressions on their faces. Booth indicates for her to start.) (CUT TO: Montage of them all s*ab the mannequin. First Brennan, then Hodgins - both forceful. Then Cam, grunting as she s*ab) CAM: This better work! (Cut to: Zack placing a single, very tentative s*ab into the mannequin, causing Brennan to smile and exchange glances with Hodgins and Cam. Booth steps up and s*ab the mannequin several times, an annoyed expression on his face. Once done, he tosses the Kn*fe to the side. BOOTH: That was weird. (Cut to: Angela, s*ab quickly at the mannequin, unable to even watch what she is doing as she shudders in distress. Hodgins steps forward to take the Kn*fe from her hand) HODGINS: Okay, okay. (he chuckles a little to himself) BOOTH: Results? ZACK: The force used to make the injuries on the bones was 24 Newton meters. (he turns to the computer, typing) And the winner is, with 24 Newton meters - (Booth makes a 'hurry up' gesture with his hands) - Angela. ANGELA: What? HODGINS: Congratulations. ANGELA: (turns to Brennan) Really? BRENNAN: Height and weight? ANGELA: Oh, god. Uh-uh-(sighs). 5'8". One hundred and (mutters a little) hundred... BRENNAN: What? ANGELA: 135. It's all muscle. (Hodgins smirks) BRENNAN: (looking over the file) Karen Tyler is 5'7" and 132 pounds. (CUT TO: Karen Tyler s*ab down, blood going everywhere, screaming in the background) (Cut back to Jeffersonian - Lab) BOOTH: So Kyle's girlfriend kills Carlie, so they can be together. ANGELA: Well then why did Kyle run? CAM: Maybe he didn't. It sounds nuts but if she's the k*ller maybe Karen got rid of him too to keep him from talking. (The look at each other, unsure.) END OF ACT TWO ACT THREE: (Open on Jeffersonian - Bone Room. Brennan and Hodgins are examining the bones once again under magnification, Booth is in the room) BOOTH: Okay, so you're sure there' no way Richardson could have made these wounds? BRENNAN: With his strength the blows would have sliced deeper into the bone. HODGINS: (Examining a part of the body) Well, these seem to go right through. BRENNAN: Well, those were delivered after she was on the ground) (CUT TO: sh*t of Karen s*ab again, blood flying) (Cut back to Jeffersonian - Bone Room) BOOTH: So Karen does the k*lling because they know everyone will be suspecting Kyle. BRENNAN: I'd prefer not to make any more assumptions. BOOTH: (more a scoff than a word) Oh. HODGINS: (had a rib in one hand) There are particles in the Kn*fe marks. (he brings the bone over to a microscope) When she was on the ground the Kn*fe passed through the body and picked up sediments from the dirt. The next s*ab embedded that into the bone. If I can get enough information from these particulates I might be able to locate the site of the m*rder. (Cam enters the room) CAM: DNA results came back. It was Kyle under her nails. BOOTH: So he was there too. BRENNAN: Maybe. But we know he had a fight with her earlier that he admits. CAM: Fortunately there was also the skin of somebody else. Tests showed it was a woman. BOOTH: (smiling) Karen Tyler. CAM: (nodding) We should get her DNA drawn as soon as possible. BOOTH: Smart. Lets go, Bones. (Cut to FBI - Interrogation Room. Karen Tyler is being questioned again. Her lawyer, Michael Jules, is present.) KAREN: I-I didn't do it, I swear. I would never hurt her. BOOTH: Hmm. And the other day you said you and Kyle didn't know each other until after Carlie disappeared. KAREN: Because we both knew what everyone would think. MICHAEL JULES: Karen, please don't say anything. BOOTH: Hmm, even your lawyer thinks you did it. KAREN: Kyle thought we should separate and meet up in a few months so, you know, it wouldn't look so bad. BOOTH: Well that didn't work out now, did it? (Brennan approaches with a DNA swab) BRENNAN: Open your mouth. (Karen looks at her lawyer, worried) KAREN: Do I really have to do this? MICHAEL JULES: They have a warrant. (Brennan reaches over and swabs the inside of Karen's cheek) BRENNAN: When you were sleeping with Kyle, didn't it matter to you that you were destroying a family? KAREN: We were in love. BRENNAN: (sarcastically) Oh. Love. Sorry. Now it's a beautiful story. (She reaches for another swab) Open again. (Brennan roughly swabs the inside of Karen's cheek, causing her to wince) KAREN: ouch. BRENNAN: (not sorry at all) Oops. KAREN: Kyle was going to tell her. We were going to be honest. BOOTH: Mmm, 'cause, you know, you do that so well. KAREN: I would never hurt her. And neither would Kyle. BRENNAN: Kyle, right. The love of your life who no one has seen for two days. (Walks over to Booth and leans in) Can you see why I'm leery of relationships? (Brennan leaves the room) (Cut to: Jeffersonian - Lab. Hodgins is explaining some results to Booth and Brennan.) HODGINS: We h*t pay dirt. Actually, we h*t silt containing the feces of the gypsy moth, some quartz and mica. That and the zinc levels in the dinoflagellates from the freshwater as well as the Pinaceae pollen led us to a patch of pitch pines outside of Gloucester City, New Jersey. (He indicates on one of the computer screens where a map is being displayed.) ANGELA: She was k*lled right here. (Indicates yellow dot on map) BRENNAN: Then when did they move her to the bay? ANGELA: They didn't. They left her in New Jersey in the Rancocas Creek. She made it to the bay on her own. BOOTH: What, did she take the shuttle? ANGELA: Basically. Two days after Carlie disappeared there were thunderstorms in central New Jersey. Heavy, heavy rains. The body must have been flushed down the Rancocas and into the Delaware River. (The map on screen shows this progression as Angela traces the yellow dot down fiver with her finger) Then, she slowly made her way down the Delaware and into the bay. BRENNAN: The movement and the battering on the rocks loosened her weight so she floated to the surface and washed ashore. BOOTH: (smirking) I'm pretty sure Karen didn't see that comin'. (Cut to: New Jersey - Rancocas Creek banks. FBI and Jeffersonian techs are combing the shoreline and searching the water for evidence. Various sh*ts of people taking water and plant life samples are seen. Then cut to Hodgins sitting at a makeshift lab, looking into a microscope.) BOOTH: Now, are you sure this is it? HODGINS: Zinc, mica, feces. This is the place. (he looks around) Oh, it's beautiful. BOOTH: Yeah, because, you know that's important for a m*rder. (Brennan finishes piecing together a large sifter and hands it to a Jeffersonian tech.) BRENNAN: Okay, the bodies were wrapped on the bank of the river. Sift the soil for the missing bones. JEFFERSONIAN TECH: Yes ma'am. FBI AGENT: (Calling out) Agent Booth. Over here. (Booth, Hodgins and Brennan move over to where the FBI agent is kneeling next to something almost buried in the dirt. It appears to be a suitcase, with initials on the front) BOOTH: Look at that - "C.R" - Carlie Richardson's initials. (He opens the lid of the case) Ugh. (Brennan and Booth start to remove items from the case, studying them.) BRENNAN: You don't pack face cream and a night gown if you're being abducted. HODGINS: A lot of vacation cabins nearby. If she was upset, this would be a good place to unwind. BOOTH: Well, Karen Tyler said that she liked Carlie. She could have befriended her to lure her up here. Maybe, Carlie's friends knew that she and Karen were getting chummy. (Cut to a playground. Booth and Brennan are showing Carlie's friends a photo of Karen Tyler.) BRENNAN: Did Carlie know her? MARY: I thought they just started going out. BOOTH: No. They knew each other from before. TINA: Bastard. MARY: (realizing) Carlie knew Kyle was cheating on her, that's why they were fighting. FAITH: And why she didn't want the baby. BOOTH: Did she say that? FAITH: I don't care what's happening. To say you don't want your child when you're getting ready to give birth? It's not right. MARY: (looks at the photo of Karen again) I think I did see this woman. I was driving home from work, they were in front of a Starbucks. I'm not sure if it was the day she disappeared but I'm pretty sure it was around the same time. (Booth and Brennan exchange a look. Booth reaches out to take the picture back) BOOTH: Thanks. (A child starts to cry causing Brennan to look down to see Mary's son sitting in the sandbox, wailing) BRENNAN: Your kid's eating sand. (She walks off after Booth as Mary hurries to pick her baby up.) (Cut to: Booth's car, he and Brennan are driving back to the Jeffersonian) BRENNAN: I don't know how they can do it. BOOTH: They're self-obsessed, they have no conscience. BRENNAN: I don't know. BOOTH: They destroy anything that gets in their way. They're not even human. BRENNAN: (highly confused) The mothers? BOOTH: (also confused) Huh? BRENNAN: I was talking about the mothers. BOOTH: I'm talking about the K*llers. BRENNAN: I understand K*llers. I just don't know how mothers can do it. I mean, dogs can be trained in a couple of weeks. With kids, mothers have to give up their lives for years. BOOTH: No, when you're looking at your kid, you don't feel like you're giving up anything. BRENNAN: So you would do it again? BOOTH: What? BRENNAN: You'd have Parker even with everything you're going through? BOOTH: What kind of question is that? BRENNAN: Wouldn't it be easier if Parker wasn't caught in the middle of this drama f yours with Rebecca and the new boyfriend? BOOTH: God, no. No, Bones. He's my son. Whatever we're going through, it's not about that. He knows that. BRENNAN: That's what parents say when they want to justify themselves. BOOTH: You know, I haven't walked out on Parker, all right? I would never have done what your parents did. BRENNAN: Well, I didn't say you would. I just - I don't know. (sighs in frustration) You're the father. I don't know anything about raising kids, so- BOOTH: Parker's fine. (Brennan glances at her partner for a moment) (Cut to: Jeffersonian - Autopsy Room. Cam is showing Booth and Brennan the DNA results on a computer display) CAM: It's not Karen Tyler. BOOTH: What? CAM: The DNA from under Carlie's fingernails doesn't match. And something else is weird. (she leads them over to another area of the room) Tissue from the fetus shows evidence of escitalopram. BOOTH: What's that? CAM: It's a drug prescribed for depression. BRENNAN: (reading the file) It's not weird, Carlie Richardson was having emotional problems with her husband. CAM: Carlie Richardson wasn't taking the drug. BOOTH: Hold on, none of this is making any sense. CAM: I agree. The only way the fetus could have the drug in its system is if it were passed from the mother in utero. BRENNAN: Or through breast milk. BOOTH: How do you breast-feed an unborn child? (Brennan rushes out of the room, calling) BRENNAN: Zack! BOOTH: Woah. (hurries after her) (Cut to Brennan and Zack on the lab platform, the fetal bones on the table before them.) BRENNAN: An infant's skull is made up of several separate bones that are eventually fused together. (She lifts up the infant skull, displayed on a tray, for Zack to see) Look at the molding. ZACK: Oh, my god. CAM: I don't believe it. BRENNAN: Yeah. BOOTH: Okay, now everybody knows but me. BRENNAN: This is not a fetus. The skull bones have shifted and overlapped because this child passed through the birth canal. (she indicates on the skull) This baby was born alive and lived about two weeks. BOOTH: But Carlie was pregnant when she was last seen. BRENNAN: This isn't Carlie Richardson's child. The escitalopram in its system came from breast milk. CAM: Then what happened to her baby? (CUT TO: quick sh*t of a baby being removed from a body, a infant screaming over the image) (Cut back to the lab) BRENNAN: The baby was cut out of her and stolen. This child replaced it. END OF ACT THREE ACT FOUR: (Open in Jeffersonian - Bone Room. Zack and Brennan are looking at the infant's skull, magnified on the screen.) BRENNAN: This child was d*ad before Carlie was m*rder. You can see the traces of blood pooling in the cranium. ZACK: Abusive head trauma. CAM: Evidence of shaken baby syndrome. BOOTH: Oh, god. ANGELA: You said the little guy was only two weeks old. CAM: Whoever the mother was she was probably taking the medication for postpartum depression. She got upset with the baby. Crying's the most common cause. And she shook him to quiet him down. BRENNAN: It can take as little as five seconds for an infant to die by shaking. BOOTH: Five seconds? BRENNAN: The veins that attach the brain to the inside of the skull detach. Blood pools, the brain swells. BOOTH: Okay, I get it. Right so what you're saying is that the mother kills her own son and replaces him with Carlie's. CAM: Fits the pattern. She feels the guilt at what she's done and needs to make it right, prove to herself that she's still a good mother. So she takes Carlie's child and makes it her won. It's only been two weeks, not many people have seen her kid. Who would know? BOOTH: But the s*ab wounds? BRENNAN: All of Carlie's s*ab wounds are to the upper part of the body. The k*ller was careful not to h*t lose to the uterus because she wanted the baby alive. CAM: Your report indicates there were Kn*fe marks on the lower ribs. BRENNAN: They seem to be made by whatever instrument was used to remove the child after Carlie was d*ad. ZACK: Yep. I'm working on identifying it. (Brennan examines the infant's skull again) BRENNAN: We might be able to use the infants most prominent genetic characteristics to see similarities with the mother. Ange, can you input the information from the infant's skull to give us a face? ANGELA: (nods but looks unsettled) Sure. (Booth's cell phone rings and he answers it) BOOTH: Booth. Yeah. Right away. (He hangs up and speaks to the others in the room) They found Kyle Richardson. (Booth and Brennan exit) (Cut to: Booth and Brennan in Booth's car) BOOTH: I wonder if he'll even care, you know. Finding out tat his wife is d*ad. BRENNAN: He didn't k*ll her. BOOTH: No, but he ran. How do you just cut your family out of your life like that? BRENNAN: Well, what about Abraham? BOOTH: What, you're going to throw religion in my face right now? BRENNAN: I thought you found answers in what you believe. BOOTH: Well, I mean, that's just one Bible story that I just don't like. I mean, God commands Abraham to k*ll his own son, and he does. BRENNAN: No. Abraham does not k*ll Isaac. BOOTH: But old Abe, you know, he had the intention. BRENNAN: Well, I thought what he had was faith. BOOTH: Look, I have faith. But if God himself came down, pointed at Parker and said, "I want you to, you know" - that ain't gonna happen. BRENNAN: But God's messenger stopped Abraham? BOOTH: Yeah. Grabbed his hand at the last second right before the Kn*fe was about to go in. BRENNAN: Okay, then the lesson I would learn from the myth- BOOTH: Myth? BRENNAN: Well, it fits the definition. BOOTH: Okay, fine. BRENNAN: That when it comes to your children your love has to be absolute. The messenger represents goodness, what you know to be right. Ergo, you have to remain open to what you know is true. (Booth chuckles softly, smiling at Brennan) BOOTH: Are you sure you're not religious? BRENNAN: (nods) Science all the way. BOOTH: Science all the way. BRENNAN: Hey, even an empiricist can have a heart, Booth. BOOTH: Too bad Richardson doesn't. (Cut to: FBI - Interrogation Room. Kyle Richardson is being questioned by Booth and Brennan) KYLE: Just lock me up. I can't go through this anymore. BOOTH: We know you didn't do it. KYLE: What? BOOTH: Evidence doesn't fit you. KYLE: Then who was it? Who k*lled them? BRENNAN: You ran. Seems like you'd be the one who'd know. KYLE: I would have told someone if I knew. BOOTH: Right. 'Cause, you know, you're such an honorable guy. The Kn*fe, the rope, the sheeting. It all came from your place and why didn't you tell the police it was missing? KYLE: (scoffs) What, you check out what's in your garage every day? BOOTH: If you didn't know anything why did you take off. KYLE: Because I'm a bastard. I'm a selfish, pathetic bastard and everyone had already decided that I was guilty. BRENNAN: That's true, Booth. BOOTH: Bones. BRENNAN: No one wanted to find another suspect. (To Kyle) I kept insisting. KYLE: Thank you. BRENNAN: But I didn't do it for you. You are a pathetic bastard. Your wife was having your baby. KYLE: Look. I did wanna leave her, yeah. I was out that night trying to figure out how to tell her. What with the baby and everything. But for God's sake, I didn't want them to die. BOOTH: So you have no idea who did this? KYLE: (beginning to get emotional) I should, shouldn't I. I mean, I ignored her for so long. It's like this whole thing is my fault anyway. You know, if I had been there that night, maybe they'd still be here. BRENNAN: We think your child might still be alive. KYLE: I don't understand, the bodies you found- BOOTH: That wasn't your child. Whoever k*lled Carlie took your child and left theirs. KYLE: (slightly stunned) Oh, my God. Then - So where's my kid? BOOTH: We don't know. (Cut to: Jeffersonian - Angelator. Booth enters as Hodgins discusses evidence with him) HODGINS: Zack was working in the other Kn*fe mark. I saw something staining the groove it left, so I did tests. The stain was from Betadine. It's an antiseptic used to prep patients for surgery. BOOTH: Oh, someone was being really careful when they were cutting her up. (Cam enters the room and stands to one side of the Angelator where Angela and Brennan are already gathered) CAM: It was the baby they were concerned with. BRENNAN: (to Angela) Were you able to get enough detail from the skull for a digital reconstruction? ANGELA: Yeah. Since someone this young is still being formed the, uh, features are generalized. (Angela brings up an image of the infants skull on the Angelator.) CAM: (slightly awed) The last place I worked had a drunk sketch artist. Wow. (Flesh starts to form over the image of the skull, eventually forming a chubby faced baby) HODGINS: It's a baby. It looks like every baby. ANGELA: That's why I ran the reconstruction though an aging matrix. It posits the most likely growth pattern the skull would follow. Now as it ages, the features become more distinct. (She changes the image on the machine and it begins to age) By the time he's about 10, he shows very definite genetic characteristics. (The image on the Angelator becomes the face of a 10-year-old boy. Brennan studies the image closely, suddenly realizing who he looks like. Booth too looks startled.) (Fade out on the face on the Angelator and up into the face of Mary, one of the mother's in the park. She calls out to her child, moving toward him) MARY: Robbie! Don't eat that, honey. (She runs up to where her baby is sitting in a red wagon and removes the offending object from his mouth and grasp, ticking the baby) There you go, there you go! (Cut to: Booth, Brennan and a Social Worker walking through the playground toward Mary and Robbie) BRENNAN: The mark on the ribs was made by a scalpel. The woman is a vet, so she has medical training, which also explains the Betadine. BOOTH: Look at her, playing with the kid. (Mary is now holding Robbie, kissing him on the head to soothe him) MARY: It's okay. Shh. BOOTH: Ms. Corbis. (Mary turns, startled) BOOTH: I'm going to have to ask you to hand us the child. MARY: What? Why? BOOTH: I think you know why. MARY: No. You want me to give you my son? No. BRENNAN: He's not your son. We know what happened. (Mary is getting a little nervous, clutching the baby closer to her.) MARY: He is, Robbie is my son. BRENNAN: We have a warrant to take a DNA sample from you, Ms. Corbis. It'll be pretty hard to argue with that. (Robbie starts to fuss and she settles him.) MARY: Shh. Shh. (She stares at Booth and Brennan for a moment before speaking) She didn't want him. She told me she wished she had never gotten pregnant. It was wrong for her to have him. BRENNAN: And k*lling your own child wasn't wrong? (Robbie is crying in earnest now as Mary clings tighter to him, upset and yelling) MARY: That was a mistake! I am a single mother! I'm alone. I just - just wanted him to stop crying. It was just - It was just a few seconds. (She breaks down crying, clutching at the now sobbing baby) The doctor said I was sick but I'm all better now. (She tries to comfort Robbie) I know sweetie, I know. (Booth and Brennan exchange looks before Booth begins to approach Mary carefully and slowly) BOOTH: Ms. Corbis. MARY: You can't talk him from me. I'm a good mother, you can ask anybody. I'm a good mother. (to Robbie) It's okay, it's okay. BOOTH: (hands outstretched to the baby) Give us the child. (Mary looks down at her baby then up at Booth. She hugs Robbie tight, kissing his head and sobbing a little before finally the Social Worker can reach over and take him from her.) MARY: (sobbing) I'm a good mother. (Booth grabs her hands behind her back and begins to place her in handcuffs) BOOTH: Mary Corbis, you're under arrest for the m*rder and kidnapping of Carlie Richardson and the m*rder of your son, Robert Corbis. MARY: No (nodding towards the baby) That's my Robbie, that's my Robbie! (Brennan looks at her sadly as Mary continues to cry) MARY: I'm a good mother. I'm a good mother! (Booth leads her away in handcuffs, Brennan and the social worker with Robbie following a few steps behind.) (Fade into: FBI - Booth's office. Kyle Richardson is pacing back and forth, clearly nervous as he talks to Booth and Brennan) KYLE: He's fine? BOOTH: He's perfect. KYLE: And you're sure? BRENNAN: He's yours. (Kyle stops pacing, looking excited and nervous all at the same time) KYLE: When I thought he was gone, and Carlie...I wished I could have changed how things had been. (The Social Worker enters the room carrying the baby Robbie. Kyle just stand where he is for a minute, watching. Booth and Brennan watch his actions) SOCIAL WORKER: Don't you want to hold him? KYLE: I don't know, um - The kind of guy I am - I'm no father. BOOTH: You don't get to decide that. You have a son. Step up. Take him. (Kyle steps nervously over and takes the baby from the Social Worker.) KYLE: (to baby) Hey. (He settles the baby in his arms, smelling him and hugging him close before turning to Booth) Thank you. (Brennan and Booth both watch as Kyle holds his son close, sighing a little in disbelief but obviously happy to have him) (Cut to: The Royal Diner, Booth and Brennan are sitting at a table in the window.) BRENNAN: So you think Richardson can rise to the occasion? Be a decent father? BOOTH: Well, he's got Carlie's parents to help him and - I like to think that people can change. BRENNAN: Faith and hope, right? BOOTH: (smiling) Right. BRENNAN: Angela threw in love, too. BOOTH: Love is good. (The door to the diner opens and Parker comes running in carrying something) PARKER: Daddy! Daddy! Daddy! (Rebecca follows through the door, her boyfriend Drew beside her. Parker climbs into Booth's lap and places his object on the table before them) BOOTH: Parker! PARKER: Look what I did. BOOTH: Wow! Look at that! (Booth glances up to see Rebecca and Drew hovering over near the counter) BOOTH: (To Parker) Um, listen, you stay here with Dr. Brennan, okay? I'm gonna go talk to your mommy, all right? (Booth removes Parker and stands up, placing his son on the seat. He kisses his head quickly before moving over to talk to Rebecca) BOOTH: Listen, uh, this is how it's gotta go down? I gotta meet your boyfriend with Parker here? DREW: Look man, we're here because we wanna- BOOTH: I'm talking to Rebecca. REBECCA: Look this was - this was Drew's idea. And I told him that it was gonna be a bad one. PARKER: Dad, look! BOOTH: One second, bud. BRENNAN: Booth? DREW: Parker wanted you to see what he made for school. And he kept saying how much he wanted us to meet, that we'd be friends. (Booth looks at Drew, not impressed yet) Look, I got a kid I don't get to see much, myself. I know what it's like. And I swear the - the expl*sives were for work. (Brennan has been watching this exchange and she tries once again to get Booth's attention) BRENNAN: Booth? (Booth makes to move back to the table but Rebecca stops him) REBECCA: Okay, look, look, look, look, look. We are what we are. And-and-and you can fight it if you want but you're just gonna fight with yourself. DREW: Maybe this isn't a good time. Maybe later. (Booth looks over at the table and see Parker looking at him sadly over his diorama) BOOTH: No, no. It's - it's a good time. Let me buy you a cup of coffee, all right? (He leads them over to the table) BOOTH: Nah, it's cool, have a seat. REBECCA: Seriously? DREW: Thanks, man. (Brennan stands up to allow them all to sit but Booth stops her) BOOTH: It's okay, Bones. You can stay. BRENNAN: It's a family thing. Bye, Parker. (she waves) PARKER: Bye. (Brennan says goodbye to Rebecca as well then begins to walk out of the diner. Booth sits down with Parker on his lap once again, Drew and Rebecca sitting together opposite.) BOOTH: All right, what do we got here, huh? PARKER: A di - a diorama! BOOTH: Woah! (Brennan pauses at the door and turns to watch Booth with his son) PARKER: It's the zoo. Drew helped me. BOOTH: The zoo? I hope you thank him, huh? REBECCA: Yeah. BOOTH: You did, huh? PARKER: We got to go to the zoo. He knows all the animals. BOOTH: All the animals? Wow! (Brennan watches this exchange, smiling a little) BOOTH: Okay, well maybe afterwards we could, uh, all go out to dinner if it's okay with your mom. (Rebecca looks surprised but smiles at Booth) REBECCA: Yeah. That - that sounds good. PARKER: My dad knows a burgers place. BOOTH: Yeah. I used to take him there after his T-Ball. (Brennan smiles again and leaves the diner. As we fade out from the Royal Diner the conversation can still be heard) BOOTH: Tell Drew about the burgers. PARKER: He says they're as big as my head. BOOTH: Yeah, big as your head. We can all go, we can even bring "Stu". FADE OUT END OF EPISODE

{"type": "series", "show": "Bones", "episode": "02x02 - Mother and Child in the Bay"}

foreverdreaming

"The Boy in the Shroud" Episode 2x03 Written By: Gary Glasberg Directed by: Sanford Bookstaver Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: FBI Agents are in an alley digging through garbage. Cam and Booth are already there. Everyone is grossed out by the smell - Cam picks up a rat.) BOOTH: (waving his hand to keep the smell away and then covers his nose) Holy mother of God. Oh Geez. (Brennan and Hodgins arrive) BRENNAN: Booth! What do we have here? HODGINS: Bet I know. That's- (he sniffs the air) lasagna, (sniffs) fishy rotten cat food and (sniffs) vulcanized rubber. CAM: Excellent olfactory talent, Hodgins. BRENNAN: What happened? BOOTH: Well, it's obvious, isn't it? A guy tried to b*at the yellow light, he got T-Boned by tractor trailer. BRENNAN: Well, what was the semi carrying? BOOTH: Aquarium sand, but that's not- BRENNAN: No natural gas or propane? No expl*si*n? No f*re? HODGINS: No corrosive chemicals. BRENNAN: What - do you need me for? CAM: You might want to prepare yourself. (she looks at Brennan) - or not. BOOTH: Oh man. Okay, how bad does, uh, garbage gotta stink to cover the smell of a d*ad body. CAM: I think the victim was a minor. BOOTH: (to Brennan) 'Kay, well if you agree this falls under FBI jurisdiction. (Brennan and Hodgins kneel down next to the body. Brennan starts to examine the skull) BRENNAN: It's a male. Yes, an adolescent. HODGINS: Flatworms. Necrophagous flies and beetles. Yeah, he's been garbage for about three weeks. I didn't mean that the way it sounded. BRENNAN: The fractures to the cranium, sphenoid and occipital regions. Necks broken and the femur is shattered. BOOTH: From the garbage truck flipping over? BRENNAN: No. This damage is more congruent with a fall. (Brennan notices that the victim is clutching something in his hand.) BOOTH: What do ya got? HODGINS: It's organic. (he hands Brennan tweezers) BRENNAN: (pulling it out of the grasp) Whatever it is, he brought it with him from the crime scene. (She places it in a manila envelope) CAM: How much of this are ya gonna need? HODGINS: The whole, disgusting, shebang. (Booth pulls up a piece of trash) BOOTH: Everything? BRENNAN: Everything. (Booth throws the piece of garbage towards the camera) (Cut to: Medico Legal Lab - Forensics Platform. Cam, Brennan and Zack are examining the remains.) ZACK: He was wrapped in a shroud? BRENNAN: Angela's analyzing the stains on the cloth while Hodgins figures out what they're made of. CAM: No finger pads left for prints. (to Zack) How are we on dental records? ZACK: FBI's on it. CAM: Multiple shards of leaded glass embedded in the remaining tissue. Massive contusions congruent with a swan dive onto a hard surface. BRENNAN: And take a look at the upper spine. ZACK: Weighted impact against the, uh, scapula and clavicle. CAM: He was struck? BRENNAN: Yes. But not hard enough to k*ll. (Booth enters platform.) BOOTH: Private garbage hauler. They aren't real strict about their routes. Driver says he can't be sure where he picked the victim up. CAM: No visible tats or track marks. BRENNAN: You sound surprised. BOOTH: Well, it's pretty obvious, Bones. It's either a junkie or a hustler. BRENNAN: Why make the assumption? CAM: Not many kids from the suburbs end up rotting in garbage trucks. Fun factoid from the front lines. (Angela enters the platform.) ANGELA: Hey guys. Wanna see something cool? (Cut to: Medico Legal Lab - Angelator Room. Booth, Brennan, Cam, Zack & Angela are standing around the Angelator.) ANGELA: I assume you're familiar with the Shroud of Turin? BOOOTH: Image of Christ's face on the inside of a burial cloth. CAM: Right, Booth's a good Catholic boy. BRENNAN: It was revealed to be a hoax. BOOTH: It wasn't a hoax. BRENNAN: Okay. Whatever you want to believe... ANGELA: This is no hoax. On the fabric covering John Doe's skull, there are tissue stains around the eye sockets, the nose and the mouth. This is essentially a photo negative of his features. (Angela pulls up the scan of the shroud and extrapolates the photo negative of his features) CAM: Are you saying you have enough to assemble a face? ANGELA: I call it the Shroud of Montenegro. (a face starts to slowly appear as she talks) I used computer tomography to create x- ray slices of the underlying facial architecture. (the face starts to appear even more) Selective laser centering, allowed me to map unimprinted areas. Skin tone and hair color were extrapolated based on Dr. Saroyan's data. (The face of their John Doe is now displayed on the screen) BRENNAN: I'm no expert, but he sure doesn't look like a street kid. ACT I (Cut to: Medico Legal Lab - Angela's Office. Booth, Brennan and Cam are looking on as Angela searches on the computer.)ANGELA: I'm running our facial reconstruction through the Missing and Exploited Persons database. CAM: That's a lot of missing and exploited kids. BRENNAN: These are just the locals. BOOTH: Let's hope we don't have to go national. CAM: Narrow the search. To street kids in the foster system. BRENNAN: Why? CAM: Because statistically, that's where this boy comes from. BRENNAN: It's far too early to start narrowing our focus. CAM: Runaways, street kids, foster system. BRENNAN: Dr. Saroyan's the boss. CAM: I've autopsied a lot of d*ad kids - car accidents, drug overdoses, drownings. Fine, it's a broad search. Kid in a dumpster - it's a runaway, street kid or foster system. BOOTH: Cam's right, Bones. ANGELA: Got it. Dylan Crane, 17. CAM: This is why I was appointed to this job, Dr. Brennan - to streamline the process. ANGELA: Honor student from a nice neighborhood in Alexanria. BRENNAN: Oops. ANGELA: He disappeared three weeks ago with his girlfriend, Kelly Morris - who is in the foster system. CAM: Good. There we go. I guess your first move is to find Kelly Morris. BOOTH: No, the first move is to inform the Cranes that we just found their son. (Cut to: Medico Legal Lab - Upstairs Lounge Area. Booth and Brennan are talking with the Crane's.) MRS. CRANE: Are you positive? MR. CRANE: We don't need to identify him? To make sure, I mean. MRS. CRANE: I need to see my son. You understand? BOOTH: Mr. And Mrs. Crane, I realize this is very hard but the reason why we asked you to come to the Jeffersonian- BRENNAN: I'm a forensic anthropologist. MR. CRANE: I don't understand the significance of that. BRENNAN: I'm called in when a victim is too decomposed to identify. MRS. CRANE: Oh, God. BRENNAN: I was able to identify Dylan beyond a shadow of a doubt. I'm sorry. MRS. CRANE: That's Dylan. MR. CRANE: How did he die? BRENNAN: He fell...from a height of approximately 50ft. BOOTH: Is there any reason to believe the your son was despondent? MR. CRANE: Dylan? No. He was a smart, happy kid. BOOTH: Problems at school? You know, uh, spending too much time on the internet? Anything like that? MR. CRANE: His whole life centered around this girl he was seeing. BOOTH: Was this Kelly Morris? MRS. CRANE: Yes. I suppose you read the missing persons report. MR. CRANE: So, you know Kelly's in a foster situation? BRENNAN: Have you seen her since Dylan disappeared? MR. CRANE: No. MRS. CRANE: To be honest, we were hoping they ran away together. BOOTH: Why would they do that? MR. CRANE: We told Dylan to stop seeing her. BRENNAN: Why? MRS. CRANE: Dylan met her at Harbor Plaza where the street kids hang out. MR. CRANE: Dylan was getting ready to go to M.I.T. She's already dropped out of high school. The life we provided him didn't prepare him for a girl like Kelly. BRENNAN: You mean a foster child. BOOTH: Bones. MRS. CRANE: Whatever happened to my son, it happened because of Kelly. BOOTH: We're gonna find her and we're gonna talk to her. MR. CRANE: Dr. Brennan, I can see that you think we're being hard on Kelly. But my son- my son was a good kid with his whole life ahead of him. (Cut to: Booth's Car. Brennan is staring out the window while Booth is talking) BOOTH: Kelly Morris's foster mother is gonna meet us in my office. BRENNAN: (still looking out window) Okay. BOOTH: She says Kelly took off a couple weeks ago with most of her belongings. (Brennan sighs.) BOOTH: You okay, Bones? BRENNAN: I was a foster child. BOOTH: Yeah, I know. BRENNAN: Did people always assume the worst of me? BOOTH: (sighs) You know, I know that you hate psychology - but those people - they just lost their son. They need to blame someone. (Cut to: FBI - Booth's Office. Booth and Brennan are sitting talking to Kelly's foster mother, Suzanne.) FRAN DUNCAN: Poor Dylan. He was a good kid. He was a good influence on Kelly, trying to get her back into school. And he was good to Alex. Treated him just like a little brother. BRENNAN: To the best of your knowledge, were Kelly and Dylan sexually active? SUZANNE: Oh, I know they were. I'm afraid I caught them in Kelly's bedroom and I had to forbid Kelly to bring Dylan into the house after that. BOOTH: Why? BRENNAN: It's the rules. They're underage and Kelly's a ward of the state. SUZANNE: And I knew that it might force Dylan and Kelly to find other places to be together. You know, to feed into their own, uh, Romeo and Juliet fantasy. But Alex live in the house, too, and he's only 12. BOOTH: Kelly and her brother, they close? SUZANNE: Very close. Their parents were k*lled in a hotel f*re four years ago. They had no family. They were put into the foster system. I've had them for a little over a year. BRENNAN: That's a pretty good run for a foster kid. Especially a brother and a sister who want to be together. SUZANNE: Yes. BOOTH: What? SUZANNE: Well, I'm not certain how much longer I can keep the both of them. I have diabetes and I don't have the energy that I used to. And Kelly is a real handful. I've asked Children Services to look for alternatives. BRENNAN: Did Kelly know? SUZANNE: Yes. I told her. ALEX: (entering Booth's office) Did they find Kelly or not? SUZANNE: No, Alex. But they found Dylan. ALEX: Is he alright? BOOTH: I'm - I'm afraid not. SUZANNE: Dylan is d*ad. (she walks over to Alex and hugs him) BRENNAN: Do you know where Kelly is, Alex? ALEX: No. BOOTH: Kelly could be in danger. ALEX: I don't know where she is. She hasn't called me or anything. Do you think she's d*ad too? BOOTH: No. You know, I'm gonna find your sister and I'm gonna bring her back here to you. ALEX: Really? BOOTH: Absolutely. This is the FBI, buddy. (Cut to: Medico Legal Lab. Brennan and Booth are walking into Brennan's office.) BRENNAN: Were you lying to the boy? Do you really think Kelly Morris is still alive? BOOTH: Ah, I don't know. BRENNAN: You don't know if she's alive? BOOTH: I don't know if I was lying. Ya see, I just - I really don't have a read on the sister yet. I mean was she a bad guy? Was she a victim? BRENNAN: Well, do you have a read on Dylan Crane? BOOTH: Oh, yeah. He had that whole adolescent savior complex thing going on big time. BRENNAN: Savior complex? BOOTH: Yeah, teenage boys love nothing more than the idea of saving the damsel in distress. BRENNAN: How do you know? BOOTH: Well, 'cause I was, ya know, I was a teenage boy. (Cam enters the office) CAM: Hey. DNA from the tissue under the victim's fingernail. Female. And there's nail polish in the gouges on his arm. BRENNAN: Well, it wasn't necessarily from the m*rder. They were sexually active. She might've scratched him. CAM: Nope. Hodgins also found oxidized iron in the scratches. BOOTH: Oxidized iron. What's that? BRENNAN & CAM: Rust. BOOTH: Why didn't you just say rust? BRENNAN: Well, she said it. CAM: The same oxidized iron found on the victim's upper back and shoulder. BRENNAN: Probably left behind by the w*apon that stuck him. BOOTH: So, he was h*t with what? A rusty pipe? CAM: That's a reasonable assumption. BOOTH: Oh, so Dylan tells the girlfriend they're breaking up- (Brennan looks at both of them, annoyed) CAM: She whacks him across the carotid with a pipe- BOOTH: And pushes him out the window. CAM: Exactly. (Booth looks over at Brennan) BOOTH: What? What's with the stink eyes? It's just a theory. BRENNAN: There was cheap nail polish in the box of Kelly's belongings. You should see if there's a match. CAM: Find some hair. Match the DNA on that then get started on the, uh, m*rder w*apon. BOOTH: Yeah. (Brennan gets up from her chair and reaches for her jacket - heads towards the door.) BOOTH: Where are ya going? BRENNAN: I thought that before we arrest Kelly Morris for m*rder, based solely on the fact that she's a foster kid, we might want to find the place where Dylan Crane actually died. Point of fact, the pipe, if that's even what it was, was not he m*rder w*apon. The evidence, if anybody cares, shows that Dylan Crane died from a fall. (Brennan leaves. Booth looks back to Cam) ACT II (Cut to: Medico Legal Lab - Forensics Platform. Brennan and Zack are examining the remains.) ZACK: No compression fractures to the ulna or phalanges. So his arms weren't outstretched or across his face. BRENNAN: Which means he wasn't bracing for impact. ZACK: Suggesting he was unconscious before he went out the window. Perhaps from being struck by the rusty pipe? BRENNAN: (groans) Ugh, don't you start. ZACK: Start what? BRENNAN: We don't know what he was struck with yet. ZACK: I analyzed the impact damage and the w*apon was a cylinder approximately two inches in diameter. That, plus the oxidation residue, suggests, in the vernacular, a rusty pipe. BRENNAN: Good. If you tell me that, I get it. It's empirical, not guesswork. HODGINS (entering) That which we call a rose by any other name would smell as sweet. ZACK: Romeo and Juliet. Act 2, scene 2. The quote considered to most aptly describe the central conflict of the play - which I totally do not understand. HODGINS: The flower in Dylan's hand was a Rosea calyx - a rosebud. BRENNAN: You do not smell like a rose. HODGINS: I've been sifting through two tons of garbage, which you should ask me about. BRENNAN: Ask what, exactly? HODGINS: Poultry skin loaded with garlic and chives, red beets, empty imported vodka bottles, and traces of osetra fish eggs. Put 'em together and where are we? (he pauses to wait for an answer) Anyone? (still nothing) Booth should check the garbage truck route for a Russian resturant. (Cut to: Street - Day. Booth and Brennan just turned the corner.) BOOTH: Whoa. Okay, horrible area. But on the upside, on one restaurant and no Starbucks. BRENNAN: You know, no one we've talked to had recognized either Kelly or Dylan. (pointing to a bunch of street kids) Hey, we could ask them. BOOTH: Why? BRENNAN: Because they share the same unique sociocultural identifiers as Kelly Morris. BOOTH: You mean like, teenagers. BRENNAN: Yeah. Exactly. BOOTH: No. You know what? They will melt away before we get half a sentence out. BRENNAN: Right. You just watch. BOOTH: Okay. But hey, you know, what do I know? I've only been working the streets my whole career. BRENNAN: (to the kids) Excuse me? Hello? Hi. I'm an anthropologist. I'm not a cop. STREET KID #1: (to Brennan about Booth) That's most definitely a cop. BOOTH: Thank you. See? They're very cooperative, aren't they? BRENNAN: Booth, please- BOOTH: There they go... BRENNAN: (to kids) Oh, excuse me. Wait, wait. Wait. Will you just take a look at these pictures and tell me if you recognise anyone? STREET KID #1: Give me five bucks, and I'll tell you. BOOTH: Five bucks... BRENNAN: Booth, please. (she hands him a $5) Here you go. (Booth smiles and shakes his head, amused.) So, who is it? STREET KID #1: It's his sister. But hold it this way, right? 'Cause the only time anyone ever sees his sister is on her back. BRENNAN: Yeah. I'm assuming this isn't your sister? STREET KID #1: No, it is! BRENNAN: Okay, I'd like my money back. BOOTH: Well, there they go. Bye. Mhm. That really worked, now, didn't it, huh? Great. BRENNAN: They just took my money for nothing. BOOTH: Well, ya know, that's because they're exploited, you know, misunderstood... (They see a woman in front of a van handing something, that appears to be drugs, to a young girl.) BOOTH: Oh, you gotta be kidding me, huh? I mean, geez, they could at least wait until my back is turned, right? BRENNAN: What? BOOTH: FBI. Hands in the air. KATIE: Cops! (A man steps out from behind the woman) KEVIN DUNCAN: There's no problem here! No problem at all! (calling back to the girl who ran) Katie! BOOTH: Uh, I'll cover you. Go see what they're dealing, Bones. BRENNAN: Wait, ugh, I hate this part where you stand with a g*n and I have to go do the looking. BOOTH: Bones, I got you covered. Just go. (She walked over to the van and looks inside.) BOOTH: (to the couple) What are you selling? What do they got there, Bones? What do you got, huh? What is it? BRENNAN: Ibuprofen, uh, multivitamin. I think these are sandwiches. And condoms. (Time cut to: Fran and Kevin Duncan are standing in front of the van, talking to Booth and Brennan) KEVIN: Franny and I have been doing this for years. FRAN: Sandwiches, clothing, vitamins. Some basic hygiene supplies for homeless kids. BRENNAN: (to Booth) You must be really embarrassed.. BOOTH: Hey, you know what? It was suspicious behavior, alright. And besides, they're - it's not like they're - are you social workers? KEVIN: Nope. BOOTH: They aren't social workers. BRENNAN: They're good Samaritans. BOOTH: Well, I apologized, okay? FRAN: Do you know how long it takes to gain some trust around here? Make a scene like this, and these kids won't talk to us for weeks. BOOTH: Oh, good. Maybe you can do us a favor in return. (to Brennan) Show him the picture. BRENNAN: We're looking for someone. A girl. FRAN: (looks at the picture) Dylan and Kelly. BOOTH: Yeah. That's right. FRAN: We haven't seen them around here in a couple of weeks. BRENNAN: Dylan is d*ad. We found him in a garbage truck that services this area. KEVIN: My God. What happened? BOOTH: Well, that's what we're trying to figure out. FRAN: Warehouse. KEVIN: Yup. Come with us. (Cut to: Warehouse. Booth and Brennan are led by Kevin) BRENNAN: What is this place? KEVIN: A squat. FRAN: Everyone of these old factories houses junkies and squatters KEVIN: Yeah and kids with nowhere else to go. BOOTH: What'd this building used to be? FRAN: Plumbing supply, I think. BRENNAN: Pipes. BOOTH: Bones? Dylan, right? (The camera pans down on a memorial set up outside the building. There is book there. Romeo & Juliet. Brennan leans over to pick it up.) BRENNAN: It's obviously a kind of shrine. (Brennan opens the book. The inscription inside the book says "To my Juliet from your Romeo. Love, Dylan") FRAN: It's something the kids do for each other when somebody dies. BOOTH: Still could be traces of Dylan's blood on the concrete. I'll call the crime scene unit. BRENNAN: Tell them to start on the fifth floor. BOOTH: Why? BRENNAN: Because the injuries show that's how far he fell. (Glass shatters. A boy runs past them. Booth and Brennan take off after him.) BOOTH: Hey, hey, hey! That's Dylan's school jacket! BRENNAN: We're not gonna hurt you! (she grabs the jacket and pushes him to the ground) Okay. I hurt you a little bit but that's only because you ran. (the boy spits at her) ACT III (Cut to: Inside the warehouse. Booth and Brennan are talking with Carter, the kid they chased down outside.) CARTER: You can't ask me nothing without a social worker. I know my rights. BOOTH: I'm not questioning you. We're just- we're talking, okay? Here, want some gum? CARTER: Yeah. Like that's gonna make me trust you. (he hesitates, but then takes a piece of gum) You know, I'm just asking your name. CARTER: C. BRENNAN: Does that stand for anything? CARTER: Carter. I'm not saying if that's my first or my last name. BOOTH: Why'd you run? CARTER: Because this lady was chasing me. BRENNAN: Because you ran. CARTER: Yeah. It's a brain twister. BOOTH: You know that sweatshirt you're wearing belongs to a kid by the name of Dylan Crane. CARTER: Never heard of him. BRENNAN: Where did you get it? CARTER: (he takes off the jacket) I'm done with the hoodie. You guys can have it. (he hands it to Brennan) BOOTH: What's with the, uh, names on the inside of your forearm there? What does that mean? (On Carter's wrist, the following names are shown: Warren, Weiss, Harvey, Monro.) CARTER: Guys I k*lled. BRENNAN: It's a list of foster homes. Ones that threw him out. CARTER: Sometimes getting thrown out is- BRENNAN: (finishing his sentence) It's the best thing that can happen. I know. CARTER: You were in the system? (she nods) Booth, the sunglasses? They're the same ones that Dylan was wearing in the photograph. BOOTH: (takes the sunglasses) These, huh? Top of the line. How can you afford these? CARTER: You don't want to know. Can I go now? BOOTH: No. Child Services in on the way. CARTER: I tell you something you let me go? BOOTH: Try me. CARTER: You want to know what happened to Dylan and Kelly? Check out the sandwich pervs. (Cut to: FBI. Booth and Brennan are walking down the hallway to Booth's office) BOOTH: Fran Duncan's clean. Great record in the community. But Kevin Duncan? The kid got it right. I mean, he's a perv. Inside three times on "solicitation of a minor" charges. BRENNAN: Boys or girls? BOOTH: Girls. He's a traditionalist. BRENNAN: (sighs) So, he went after Kelly. BOOTH: Yeah, and the white knight from the suburbs steps in, gets conked with a pipe and tossed out the window. BRENNAN: And Kelly goes into hiding. BOOTH: Unless he got her too. So what do you want to do next? BRENNAN: Hmm. That's up to Cam, isn't it? BOOTH: No, Bones. I asked you. What do you want to do? BRENNAN: I think - I think we shouldn't close off any avenue of investigation. We stay on all the evidence and see where it leads us. Like we did before Cam. BOOTH: Okay. (Brennan reaches over and takes a candy out of a jar on Booth's desk) BOOTH: DO you have a list like Carter? BRENNAN: Of foster families that didn't work out? Yeah. We all did. I wrote mine on a bottom of a shoe. BOOTH: Oh. You know, they say with foster kids, they're really hard on themselves. BRENNAN: They? BOOTH: Yeah. Experts, psychologists, like that. Apparently, foster kids feel so alone in this mean world, they lose that knack of trusting other people. BRENNAN: You mean at work? BOOTH: Uh, everywhere. You know, the weight of the world. It's - It's just profound. They say that they, uh, have a hard time letting themselves off the hook. They - they grow up with control issues. BRENNAN: Are you telling me something, Booth? BOOTH: No. I'm just saying something to keep in consideration when we catch up with Kelly Morris. BRENNAN: Okay... BOOTH: If you decide to take some other wisdom out of it, none of my business. BRENNAN: How Cam and I get along is none of your business. BOOTH: Yeah. Right. Which I just said. Said just then - none of my business. (Cut to: Medico Legal Lab - Hodgins work area. Hodgins is examining a slide when Angela approaches.) ANGELA: Is there anything I can do? HODGINS: Hey, this schematic is great, Angela. All the pipes are numbered and located. Meanwhile, I have hundreds of rust samples and I've covered, mmm, maybe a quarter of the crime scene. ANGELA: Ugh. HODGINS: Yeah. On the good side, that is definitely the window that Dylan Crane exited as he fell. Leaded glass is a match. ANGELA: It's a strange place for two people in love to end up. HODGINS: What? A forensics lab? ANGELA: No. A squat. In an abandoned pipe factory. HODGINS: Right. Yes, right. ANGELA: What were you talking about? HOEGINS: Just Cam and Booth, you know, of course. ANGELA: Oh, yeah. HODGINS: Given their - their history. ANGELA: Mmm. (They both look at each other, uncomfortably) HODGINS: Tension, party of two. (Angela walks away.) HODGINS: Great. Great. (groans) Okay. (Cut to: FBI - Interrogation Room. Booth is interrogation Kevin.) KEVIN: All my mistakes were made before I met Fran. Then I fell in love. Love changes everything. BOOTH: Your wife know about these mistakes? KEVIN: Of course. We have no secrets. I got counseling. I'm still in counseling. I'm out there on the street making amends everyday. BOOTH: Passing out sandwiches and aspirin and condoms to street kids? KEVIN: Yeah. I have no direct contact with the kids. Fran does. I make the sandwiches. I drive. Insure my wife's safety. That's a tough part of town. BOOTH: And your past is all in the past? KEVIN: No. That's with me everyday. BOOTH: Yeah. (he pulls photos out of a photo and place them in front of Kevin) Miranda Tyler, Susan Price, Laura Costello. All these girls say that you traded sandwiches for sex in the past six months. KEVIN: Well, they're street kids. They lie. BOOTH: Yeah... KEVIN: These girls came on to me. And they wanted money. When I rejected them, they got angry. BOOTH: We catch up with Kelly Morris, is she gonna say the same thing? (Cut to: Medico Legal Lab - Cam's Office. Brennan, Angela and Cam are reviewing evidence.)CAM: Hairbrush from Kelly's room provided her DNA. The nail polish from her room also matches the nailpolish we found in the scratch marks on the victim's arm. BRENNAN: It doesn't mean she pushed him out the window. ANGELA: If he finds it, and it matches the rust found in the scratch marks then we can tie Kelly to the w*apon. CAM: Oh, young love. You pour your soul out to some pimple-faced jock with a great body and the emotional maturity of an 11-year old, only to get your heart broken in the back of a red Camero. ANGELA: Remember that first slow dance? CAM: (laughing) Oh, God. ANGELA: Some horrible power ballad. CAM: Oh, that special boy with a pipe in his pocket. ANGELA: Oh, God. Lewis Cole. Mmm. He was a drummer. He had this hair. It was- BRENNAN: (raising her hand) Wait, excuse me? Marching to the b*at of a different drummer here. I'd like Hodgins to identity the species of rose found in Dylan Crane's hand. CAM: What can that possibly tell us? BRENNAN: I won't know until he identifies it. CAM: I prefer he keeps looking for the pipe. It could have Kevin Dylan's DNA on it. (Blooper - should have been Kevin Duncan's DNA) BRENNAN: Which will prove only that Kevin Duncan struck Dylan, not that he k*lled him. I want Hodgins on that rose. CAM: It's my call. No. BRENNAN: (scoffs) I can't work like this. CAM: Are you telling me I should start looking for your replacement? ANGELA: Dr. Saroyan, I don't want to be overly dramatic or anything but if you lose Brennan, you lose us all. CAM: Really? ANGELA: Really. And Booth too. CAM: In the interest of this investigation, I'm going to defer to you, Dr. Brennan. BRENNAN: Thank you. ANGELA: Thank you. CAM: But I will start the search for your replacement. (Cut to: FBI - Booth's office.) FBI AGENT: Agent Booth? BOOTH: Yeah? (An FBI Agent appears with Alex in the doorway) FBI AGENT: This young man says he has information he won't tell anyone but you. BOOTH: Alright, thanks. I got it. Come on it, Alex. Have a seat. (sighs) You want a coke or anything. ALEX: No. You a big sh*t? BOOTH: (scoffs) Uh, yeah. (points to name plate) Look at that, huh? Special Agent in Charge, Seeley Booth. (Alex laughs) So, how'd you get here? ALEX: Bus. Kelly called me. On the phone. BOOTH: What'd she say? ALEX: That she's okay. And that we'll be together. Soon. BOOTH: Did she say where she was? (Alex shakes his head no.) Did she know about Dylan? About being d*ad? ALEX: Yeah. She couldn't stop crying about it. She had to hang up. I think she's lying. I think she's never coming back (he starts to cry, stands up and hugs Booth) BOOTH: Hey, it's okay, Alex. Alright? Everything's gonna be okay. ALEX: I think I'm all along now. BOOTH: No. Hey, look. Hey, man. You're never gonna be alone, okay? Alright, we know for certain that Kelly is alive. And I promise we're gonna find your sister. Okay? Alright. Let's get out of here. I'll give you a ride home. (Cut to: Medico Legal Lab - Autopsy Bay. Booth enters. Cam is already there.) BOOTH: I got your call. CAM: It was urgent. Why didn't you answer? BOOTH: I was busy. What's so important? (Cam steps back to reveal a d*ad body) BOOTH: Kevin Duncan. CAM: Single g*n wound to the chest. You're just in time for the autopsy. (Time cut to: Cam opening the body. Zack is assisting.)CAM: Feeling queasy, Zack? ZACK: I'm not used to bodies looking so much like actual human beings. (she starts to cut into the bone with the saw. Booth groans.) ZACK: Since this man was just k*lled and there's plenty of flesh, how is my presence beneficial? (She pulls out a bone from the rib cage with a b*llet lodged in it and places it in a tray) ZACK: The number six rib. CAM: The b*llet passed through his vital organs and lodged in the rear curvature. Get it out. (Zack nods and walks away) BOOTH: So, you're thinking the perv kills Romeo and Juliet kills the pervert. CAM: Street smart kid like Kelly Morris would have no trouble getting her hands on a g*n. BOOTH: Mhm. CAM: Booth, if Dr. Brennan were to quit- BOOTH: What? CAM: If she were to leave the Jeffersonian- BOOTH: Well, the squints would flee this institution like the French Army. CAM: And you? BOOTH: Well, I do as I'm ordered. CAM: No, you don't, Seeley. BOOTH: Okay, here we go. What's going on, Camille? CAM: What if I fired her? What would you do? BOOTH: I'm with Bones, Cam. All the way. Don't doubt it for a second. (Hodgins enters) HODGINS: Meet the English Alba Rose. Climbing varietal. Nonexistent in the United States. Some say, it was the rose by any other name Shakespeare wrote about. BOOTH: And we give a rat's ass because... HODGINS: It's what Dylan Crane was clutching in his cold, d*ad hand. CAM: So what? He was k*lled by Hamlet? HODGINS: Wrong play. It's more likely he paid a visit to the rose wing of the United States Botanic Garden. CAM: When it comes to bugs, slime, crud and compost, you're the man. (he bows and laughs as he leaves.) BOOTH: Look, Cam. Maybe you just got off on the wrong foot with this case with Brennan because uh, she was a foster kid. CAM: Oh. (she sighs) Why didn't she tell me? BOOTH: She doens't do that. (clears throat and starts heading to the door but stops.) Oh, by the way, I didn't just tell you that. (Cam nods) (Cut to: United Stated Botanic Garden. Hodgins and Booth are there along with other cops) HODGINS: United Stated Botanic Garden falls under the supervision of the Architect of the Capitol. BOOTH: I really don't care. HODGINS: The architect is also responsible for maintaining the grounds of the United States Capitol. BOOTH: (to a cop) You seen either of these two kids? HODGINS: It's open every day of the year to the citizens of these United States. BOOTH: Which way to the Romeo and Juliet roses? HODGINS: It's over there where Kelly Morris is standing. Oh. (They both see Kelly Morris standing on the bridge) BOOTH: Oh, Bones was right. Okay, go distract her. HODGINS: Well, hey. Why me? BOOTH: Well, because apparently I look like a cop. HODGINS: What do I look like? BOOTH: What are you? My straight man? Go. (Hodgins walks over and approaches Kelly) HODGINS: Hey. (she turns to him) The United Stated Botanic Garden falls under the supervision of the, uh, Architect of the Capitol. KELLY: Get away from me, perv. BOOTH: Hello, Kelly. FBI, not a perv. (she starts to run, Hodgins blocks her) HODGINS: It's okay, we're just here to help. BOOTH: Not gonna hurt you. Just gotta talk about what happened to Dylan. KELLY: Dylan's d*ad. BOOTH: Were you there when Dylan died? KELLY: Was I there? Who do you think k*lled him? ACT VI (Cut to: FBI - Interrogation Room. Booth and Brennan are interrogating Kelly. Her lawyer, Diane Child, is there as well.) BOOTH: Why did you k*ll Dylan, Kelly? DIANE CHILD: Agent Booth.. BOOTH: Well, she already admitted to the m*rder, Ms. Child. DIANE CHILD: Actually, I believed she asked "Who do you think k*lled him?" It's an ambitious question. KELLY: Oh, I k*lled him. I did it. Because he broke a promise to me. BRENNAN: The promise to stay with you? KELLY: He tossed me a couple hundred bucks and told me he was going to college. That we couldn't see each other anymore. BOOTH: What'd you do? KELLY: I pushed him out a window. It was kind of an accident, right? What do you call it? A crime of passion? BRENNAN: You pushed him out the window? KELLY: Yes. BRENNAN: And he was conscious at the time? KELLY: Yeah. He screamed, okay? BOOTH: What then? KELLY: I ran away. BRENNAN: No, Kelly. You didn't. You went down to the alley and you wrapped Dylan in linen. And then you put a rose from the Botanic Garden in his hand. The Romeo and Juliet rose. BOOTH: You know, it's a strange thing to do right after you m*rder someone. KELLY: Well, I'm pretty screwed up. Didn't you hear? BRENNAN: Someone sh*t Kevin Duncan. He's d*ad. KELLY: The sandwich guy? BOOTH: We're thinking that the two deaths were connected. KELLY: (sighs) Fine. Yeah, I k*lled him too. BOOTH: She k*lled him too. DIANE CHILD: Okay, I'd prefer we not pursue this line of questioning. (Cut to: Royal Diner. Booth and Brennan are eating.) BOOTH: Well, she confessed. BRENNAN: She got it wrong. She forgot about the pipe. BOOTH: She said they fought. BRENNAN: She's lying. BOOTH: (sighs) You know, I'm just trying to think of a situation so bad where a girl would confess to a m*rder to try and get out of it. That's just- (Fran Duncan approaches their table) FRAN: Agent Booth. Dr. Brennan. BRENNAN: Mrs. Duncan. BOOTH: You want to sit down? Have a cup of coffee? FRAN: No, thank you. BRENNAN: I'm sorry for your loss. FRAN: Did Kelly Morris k*ll Dylan? BOOTH: Well, she confessed. FRAN: And now you think she k*lled my husband as well? BRENNAN: It's very possible. I'd believe that before I believed she k*lled Dylan. FRAN: Kelly shouldn't take the blame. (She reaches in her purse and pulls out a g*n and places it on the table.) You'll find one b*llet missing. BOOTH: You're confessing to your husband's m*rder? FRAN: He used me to get close to young girls. I don't know how many though the years. BOOTH: (stands and places handcuffs on Fran) Frances Duncan. You're under arrest. You have the right to remain silent. Anything you say can and will be used against you in a court of law. BRENNAN: Thank you. BOOTH: You have the right to an attorney. If you cannot afford an attorney on will be - (to Brennan) Pick up the g*n. (Cut to: Medico Legal Lab. Forensics Platform.) CAM: Ballistics confirms that the b*llet that k*lled Kevin Duncan came from Fran Duncan's g*n. ZACK: Case closed. CAM: On Kevin Duncan, definitely. And since Kelly Morris has confessed- BRENNAN: No, she didn't do it. CAM: What evidence do you have of that. HODGINS: How about this? Specimen 268 - "right corner of the room" schematic. ANGELA: You are good. HODGINS: Oh, you have no idea. ZACK: Are you having a moment? (Both Angela and Hodgins give him a look) BRENNAN: Well, how does finding the pipe prove that Kelly Morris is lying? HODGINS: How does her confession not include the m*rder w*apon? BRENNAN: Now, for the last time, the pipe is not the m*rder w*apon. Dylan Crane died from a 50 foot fall. CAM: Can you run the scenerio through your magic holographic crystal ball thingy?ANGELA: Too many variables. But I have another idea. (Time cut: Medico Legal Lab - Forensics Platform. Everyone is gathered.) ANGELA: Okay. Booth, you're Dylan Crane. BOOTH: Okay, you know what? I'm out the door. BRENNAN: Whoa, whoa, whoa. (Brennan blocks his escape and pushes him back) ANGELA: Cam? CAM: Kelly Morris, right. BOOTH: Okay, I feel stupid. ANGELA: Okay, you two. You are young. You are in love. You're about to break up. But this is very tragic. It's very emotionally fraught. BRENNAN: Kelly Morris says she argued with Dylan and pushed him out the window. CAM: She pushed him then tried to save him by grabbing his arm? HODGINS: That would explain the fingernail polish and the scratch but- (Flash back to Kelly grabbing Dylan's arm) ZACK: - not the oxidized iron. ANGELA: Kelly would have had to strike him with the pipe from behind (Brennan turns Booth around so that his back is to Cam) and then drive him through the glass. BOOTH: (He turns back around) But she said they were arguing face to face. He would have seen her coming. BRENNAN: That means there had to be a third person. Someone who snuck up behind him. ANGELA: Guys, I need a Kevin Duncan. HODGINS: I'll do it. Kelly already called me a perv, so I have my motivation. BRENNAN: So Kevin strikes Dylan with the pipe - (flashback to Kevin striking Dylan) (Hodgins stand behind Booth with the pipe, pretending to h*t him) BOOTH: (to Hodgins) Careful. BRENNAN: Which moves him forward. ANGELA: Kelly grabs the pipe away from him. But Dylan is losing consciousness. BRENNAN: (grabbing a hold of Booth's arm) He didn't have to throw Dylan out the window. He could've simply pushed him. (Hodgins pushes Booth) BOOTH: (to Hodgins) Easy. CAM: Kelly grabs his arm- (Cam grabs Booth's arm, flashback to Kelly grabbing Dylan's arm) BRENNAN: To save him. HODGINS: Which would put fingernails and rust in the wound. BRENNAN: But she can't hold him and he falls. (flashback to Dylan falling through the window and Kelly screaming. Booth falls to the floor.) BOOTH: Whoa. CAM: Well, that theory explains the physical evidence. BRENNAN: Except why Kelly would confess to a m*rder to protect Kevin Duncan. ANGELA: She's afraid of him. BRENNAN: But she knows he's d*ad. BOOTH: Guys. There's only two people in this world that Kelly Morris would cover for. One of them went out that window. (Cut to: FBI - Interrogation Room.Brennan is sitting with Kelly and her lawyer as Booth watches from the Observation Room.) BRENNAN: We know you didn't k*ll Dylan. KELLY: I did too. DIANE CHILD: Kelly, I don't want you to admit to anything more, alright? BRENNAN: No. You didn't. We can prove there was a third person there. The third person that h*t Dylan with the pipe and when you took away the pipe - pushed him through the glass. KELLY: No, it was just me. I h*t him with the pipe. I pushed him through the glass. BRENNAN: No. You grabbed his arm. You tried to save him. KELLY: No. (Brennan pauses for a minute and looks towards Booth, then continues) BRENNAN: Dylan made you feel like you weren't alone in this world, right? He was sweet to you? He took so much weight off your shoulders. He was good to Alex. And when Dylan said that you'd be together, you believed him. KELLY: Yes. Yes, I believed him. BRENNAN: And when Suzanne couldn't take care of both you and Alex, you had an idea. Run away with Dylan. Maybe Suzanne will keep Alex and everybody would be happy. KELLY: Dylan loved me. BRENNAN: I know. KELLY: But I didn't tell Alex. He just - (she starts to cry) He just - he thought that Dylan was trying to take me away from him forever. I - I did it all wrong. It's not - it's not Alex's fault. It's my fault. BRENNAN: Kelly. You're 15 years old. This is not your fault. The weight of the world is not on your shoulders. And we can't let you pay for what Alex did. (Cut to: FBI - Main Office. Brennan brings Kelly out and meets up with Alex, Booth, Diane and Suzanne. Kelly goes up to Alex and hugs him) KELLY: I'm sorry. I'm sorry. I didn't tell them. (Alex pulls back) They just - they just knew. ALEX: It's okay. Sorry about Dylan. (She starts crying and pulls Alex towards her again. After a few seconds, Booth takes Alex away. Kelly is left standing with Brennan, looking on.) (Cut to: Medico Legal Lab- Angela's office. Angela is working on her laptop when Hodgins enters and places a single white rose on her desk. She looks up, they lock eyes for a moment and then he leaves. She looks after him as he goes.) (Cut to: Royal Diner. Brennan enters and sees Cam sitting alone at one of the tables. She approaches her.) BRENNAN: You were right about the pipe. CAM: You were right about the rose. BRENNAN: Could I sit for a moment? CAM: I wish you'd eat some of these fries. Save me from myself. (Brennan sits) They're really good with garlic mayonnaise. BRENNAN: We have a problem. CAM: Uh, huh. Do you see a solution? BRENNAN: It's not completely my fault. I was a foster child and apparently, Booth says that - Booth says that I have - Well, something about control issues and the weight of the world. CAM: That sounds like Booth. BRENNAN: I think he meant that if I'm going to share responsibility for these cases, I'm going to have to learn to stop controlling everything too. Does that make sense? Psychology's not - I really - I really hate psychology. CAM: Not everyone's brain works as fast as yours. I have to mull sometimes. Are - are you familiar with that concept? BRENNAN: Yes. I just always thought it was a waste of time. (Cam laughs) CAM: I'm in charge. But out of respect for you, I could extend - Did you ever play Monolopy? BRENNAN: No. CAM: Well, they have this thing called a 'Get out of jail free' card. Think of it as a free pass to defy me. No explanation needed. No recriminations. No repercussions. BRENNAN: Well, how - how many would I get? CAM: One a week. BRENNAN: Five per case. CAM: Three per week. (Brennan thinks for a minute, then reaches over and shakes Cam's hand) BRENNAN: Booth told you I was a foster kid, didn't he? CAM: Okay, yes. He did. But he did it with a good heart and I'd really appreciate it if you didn't let him know. Please. BRENNAN: He's gonna know that you told me the second he sees us together. CAM: It's true. He's awful like that. BRENNAN: He reads people the way you read pathology reports or I read bones. CAM: Oh, God. I know. I hate him. Well, I don't really. BRENNAN: I know. Me either. (Brennan reaches for a fry.) I will take you up on this. CAM: Would you, please. (The camera pulls back as the two women continue to talk.) END.

{"type": "series", "show": "Bones", "episode": "02x03 - The Boy in the Shroud"}

foreverdreaming

"The Blonde in the Game" Episode 2x04 Written By: Noah Hawley Directed by: Bryan Spicer Transcribed by: Sinkwriter Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Exterior - Wooded area, Daytime. Pan down from tall trees to DR. TEMPERANCE BRENNAN and SPECIAL AGENT SEELEY BOOTH as they make their way through the woods, led by a POLICE OFFICER/PARK RANGER, until they reach a clearing sectioned off by police tape.) POLICE OFFICER/PARK RANGER: (voice coming in immediately, mid-conversation, as all three walk through the woods) Hikers aren't supposed to let their dogs off the leash back here. But I'm pretty sure the dog was running free when he found the - what he found. BRENNAN: What's the condition of the body? POLICE OFFICER/PARK RANGER: No idea. Can't get close enough to examine it. BOOTH: Why not? POLICE OFFICER/PARK RANGER: The dog's definitely not on his leash at this time. BOOTH: Ohhh. (In the clearing, Booth sees the dog growling ferociously, the skeletal remains of a forearm and hand clenched between his teeth - the dog is perched atop a small mound, surrounded by a wide circle of rangers, policemen, and the dog's owner, GIL LAPPIN, who is trying to calm the dog as the trio approaches) GIL LAPPIN: (to the dog) Put down the bone. (Gil continues coaxing the dog as Booth and Brennan reach the crime site and stand, watching the scene) BOOTH: How the hell are we gonna get to the body? GIL LAPPIN: (trying to approach the dog) Come on, Buddy, drop it. POLICE OFFICER/PARK RANGER: (watching the dog) You don't see that every day. (turns to Brennan and Booth) Sent for Animal Control. Take another hour though. GIL LAPPIN: Drop it now! (flustered, turning to Booth, Brennan and the Police Officer/Park Ranger) I - I'm so sorry. He - he's never done anything like this. BOOTH: (watching the dog) You ever have a dog, Bones? BRENNAN: I always wanted a pig. BOOTH: (amused scoff) A pig. BRENNAN: Very smart, and despite the popular misconception, very clean. BOOTH: (grinning) Yeah, I prefer my pig with a little mint, a little honey glaze- BRENNAN: (gives him a brief look) Not funny. (turns back to watch the dog) In some cultures, dogs can guard corpses, sometimes to the point of starvation, so ... sh**t it. BOOTH: I'm - I'm not sh**ting him for just doing what comes naturally. As far as he's concerned, you know, finder's keepers. BRENNAN: That dog is compromising the integrity of my remains, so wing it - (Booth gives her a look) - him. BOOTH: There's another way, Bones. (steps forward, smirking a little) Dogs love me. (Booth lowers his stance a bit, cautiously approaching the dog, hands open and unthreatening) BOOTH: Nice doggy. Good pooch. (Buddy the dog puts the arm/hand bone down; Booth gives the dog an approving tone of voice) Ah! Niiiice doggy. Good pooch. (As Booth reaches out, the dog barks loudly and Booth yanks his hand back) BOOTH: Whoa! Hey, we're just gonna wait for Animal Control. (The dog picks up the bone again) BRENNAN: (picking up a pine cone) I'll do it. BOOTH: (scoffs) Oh, yeah. (Brennan whistles, using her fingers) BOOTH: Yeah, a pine cone's really gonna - (watches as Brennan heaves the pine cone away from the crime scene, for the animal to fetch) - work. (Buddy runs off after the pine cone, the arm bone still clenched between his teeth; his owner Gil chases after him) GIL: Buddy! Buddy! BRENNAN: Okay. (calls out) I need everybody to clear the area. (to Booth) Set up a perimeter. BOOTH: (casually, since everyone's already moving, following Brennan's instructions) Clear the area! Let's set up a perimeter. (Brennan brings a messenger bag over to the site) BRENNAN: (turns to speak to Booth privately) And tell Animal Control... BOOTH (leaning in) Yeah? BRENNAN: ... I'll need that bone back. BOOTH: Right. (looking grim) First thing I'll do when they get here. (Brennan and Booth squat down to check out the victim, as the point of view circles slowly around the skeletal remains) (Interior - Jeffersonian - Medico Legal Lab - Platform. Pan down from a close-up on one of the lab's computer monitors to the same remains from the woods, now laid out on a lab table for examination.) BRENNAN: Victim was female, late teens. DR. CAMILLE SAROYAN: (leaning in closely to examine the body) Blonde. Cause of death looks like blunt trauma to the back of the skull. ZACK ADDY: (leafing through a folder of photos from the crime scene) She was buried facedown. CAM: What's that, some satanic hoo-ha? DR. JACK HODGINS: (smiling, amused, as he walks up the steps to the platform and exam area) My uncle Preston wants to be buried standing up without a casket. (Brennan gives Hodgins a disapproving look; he quickly sobers and moves on to the facts of the investigation) Pupal casings and insect remains suggest she was buried out there seven to ten years ago. BRENNAN: Placement of wrists and ankles suggests she was bound. HODGINS: Residue on the medial malleolus might tell us what restraints were used. BRENNAN: Look at that. (points out a section of bone around the elbow area) ZACK: Yeah, wear to her right lateral epicondyle, and rotator cuff. Also, repetitive motion damage to the lower lumbar vertebrae. CAM: (testing him) What's that mean? ZACK: Golf? (Brennan nods at him with a small approving smile) (The sound of an I.D. badge being swiped at the foot of the stairs - ANGELA MONTENEGRO makes her way up to the platform while pulling back her hair. She's wearing a cute outfit, including a short skirt. Hodgins stares at her as Angela begins to button up her lab coat. He looks at her as if he's just seen her for the first time.) HODGINS: Hi, Angela. (recovers, smiling admiringly) You look great today. ANGELA: (smiles back, obviously appreciating the compliment) Thanks, Hodgie. (her tone remains light and flirtatious) This is my "boho, rocker, artist, mid-week, take-a-deep-breath-and-pout" look. (Hodgins and Angela grin, eyes focused only on each other) BRENNAN: (glances at them both curiously, her mouth slightly agape) "Hodgie"? (Cam also tilts her head and raises her eyebrows, obviously intrigued at the overly familiar term they've never before heard Angela use to address Hodgins) ANGELA: (smile dropping immediately, she glances at Hodgins before turning her attention to Brennan) Uh - (Brennan still looks mildly suspicious, following Angela's eyes to Hodgins who looks down) - I did a facial reconstruction, extrapolating skin tone from hair color. (She reaches for the computer keyboard, bringing up a facial image on one of the monitors) For the record, I hate the guy who k*lled this girl, and I hope to hell he burns in all eternity. (The sound of another I.D. badge being swiped at the foot of the stairs - Booth joins the group) BOOTH: That our victim? HODGINS: Yeah, I found flecks of black enamel paint in the wound. (With the computer and monitor, he zeros in on the specific bone, highlighting the hole from the injury with a red circle within a pixel box containing four blue marker points, for Booth to see) ZACK: Shape suggests a tire iron. BRENNAN: (murmuring) Tire iron. (The screen whites out and flashes briefly to three quick, dark images, including wrist bones and a blonde woman screaming, before flashing back to Brennan in the present moment) BRENNAN: (certain now, her intent eyes meeting Booth's) Tire iron. Hands and feet bound, buried ... facedown. (Cam looks to both Booth and Brennan, eyes wide, needing more information) BOOTH: (realizing and nodding) Epps. (Hodgins understands as well, brow furrowed, looking grave. The team takes a collective concerned breath at this sobering news, while Cam looks at each of them, confused.) CAM: Hello? New team member in the room. BRENNAN: Howard Epps, a serial k*ller on death row. BOOTH: k*lled at least three. HODGINS: We found two of 'em last year. ANGELA: The judge stayed his execution to try him on the new charges. CAM: You saved his life. Ironic. BRENNAN: The timeframe fits. This girl would have been k*lled about ... six months before Epps went to prison. BOOTH: Run her through the database, get an I.D. CAM: Why don't you just ask him? BOOTH: Well, because last time Bones saw Epps, it - (as his eyes meet Brennan's, he smiles slightly) - got violent. CAM: You'll be there to protect her. BOOTH: She's not the one who needs protecting. (his eyes don't leave Brennan's face, as she looks down) Bones broke his wrist. (Flashback to the Season One scene during which Brennan furiously grabbed Howard Epps and slammed his wrist against the table) BRENNAN: (sickened) He touched me with his creepy serial k*ller hands. CAM: (pause) Better not take Doctor Brennan. (Cut to: Buzzing sound - an electronic prison gate is cleared to open. Close-up of a red sign with white lettering that reads: "NOTICE - DO NOT GIVE ANYTHING TO INMATES." An armed guard lets Booth into a prison visiting room where HOWARD EPPS sits at a table, waiting.) EPPS: (quietly cocky and confident) Agent Booth. What took you so long? (Booth stands in the dark shadows of the room near the door, his eyes narrowed, ready for the serial k*ller's every move, as Epps looks past Booth) And where's Doctor Brennan? ACT ONE (Exterior sh*t of the United States Capitol in Washington, D.C. - Daytime - Cut back to the prison visiting room: Epps sits, handcuffed to the table, while Booth stands, tossing a file folder onto the table.) BOOTH: (sets down a photo and points to the girl in the picture) Who's this? (Epps tries to stand in order to get a better look at the photo, but his handcuffs and body chains stop him halfway) Ohhh! That's right. You're chained. (Booth chuckles, then makes a mock-serious face as if he'd actually forgotten that fact) EPPS: (still bent over, his face close to Booth's) How about removing these shackles? BOOTH: The name, Howie. The name. (Epps glances at the photo, face void of any emotion, but instead of answering he slowly sits back down in his chair) EPPS: You know ... those hack doctors at the prison infirmary ... did a miserable job setting my wrist. (squeezes his wrist slowly as he talks) It aches all the time, and I don't have a full range of movement. (looks slightly amused, trying to get a rise out of Booth) And let me tell you, when you're stuck in a prison cell for 23 hours a day, there's really only one thing you can do to pass the time. And I need my wrist. BOOTH: (brief pause) Well, I'm sure Doctor Brennan would be ... happy to re-break it for you. (Booth picks up the file folder and taps it on the table with both hands) EPPS: What's that? BOOTH: (his tone level and enticing) What, these? These are crime scene photos, the ones you like. Tell you what. You, ah - you tell me the girl's name, I'll, uh, let you take a look. EPPS: Everything you need to win the game is right there in front of you. BOOTH: Game? (mock scoffs) You're bored, huh? (leans in a little) Are you playing us? EPPS: (leans in close, his face impassive) When Doctor Brennan figures it out, come and see me again. But bring your lady scientist. Otherwise ... I don't say a word. BOOTH: (levels his gaze at Epps) Next time you see either one of us, they'll be giving you a lethal injection. (Booth stands, the guard opens the door for him, and he leaves without looking back, as Epps watches him) (Fade to: Jeffersonian - Medico Legal Lab - Platform. Brennan and Zack are standing hunched over the skeletal remains, working. Booth sits near the head of the exam table.) ZACK: Classic game theory. Throwing down of the gauntlet. BOOTH: What? ZACK: Conflict of interest arises followed by a series of moves from which divergent strategies can be discerned. BOOTH: (turns to Brennan) What did he say? BRENNAN: (not looking up, as she examines the skeleton carefully) Epps is playing us. BOOTH: Yes. That's exactly what I said. ZACK: (not looking at Booth either, also examining the skeleton) Zero sum, obviously. After a few moves, we'll know Epps's order of preference. BOOTH: What did he say? BRENNAN: We'll find out what Epps wants. BOOTH: Look, I already know what he wants. (to Zack) I told you. He wants Bones sitting across the table from him. BRENNAN: Three rational players. Me, Booth, and Epps. (looks up at Zack) What about the nondeliberative agent? BOOTH: (to Zack) What did she say? ZACK: (inspecting the ribs) In a game, there tends to be one "N" rational players and a nonconscious, nondeliberative agent. (looks up at Booth) What did Epps talk about before he said all the information you needed was in front of you? BOOTH: Mom, Bones, blondes, his wrist being set badly after Bones broke it ... And, um, you know, he - he made the point that he ... really needed his wrist. (gives Zack a pointed look - Zack stares at him blankly, trying to figure out what he means) (Brennan turns her head to look at Booth, who gives a half-smile) ZACK: (realizing) Chronic masturbation. (Booth nods slightly, glancing at Brennan) The game may be all about self-gratification. BRENNAN: The phrase he used was "right in front of us." BOOTH: (standing up) Yes. ZACK: The ... blonde is right in front of us. BRENNAN: (nodding) And she has a wrist. Well, two, in fact. BOOTH: You know, if you had a pet pig, what would you name him? BRENNAN: (looking at him as if the answer is obvious) Jasper. BOOTH: Oh. ZACK: This wrist looks completely normal. BRENNAN: Here. The right hamate bone. (using a pair of tweezers, she holds up a small bone for Zack to consider) BOOTH: Hamate? ZACK: The whole coloration is off. It's slightly greasy compared to the surrounding bone. BRENNAN: (reaching across the skeleton to measure) It's about ... an eighth of an inch bigger than the same bone on the other side. ZACK: This hamate bone does not belong with these remains. BRENNAN: It belongs with a second body. There's another victim out there, somewhere. ZACK: (holding up the bone) Round one ... goes to Howard Epps. BOOTH: Why? BRENNAN: Because he gets what he wants. Me in the room with him. (Booth looks concerned and displeased at the thought) (Cut to: Prison where Epps is held. A guard holds the door open as Booth and Brennan enter the viewing room from which they can see the visiting room, where Epps sits at a table with a young woman with long, mousy brown hair.) BRENNAN: Who's that? BOOTH: Oh, that is, uh, Caroline Epps. BRENNAN: Howard's sister? BOOTH: Uh, no. (The woman leans across the table and kisses Howard on the lips) Howard's wife. BRENNAN: Well, he didn't have a wife last year. BOOTH: Well, they got married about four months ago. (CAROLINE EPPS is escorted from the visiting room by another guard) Heads up, Bones. It's our turn to visit the psychotic m*rder maniac- BRENNAN: (finishing for him) - bastard. BOOTH: (cheerful voice) Hi, Mrs. Epps. I'm Special Agent Seeley Booth. (shakes Caroline's hand) This is Doctor Brennan. CAROLINE: Oh, Agent Booth. Howard's told me you both saved his life last year. BOOTH: It was our pleasure. BRENNAN: (looks at Booth in confusion) What? I was disappointed. CAROLINE: (to Brennan) Extending Howard's life has given him time to come to grips with what he's done - to ask God for forgiveness. BOOTH: Then we did the right thing by having his execution stayed. BRENNAN: (staring at Caroline Epps) Are you on some kind of medication? BOOTH: (rolls his eyes) Bones. CAROLINE: Doctor Brennan, I'm not one of those crazy women who falls in love with death row K*llers. BRENNAN: Obviously, that's exactly what you are. BOOTH: (butts in, handing Caroline a business card) Listen, if the prison ever gives you a hard time in coming to see your husband, just give me a call. I might be able to help. (he pats her arm in over-exuberant reassurance) CAROLINE: Thank you, Agent Booth. BRENNAN: Are you serious? She's crazy. BOOTH: Chop-chop. Let's go. (to Caroline) Thank you. Nice to see you. (he ushers Brennan past Caroline and toward Howard Epps's visiting room) CAROLINE: Nice to meet you both. (she exits) BRENNAN: Why were you nice to her? BOOTH: (whispers) Because we might need her. EPPS: (looks delighted as Booth and Brennan enter the room) Ah. Doctor Brennan. You came. BRENNAN: (sits, looking Epps in the eye) I got your message. We're analyzing the wrist bone right now. BOOTH: (sits, smirking) We just met your wife. (Epps's eyes don't leave Brennan's face, so Booth snaps his fingers to get Epps's attention) She seems very nice. EPPS: (scathing tone) Caroline's a hairdresser. (returns his laser focus back to Brennan) I'm glad you came. I hope you come back after you analyze the bone. Caroline's the best I could do in here. (he smiles) BOOTH: (squinting at Epps) Yeah, not your usual type, Howie. I mean, not young, not blonde. BRENNAN: Not d*ad. BOOTH: (never taking his eyes off of Epps) Bones, could you please shut up? BRENNAN: (looks at him, surprised) Excuse me? BOOTH: Is this why you duct-tape their mouths? Because that - (Booth nods at Epps) - I understand. EPPS: (leans forward in his chair, staring at Booth for several moments before responding) That's the lamest attempt at bonding I have ever seen. (Booth doesn't move or blink. Brennan looks down at the table.) EPPS: (closes his eyes for a moment, sniffing the air deeply) You smell that? BOOTH: What? My stinky effort to bond? EPPS: Antiseptic. My mother smelled like that. (leans back in his chair) Obsessed with germs. She washed her hands with ammonia. Mine, too. (pause) My one regret - I didn't make her my first victim. (looks to Brennan with a fixed gaze) Put her under a little stone cross years ago. BRENNAN: Okay. (nodding at Epps, understanding what he's telling her - he smiles) BOOTH: "Okay" what? BRENNAN: (touches Booth's back as she gets up to leave) Okay. BOOTH: (immediately) Okay. (Booth stands up quickly, never taking his eyes off Epps. Brennan knocks on the door to exit.) (Cut to: Jeffersonian - Medico Legal Lab - Exam room with floor-to-ceiling drawers full of bones. Brennan is back at the exam table, looking over the skeleton for clues, as Booth stands at the head of the table) BOOTH: Don't be mad at me, Bones. My telling you to shut up was a ploy. BRENNAN: Now he thinks you're an idiot. BOOTH: Game theory, Bones, okay? (as if reciting) For two players to gain advantage over the one, they must be distinct from each other. BRENNAN: Where'd you get that? ZACK: (entering room) From me. I suggested that you be the smart one. BOOTH: Which, you know, left me making a ploy that, uh, was supposed to be lame. (smirks, pleased with his clever plan) BRENNAN: (looks up at him, shaking her head, d*ad serious) Don't enjoy this. BOOTH: What? (Booth and Zack share a pleased look as though they thought they had worked out a smart game strategy) BRENNAN: The only reason I am playing his game is to discover the identity of this young woman. (Booth is quiet, nodding to show he acknowledges her point) ZACK: (sobering) Well, we've made no progress on that. BRENNAN: Check the junior golf leagues. Given the amount of wear to her shoulder, elbow and spine, she must have started golfing at an early age. (Zack exits as Hodgins enters the room) HODGINS: I found minute traces of gypsum and selenium on the mystery wrist bone. Also, phenolphthalein, which is a kind of laxative. (pulls a small rolling metal table next to him and leans on it) BOOTH: Laxatives show up in bones? BRENNAN: No, not even after years of ingestion. HODGINS: The laxative is on the surface of the bone. I - I have no explanation. BRENNAN: We have scoured every inch of her, X-rayed her, run her through an M.R.I. - what clue are we missing? HODGINS: The laxative is the one thing that makes no sense. (looks to Booth) Last time, it was masturbation. Did he reference bowel movements? BRENNAN: (glances to Booth as well) He mentioned his mother was a germophobe, scrubbing his hands with ammonia - (realizing, looking to Hodgins for him to understand too) - Ammonia. HODGINS: Ammonia. Ohhh! (he stands up from leaning against the table, gesturing exuberantly, now seeing the clue) Why didn't you say so? (he walks out of the room) BOOTH: (still confused) Ammonia? (Cut to: Hodgins' gloved hand holding tweezers, reaching into a clear glass cylinder to place the hamate bone inside, as Zack comes around the table to set a small machine next to Hodgins.) HODGINS: Booth thinks we should get together and buy Brennan a pet. ZACK: What kind of a pet? (he hooks up a hose to the glass case as Hodgins places a lid on the top) HODGINS: A pig. And I don't think he means a guinea pig. A real pig. Like a Mulefoot, Saddleback, or pot belly. CAM: (entering the lab room) You want to expose a piece of crucial evidence to ammonia gas? (pause) No. HODGINS: Besides being a laxative, phenolphthalein is a sensitive pH indicator. (Cam's arms cross, resolute) ZACK: Colorless, unless it's exposed to ammonia. CAM: The second you expose this bone, it's useless. Epps wants you to destroy evidence. HODGINS: Why would he want us to destroy evidence he planted? CAM: Why would he plant evidence at all? ZACK: It might be a win-win scenario for him. If his endgame is to disorient Doctor Brennan, he can do that by - (Zack pauses to make his point) - ruining evidence that he himself planted. CAM: (holds up her hand) Fine. You can perform the experiment. (Hodgins looks triumphant as Cam reaches for the safety glasses and puts them on) So, glasses. (Zack and Hodgins reach for their own glasses as Cam turns the valve to release the ammonia gas, exposing the bone fragment to its vapors) (All three scientists bend down as the gas fills the case, illuminated by a hazy cobalt blue light. As the smoke clears, a small shape can be seen etched on the bone.) CAM: What is that? ZACK: Not sure. (Zack brings over a camera on a crane, in order to capture the image to their computer and zoom in on the marking. The design is of two distinct hammers crossed over each other in an "X" at the handles.) HODGINS: A Freemason symbol? (studying it intently) Hey, this explains the "buried facedown" thing. Oh, it's all starting to come together. (Cam waits, wide-eyed, and Zack squints at him) These crossed hammers prove that Epps is working for the top level of the Illuminati. ZACK: (interrupts, frowning) That's the cartographic symbol for a mine. HODGINS: (looks at the symbol again) Oh. (Hodgins looks slightly disappointed as Zack gives him a look) CAM: Epps is telling us that the second victim's in a mine? What kind of mine? HODGINS: One that contains gypsum and selenium. (Cut to: Booth's vehicle heading toward the metal gate entrance to a mining site.) BRENNAN: (to Booth) In prison, Epps mentioned a stone cross. That's what we should be looking for inside. (getting out of the vehicle) Okay, this is the only abandoned gypsum mine within Epps's known k*lling ground to also contain selenium. BOOTH: Six entrances, hundreds of shafts, and half of it's flooded. (lifts up the police tape so Brennan and he can duck under it) All right. You just follow my lead and watch yourself in there, okay? Thank you. (Booth and Brennan enter the mine shaft, shining their flashlights ahead - there are many agents walking about the area) BRENNAN: I don't think Epps would make it that hard for us. BOOTH: Yeah, well, Epps said he wished he'd buried his mother under a stone cross. I bet that is a hint. (calls out loudly) Okay, people, listen up! I'm calling in a "splunking" team- BRENNAN: Spelunking. (she crosses in front of him to reach a corner of the mine, her attention already on something specific) BOOTH: - Spelunking team with imaging capabilities to look for a stone cross. Until they get here, let's focus on the ventilation shafts - (to Brennan, who is trying to get Booth's attention) Hold on - (back to the investigative crew) to the west of the main shafts - (Brennan taps him on the shoulder again and gestures with her flashlight) What? Oh. (calls to the rest of the crew) Never mind. (they head toward a shaft behind Booth) Can we get some, ah, light down this shaft, please? (Brennan and Booth shine their flashlights, illuminating a stack of rocks that are piled meticulously in the shape of a thick cross) BRENNAN: It's the cross, Booth. BOOTH: That is, uh, definitely a cross. (Booth squats down near the rocks) BRENNAN: Will you help me move these? (she sets her pack down and adjusts her flashlight) BOOTH: Move what? BRENNAN: The rocks. (Booth sticks the end of his flashlight in his mouth, lighting his way, and Brennan starts from the other side, as they both pick up and shift rocks, one by one. Grunting, Booth moves one, uncovering a skull underneath.) BOOTH: (spits out his flashlight) Bones! Ohhh ... (grimaces at the sight and probably the smell) Ughhh. (sighs as he bends down to shine his light on the face of the skeleton, for Brennan to see) BRENNAN: (joins him, her head close to his) Well, it's definitely human, but- BOOTH: What? (makes a face again, as if he might retch from the disgusting smell) BRENNAN: Well, Cam can be more precise, but I don't think this is more than a week old. BOOTH: Epps has been in prison for seven years - (looks grim) - which means he has an accomplice k*lling people, on the outside. BRENNAN: God, I wonder how many more there are. (Pan down to a close-up of the new victim's shiny wet skull as the scene fades to black) END OF ACT ONE ACT TWO (Cut to: Jeffersonian - Medico Legal Lab - Exam room. Pan left from a monitor - with a close-up of Cam's gloved hand pulling back a section of tissue - to Brennan and Cam standing over a lab table, inspecting the latest victim's body.) CAM: This is where the hamate bone was taken. BRENNAN: (dictating into a hand-held recorder) The victim is female, mid-teens. CAM: Extensive contusions around the ankles. (Close-up of bruising and marks from restraints on an ankle) BRENNAN: (studying various X-rays) Yes, and bone damage, too. Hip displacement ... elongation of the spine. (The screen whites out and flashes to a pan down from a length of chain to a panicked, screaming woman whose wrists are bound, her blonde hair hanging down, before flashing back to Brennan in the present moment) BRENNAN: He hung her upside down. CAM: I agree. And while she was still alive, too. (nasty close-up of the victim's partially decomposed face) Is that part of Epps's M.O.? (she looks up from her work to Brennan) BRENNAN: No. CAM: (soberly looks down at the body again) So his accomplice threw in some flair of his own. BRENNAN: (paces, thinking) Nine years ago, Epps kills someone and buries her. He goes to jail seven years ago. CAM: Last week, his accomplice kills another girl and swapped wrist bones with the girl Epps buried nine years ago. (Close-up of the swollen, discolored wrist and hand of the victim) BRENNAN: How do they communicate? CAM: Inmates are allowed phone calls, visitors, letters ... but those are all monitored. BRENNAN: He has a wife. CAM: Look at this. (she brings a light closer to the flesh, to emphasize the marking) It's a burn. Cigarette, probably. (Brennan shakes her head, troubled, as Cam reaches to a tray nearby and opens a small, clear petrie dish container) And, there's this. It was jammed in her shoe. (Cam lifts out a long golden chain with a locket or medallion of some sort hanging from it - the design on its face notes a carving of a woman, possibly a nun or a saint) BRENNAN: What? She wasn't wearing it? (Cam shakes her head) (Angela enters quietly, holding a file folder) ANGELA: The, uh, mine victim's dental work identifies her as Sarah Koskoff, Bethesda, Maryland. Disappeared three weeks ago. Sixteen years old. BRENNAN: (studies the file and the picture of Sarah attached at the top of the page) Sarah Koskoff. She fits Epps's victim profile perfectly. (Cut to: Booth's vehicle driving over a bridge near the Jefferson Memorial. The sound of a ringing office phone overlaps the scene.) (Cut to: Brennan's office, where she picks up her telephone receiver) BRENNAN: Brennan. BOOTH: (voice on the other end of the call) Yeah, Bones, it's me. (Cut to: Booth in his vehicle, driving while talking on his cell phone) BOOTH: Listen, I talked to Sarah Koskoff's parents. They said her dream was to own her own beauty shop. She worked for a hair salon in the city. (Cut to: Brennan, on her phone) BRENNAN: Don't tell me. (Cut back to Booth in his car) BOOTH: Yep. "M" Salon, Cleveland Park. Owned by Caroline Mapother. (Cut back to Brennan in her office, nodding as she sees the connection) BRENNAN: Now known as Caroline Epps. (Cut back to Booth in his car) BOOTH: You know, you remember when I was nice to her and you weren't? This is why. (Cut to: "M" Salon. A close-up of a framed photograph of Caroline and Howard Epps sits next to the cash register.) CAROLINE: Thank you. (gives a customer her change and continues working as the customer exits and Booth enters) BOOTH: (still standing near the door, a benign smile on his face) Hi. CAROLINE: (looks up from her desk, surprised to see him) Hi. (Booth flips the "Yes, We're Open" sign on the door to "Closed - Please Call Again") CAROLINE: Is - is Howard okay? BOOTH: Howard's fine, Mrs. Epps. You don't have to worry about anything. (still casual, leaning against one of the glass shelves nearby) I couldn't help but notice the "Help Wanted" sign in the window. Did you recently lose one of your employees? CAROLINE: (makes her way from behind the counter and continues her work, returning items to a stylist's station) It's, uh, hard to keep help that doesn't steal from you. BOOTH: (intentionally laid-back, handling a bottle of hair product and glancing at his fingernails for a moment before looking at Caroline) Sarah Koskoff steal from you? (Caroline stops what she's doing for a moment, looking up at herself in the mirror in front of her, then meeting Booth's eyes from the mirror's vantage point) CAROLINE: No. Why? (resumes her work) What did she do? (Booth's face is serious - no more games now) BOOTH: She died. (Caroline freezes, her brow furrowing - she turns slowly to gaze at Booth) BOOTH: You know, I'm afraid I'm going to have to ask you ... but when was the last time you saw her? CAROLINE: Uh, three weeks ago. She just ... stopped coming to work. She - she died? BOOTH: Did you ever, uh, talk to Howard about her? (he lowers himself onto one of the styling chairs, swiveling minutely as he watches Caroline, intently studying her reactions) CAROLINE: (confused) Uh, I don't know. Maybe. BOOTH: Howard ever see a picture of Sarah? CAROLINE: (visibly uncomfortable now) I - I don't like this. What's going on? BOOTH: She was found buried face down in an abandoned mine. Back of her head bashed in; wrists, ankles tied. Your husband's M.O. (As she turns back to face the mirror, Caroline's face reads as somewhat saddened, but it's difficult to tell yet if the sorrow is genuine) CAROLINE: Poor Sarah. (she spies a picture of herself and Howard, on the station table in front of her) But Howard - Howard has been in prison for the last seven years. (she turns back to Booth) How could he k*ll anyone? BOOTH: He has an accomplice. CAROLINE: You think it's me? BOOTH: You love your husband. CAROLINE: I love the good in Howard. I reject the evil. (smiles with genuine joy) We're going to have a child together. I've petitioned the court to let Howard donate. BOOTH: Yeah. (clears throat) I have a search warrant here for your home and your shop. CAROLINE: You don't need a search warrant. (Booth blinks, but says nothing) You can look anywhere you want, because you won't find anything. (Now it's Caroline who's making the benign face at Booth) (Cut to: Brennan's office. Brennan is sitting up, legs stretched out on her couch, listening to Booth talk as she looks pensively at the necklace found in Sarah Koskoff's shoe. Booth is perched near the couch arm at the end of the sofa, gazing at the floor, somber.) BOOTH: Sarah Koskoff was hung upside down before she was k*lled. That suggests the t*rture route. (pause) And I was hoping ... it was in the basement of a beauty salon. (Brennan looks up at him) But, uh, my agents, they didn't find anything. (finally meets her eyes and notices that Brennan is fiddling with something) What's that? BRENNAN: Religious medal. (hands it over to him) Sarah had it in her possession. BOOTH: St. Agnes. Patron saint of young women ... especially those who remain pure. BRENNAN: How do you know all that? BOOTH: I'm Catholic, Bones. (he hands the medal back to her) BRENNAN: (reads inscription on the medal) S.A.H.S. BOOTH: Yeah, St. Agnes High School. (considers this a moment) Except ... I think Sarah Koskoff went to public school. Oh, God. BRENNAN: (sits up and leans toward him) What? What does that mean? BOOTH: It means ... I have to go talk to a nun. (Cut to: Booth's office at the F.B.I. A nun with a narrow, well-lined face and a meticulous demeanor sits across from Booth at his desk.) SISTER KAREN DUNNE: We have no student at St. Agnes named Sarah Koskoff. BOOTH: Maybe she's a friend of one of your girls. DUNNE: As soon as you called me last night, we implemented a telephone tree asking precisely that question. No response. BOOTH: Do the names Howard Epps, Caroline Epps, Caroline Mapother mean anything to you? DUNNE: May I have the keyboard? BOOTH: (quickly accommodating) Yes, Sister. Yeah, of course. Here. (chuckles nervously) (Booth looks on, but the nun pauses - she clearly does not want him to watch what she types) DUNNE: (reproachful look) I need to enter a password. BOOTH: Oh, yeah. I'll be right over here. (swivels in his chair so he's not looking at the monitor or her typing) I'm Catholic. I - I go to mass every Sunday. (anxiously fiddling with his hands) Well, almost every Sunday. I'm very trustworthy. (On the monitor, an online database labeled St. Agnes High School pops up a black box that reads "No Match.") DUNNE: Nobody by any of those names. (Booth turns back in his chair to face her again) I feel that I have been very patient in regard to not asking what this is about. BOOTH: Oh, yeah. (reaches into his pocket for the jewelry) m*rder victim. A young girl was, uh, found with this religious medal. (The nun takes the medal from Booth and examines it closely a few seconds before she recognizes its origin and sharply looks up at Booth in surprise and apprehension.) DUNNE: Helen Majors. BOOTH: Helen Majors. Who's that? DUNNE: This golden medal is given to the Holy Spirit Award winner every year. I presented this medal to Helen Majors myself. BOOTH: (respectfully) May we ... please ... see Helen Majors? Talk to her? DUNNE: Helen left school three days ago. No one has seen her since. (Booth looks concerned) (Cut to: A photograph in Brennan's hand - a scene from the Holy Spirit Award presentation between Sister Karen Dunne and Helen Majors, both women standing behind a podium, smiling. Brennan is riding passenger-side in Booth's vehicle as he drives.) BRENNAN: Three days ago, Helen had that medal. Yesterday, we found it with Sarah Koskoff's d*ad body. It's possible Helen is still alive. BOOTH: We have Caroline Epps under surveillance. (his cell phone rings; Booth reaches into his suit coat pocket) BRENNAN: (exasperated sigh) I hate this. BOOTH: (answering his phone) Booth. BRENNAN: I don't want to find that girl's remains in some mine, Booth. BOOTH: (glances at her as he listens to the caller speaking) Reiner Hatin? Address. 7408 Haskell Street, Cleveland Park. (hangs up his cell phone and reaches for the C.B. radio handset) Uh, 22705 to Control. I'm en route to a possible H.R.T. incident at 7408 Haskell Street. Requesting backup. MAN ON RADIO: Affirmative, 22705. 7408 Haskell. BRENNAN: (looks to Booth, uncertain what all that means) What? BOOTH: Epps's prison letters log show in the last year he wrote six letters to a man by the name of Reiner Hatin at that address. Caroline Epps might not be Epps's accomplice after all. (Brennan reaches up near the roof of Booth's vehicle, poking around) What are you doing? BRENNAN: Where's the siren on this thing? BOOTH: (slaps her hand away) Don't touch - (gives her a look that says "Do I mess with your stuff?" as he turns on the siren himself) (Cut to: Siren still wailing as their vehicle pulls into the neighborhood of 7408 Haskell Street. Booth and Brennan both get out of the vehicle.) BOOTH: Okay, Bones, I'm going in. You're gonna wait outside. BRENNAN: Booth- BOOTH: (thinks she's protesting) No, I don't want to hear it. All right? (pulls out his w*apon and racks the slide, before positioning his hands on the w*apon, preparing to use it if necessary) When backup arrives, tell 'em there's a federal agent inside. BRENNAN: (gesturing, but Booth is not paying attention to her) But, the- BOOTH: (looks around) Which one is it? (Brennan clears her throat and points behind them) BOOTH: Great. A vacant lot. BRENNAN: I tried to tell you. (They both stand there, frustrated and back to square one for the time being, as police cars pull up to the scene, lights flashing and sirens wailing.) END OF ACT TWO ACT THREE (Cut to: Prison where Epps resides. Booth and Brennan are back in the visiting room with him.) EPPS: Did you hear? I'm gonna be a father. The judge granted our petition for artificial insemination. (turns to Brennan, looking mildly smug) When I make my donation to the baby bank, I'm gonna be thinking about you. (Brennan looks repulsed) BOOTH: Who's Reiner Hatin? EPPS: Oh, Reiner. (starts speaking German, which Booth doesn't understand but Brennan seems to) BOOTH: The letters were addressed to a vacant lot. EPPS: I must've written the address down wrong. I'm slightly dyslexic, you know. BOOTH: (leans in, all casual) Hey, come here. (Epps leans in slightly, too) You know, I really enjoyed - (he reaches under the table and yanks on Epps's body chain, forcing Howard forward until his head hits the table) - playing your game. (The side of Howard's face is pressed against the tabletop, and Booth leans in close, starting out with a harsh whisper that elevates with his anger) Now, you know what? There is a girl out there, hanging upside down with duct tape over her mouth! BRENNAN: Booth, let him go. (puts her hand on Booth's shoulder, trying to reach him through his anger) Let him go! (Booth lets go and stands up in one violent swoop, turning to exit the room. Epps sits up slowly, at first hunched over, then nonchalantly straightening to full height in his chair. He seems more amused by Booth's fury, not upset at all. As Booth leaves, Brennan bends forward to face Epps, eye to eye.) BRENNAN: For all your ... faults, Mister Epps, you were never interested in letting your victims suffer. You didn't t*rture them. You're not that kind of man. (Epps blinks but says nothing, so Brennan presses further) She's an innocent child. EPPS: (his face a bit more menacing now) She's a young woman ... and there's no such thing as an innocent woman. Look within yourself. You know I'm right. (smiles indecipherably) You know, I'm just guessing here, you understand, but I think you'll find that Helen Majors has less than 24 hours to live. (Brennan sits back, considering this information) EPPS: (sing-songs, with a sliver of a smirk on his lips) Better get going. (As Brennan gets up from the table, she "accidentally" jerks the chain with her foot, slamming Epps headfirst to the table surface again.) BRENNAN: (looks back at him unapologetically, with contempt) Sorry. (As she leaves the room, Epps winces for a brief second before sitting up and laughing maniacally) (Fade to: Brennan's office - Angela is sitting, placing markers on a skull, as Brennan paces.) ANGELA: What are you asking me for? BRENNAN: You said you've dealt with manipulative men before. ANGELA: Sweetie, this is a psycho k*ller, not some loser who wants you to cosign a loan for his Jet Ski. BRENNAN: Epps is pushing me around, Ange. He's in control. I hate that. (plops down in a chair, facing Angela, who smiles knowingly) ANGELA: You know, Epps is acting kind of like a boyfriend. BRENNAN: (half-laughs, incredulous) What? ANGELA: Well, you obviously fascinate him. He can't have you, and he can't k*ll you. (Brennan is listening now) So ... he wants to make you hate yourself. BRENNAN: God, Ange. What kind of boyfriends have you had? ANGELA: (mild smile) Let's keep the focus on you and Epps, okay? BRENNAN: (smiles back, nodding) Okay. ANGELA: Epps knows that you'll never forgive yourself if you don't find Helen Majors before she's m*rder. BRENNAN: Not only is Helen being tortured, but ... her family must be in agony. ANGELA: You see? This is what he's doing. (leans forward, speaking with a gentle tone) He's putting pictures in your mind. He's messing with your objectivity. BRENNAN: There's nothing I can do about that. (she looks down, miserable) ANGELA: You have to step back, okay? (Brennan looks up again, meeting Angela's eyes) Let the rest of us deal with the families. You find Helen. That'll keep Epps from ... getting a Jet Ski outta you. (Brennan smiles at Angela gratefully) (Cut to: Jeffersonian - Medico Legal Lab - Platform. Brennan is studying evidence on a computer monitor, as Booth weaves his way to her work station.) BOOTH: Bones. Caroline Epps - not an accomplice. She was at work when Helen Majors was kidnapped. BRENNAN: (speaking German, quoting from the phrase Epps used) "Alter Freund mit ahnlichem Geschmack." BOOTH: Yeah, whatever. BRENNAN: It means "old friend with similar tastes" in German. BOOTH: (skeptical) Oh, no. Epps tellin' us the name of his accomplice? That's too easy. (he starts to walk away) BRENNAN: Well, if it's too easy, then why can't we find him? (she gets up and joins him) BOOTH: You know what? He talked about impregnating Caroline. BRENNAN: (frustrated groan) What is with Caroline Epps? I mean, why have a child with a monster like him? What is she gonna tell the child when it grows up? "Hi, your daddy's a monster." BOOTH: (pauses at the top of the stairs) Look look look. Time out. You gotta detach from this, all right? We let Epps get under our skin, it's exactly what he wants. BRENNAN: Zack was right. Epps is trying to break us. (they head down the stairs from the platform) Not only did we save his life, but he is still k*lling. HODGINS: (strides over quickly, joining Booth and Brennan as they walk) I found traces of ethylene oxide and high levels of an antibacterial agent on Sarah's ankles. Also, polymer residue found in Polygenex latex glove liners used by people who handle toxic substances. BRENNAN: Airport screeners, cops- BOOTH: Wait - prison guards? (stops walking and pulls out his cell phone from his pants pocket) (Brennan and Hodgins stop walking and turn back to look at Booth, as Zack walks up with a file of notes and a photograph) ZACK: Lauren Hathaway was a nationally ranked junior golfer in 1997. (Hodgins sits down at a computer as Brennan takes the photo from Zack and studies it) BOOTH: (talking on his phone) Yeah, it's Booth. I need to know if Howard Epps ever had a prison guard by the name of Reiner Hatin. ZACK: She disappeared on May ninth, after leaving the Southampton Country Club in Raleigh, North Carolina. BOOTH: (still on his phone) Check and see if any guard changed his name. (Booth's eyes meet Brennan's) BRENNAN: Reiner is German for "pure." Epps has a thing about that. BOOTH: (to his cell phone) Translate the name and see if that comes back in any form. Then get back to me. (hangs up his phone and reaches for the photograph) This the victim from the park? ZACK: (to Brennan) Her father is in your office. BRENNAN: (stunned) What? BOOTH: Why didn't you say that? ZACK: You were on the phone. BRENNAN: Booth. (clearly upset) I can't do this one. Maybe Angela can help. (She avoids his eyes, turning instead to look again at the picture of the girl) BOOTH: (softly) All right. I'll take care of it. (Cut to: Brennan's office. Angela sits on the couch with Lauren's father, GRANT HATHAWAY, as Booth sits in a chair across from him.) GRANT HATHAWAY: My wife died five years after Lauren disappeared. I think - because she just gave up hope. (long pause) Part of me is glad she's not here today for this. ANGELA: (as gently as possible) We're sorry for your loss, Mister Hathaway. (he nods) For both your losses. BOOTH: When Lauren disappeared, the police originally suspected her golf coach. HATHAWAY: Yes. He'd had an affair with one of his students the year before. Ironically, his alibi was that he was with another student. BOOTH: Does the name Reiner Hatin mean anything to you? HATHAWAY: (shakes his head) No. ANGELA: Do you recognize this man? (she holds up a photo of Howard Epps in his prison orange jumpsuit, which Hathaway takes and studies) HATHAWAY: No. (upset now) I'm not helping, am I? ANGELA: (calmly) That photograph is current. (Booth nods minutely, appreciating her approach) Here are some drawings that show what he might've looked like 10 years ago. HATHAWAY: Hmm. (Booth watches closely as Angela shows the man one sketch, then another - the third one triggers something) Yes. That one. He was a - a greenskeeper at the club. He helped us load the car one day. I remember because he told Lauren she looked just like his mother when she was young. (Angela glances at Booth) It was an odd thing to say. (distraught) I told the police about him when she disappeared. Why didn't they arrest him? (Lauren's father appears close to tears, as Angela and Booth exchange a look.) (Cut to: Booth and Cam walking down a hallway in the Medico Legal Lab.) BOOTH: (certain now, resolute) Caroline Epps. She knows something. She just won't talk to me. CAM: Why? BOOTH: I'm a man, last time I checked. CAM: (smirks a little) But she'll talk to a woman? BOOTH: That's my thinking. CAM: Fine. I'll do it. BOOTH: Oh, no. You can't sarcasm it out of her. (Cam rolls her eyes good-naturedly) You have to connect. CAM: You don't wanna send Brennan? BOOTH: No - Angela. CAM: (surprised and unconvinced) Angela's an artist, an expert in 3-D reconstruction. BOOTH: Well, unlike you and Bones, Angela is, uh- CAM: (tilts her head, waiting) What? BOOTH: (small grin) She's better with the living than she is the d*ad. CAM: Fine. I'll go tell her what she's just volunteered for. BOOTH: Thank you. (grins widely now) (Cam shakes her head, rolling her eyes at him as she walks away.) (Cut to: Royal Diner. Angela and Caroline Epps enter and sit at a table.) ANGELA: Thanks for coming. CAROLINE: (anxiously) I've told your people everything I know. I don't see the point of this. ANGELA: I know this is disturbing. (she pauses, searching for the right words) I find it very upsetting, and I'm ... not married to the man who did it. CAROLINE: I love Howard, Miss Montenegro. ANGELA: (nods) I believe you. CAROLINE: (her expression shifts to one of appreciation) No one's ever said that to me. ANGELA: I think you'd have to love him very much ... to be willing to overlook what he's done. CAROLINE: Done in the past. ANGELA: The thing is, we're not so sure that it was in the past. (she pulls out some sketches of Epps's victims) For Howard, it's obvious what he likes. Blonde girls. CAROLINE: Not me, you mean. ANGELA: Men can't hide what they like. For Howard, it's this. CAROLINE: Men can change what they look at. ANGELA: Does Howard ever just look at you - (smiles) - as though you just feel his eyes adoring you? (Caroline's face falls, pained) CAROLINE: He - he asks for magazines, DVDs. He's - he's very specific. ANGELA: He likes blonde girls. CAROLINE: (forced laugh) Always the blonde girls. (she looks up at Angela, her face hopeful) M-maybe if I - if I dyed my hair- ANGELA: (saddened by Caroline's desperation to please Epps) I'm sorry. (pauses, trying to change the subject delicately) I have to ask you something ... Have you ever delivered any messages for Howard? CAROLINE: Don't you miss them? ANGELA: I'm sorry? CAROLINE: (struggling to get the words out) I wrote the message "Don't you miss them?" on a - on a - on a piece of paper, and slipped it into a mailbox. ANGELA: Whose mailbox? CAROLINE: Um, a man named Henry Gerber who Howard knew from prison. Howard calls Henry "The Mad German." ANGELA: When did you deliver the message? CAROLINE: F - five days ago. ANGELA: Thank you. (moves to get up from the table) CAROLINE: (reaches out to Angela, stopping her) C - Can - can - will you sit with me ... just a moment longer? (her eyes are filled with tears) ANGELA: (pauses) I'm - I have to make a phone call. You understand? (Angela is uncomfortable, but compassionately places her hands over Caroline's) But after that, I'll sit with you ... as long as you like. (Caroline looks appreciative as Angela gets up and walks away) (Cut to: Booth busting through the door of a house, Brennan following right behind him - HENRY GERBER is sitting in front of the television, watching a p*rn film.) BOOTH: (g*n drawn, pointed at Gerber) F.B.I. Hands in the air. (Gerber raises his hands gradually) That's it. (gestures to the left) Now move over there slowly. (Gerber makes a move to lower one of his hands) Ah! Keep your hands where I can see 'em. GERBER: I can't do both. BRENNAN: (notices something her partner hasn't) Booth. (Booth approaches Gerber guardedly, his g*n pointed at the man. As Booth makes his way around the couch, Gerber watches him, hands still up in the air.) BOOTH: Easy. (When Booth comes around the couch in a half-circle, he sees the man is actually sitting in a wheelchair.) BOOTH: Aw, geez. Where's Henry Gerber? GERBER: (irritated) I'm Henry Gerber. (Brennan and Booth stand there, confused.) END OF ACT THREE ACT FOUR (Cut to: Jeffersonian - Medico Legal Lab - Platform. The entire team is gathered to discuss the case.) BRENNAN: (standing) There is no way a man in a wheelchair could have k*lled Sarah Koskoff or swapped hamate bones with Lauren Hathaway. BOOTH: (also standing, pouring over a case file) All right, Epps got us again, huh? Gerber's paralyzed from the waist down because Epps knifed him just before he was paroled. (slaps file down on a table and looks up at Brennan) HODGINS: (sitting) So, what? His message "Don't you miss them?" meant what, his legs? ZACK: (also sitting, but with an admiring look on his face) Epps is good. (Hodgins stares at him, incredulous) Not morally, of course. But it's a classic feint-and-parry misdirect, delivered via his wife. BOOTH: (serious and slightly irritated) He gets off on screwing with people's lives. (Zack turns solemn) BRENNAN: Where are we on Reiner Hatin? BOOTH: Nowhere. (he aimlessly moves about the platform, discouraged) ZACK: I had some thoughts. Perhaps the point isn't that German is a different language, but that it's actually a different language. (Hodgins stands up - he and Brennan intellectually consider Zack's double-speak while Booth turns, annoyed) BOOTH: (sarcastic) Great. Thanks, Zack, for being so helpful. BRENNAN: (to Zack) Go on. ZACK: More broadly speaking, I mean, like an anagram or an inner or secret language. (turns to his computer monitor) These are phrases I found in English. Perhaps in German... BRENNAN: No, the whole German thing was a ruse. If it's anywhere, it's here. HODGINS: "Rant Herein I." (shrugs) You know, like inner schizophrenic voices. ZACK: "Are Inner h*t" could mean - (shakes head) - I don't really do the poetry thing. BOOTH: (stepping forward to take a look) "Neither Rain." No. Neither ... "Neither rain, nor sleet, nor d*ad of night." (he looks to Brennan for confirmation) BRENNAN: (nodding) The postal service motto. (Zack nods his agreement, too) HODGINS: Hey, the guy's all about sending messages. BOOTH: Mail to an empty lot. Messages dropped in mail slots. HODGINS: (making the connection) Postal workers wear Polygenex gloves. BRENNAN: Who received the letters Epps sent to that empty lot? (Cut to: Angela's desk, panning from her telephone at the forefront of her desk to where she sits, flanked by Booth and Brennan as they listen to a voice on the speaker phone.) MAN AT POST OFFICE: Letters with an invalid address and no return address go to the d*ad letter office. BRENNAN: Who has access? MAN: Uh, sorting staff and the mail carrier for that route. BOOTH: Stream us a route which includes 7408 Haskell Street, Cleveland Park, right? MAN: Yes. But there is no 7408 Haskell Street. ANGELA: (receiving the data on her computer) Got it. (Booth and Brennan lean in to take a closer look at the route marked on the map) BOOTH: Hey, that's Caroline Epps's beauty salon. (the salon's name is labeled on the map) BRENNAN: (sees another marker) That's St. Agnes High School. ANGELA: The k*ller picked his victims from a postal route. BOOTH: Tell us the name of the mail carrier. MAN: I can do better than that. All I ask is that when this goes to the press, nobody uses the word "disgruntled." (The post office employee forwards a picture of the mail carrier - it's a familiar face. The screen whites out, flashing to the beginning scene, where the dog owner says to Booth and Brennan, "I - I'm so sorry. He - he's never done anything like this." Flash back to the present moment.) BRENNAN: Booth. BOOTH: Yeah, I got him. ANGELA: What? BRENNAN: That's the guy who found the first body. BOOTH: He found it because he knew where it was buried. Let's go. (Angela gapes as the other two leave the room) (Cut to: Booth kicks in the door to Gil Lappin's home and enters, g*n at the ready. Gil's dog Buddy is there, barking loudly, teeth bared.) BOOTH: (freezes where he stands) Whoa. BRENNAN: (stands next to Booth, not moving a muscle either) Oh, great. Him again. I'll need a pine cone. BOOTH: (steps forward, pointing his g*n at the dog, shouting) Listen, dog, I will sh**t you in the head if you don't cut it out right now! (the dog sits immediately, whining, so Booth lowers his g*n, relieved) Oh. (Cut to: Booth opening the door to a room in Gil Lappin's house. When he sees the room is safe, he lowers his g*n. He and Brennan are grim as they survey the collage of victims' photos all over the walls.) BRENNAN: (stunned) Oh. BOOTH: (disgusted) God. I hate the serial k*ller wall of death. BRENNAN: (pointing to a smiling face in a photo) This is Sarah Koskoff. BOOTH: (gesturing too) Helen Majors. BRENNAN: They were so young, so innocent. (picks up a photo) And Lauren Hathaway. (Cut to: Close-up on the photograph of the young golfer as the scene switches to Booth's vehicle, at night. Booth is driving, and Brennan is sitting, passenger-side.) BRENNAN: Southampton Country Club. That's where Epps and his accomplice met. Lappin maintained the golf carts. (she dials a number on the car's cell phone) BOOTH: (frustrated and tense) He's winning, Bones. All right? We're this close to saving Helen Majors's life. We're running out of time. HODGINS: (voice heard over the cell phone speaker) Yeah. BRENNAN: Hodgins, it's me. (Cut to: Hodgins at the Medico Legal Lab, where he sits at a desk, phone held up to his ear) BRENNAN: (voice heard from over Hodgins' phone) Is there anything you can tell us about where Sarah Koskoff was held - (Cut back to Brennan in the car, on the phone) BRENNAN: (continues) - before her body was dumped in the gypsum mine? (Cut back to Hodgins at the lab) HODGINS: The only substance I can't explain is ethylene oxide. (Cut back to Brennan and Booth in the car, listening intently) BRENNAN: Well, what about the ethylene oxide, plus ... the antibacterial agents? (Cut back to Hodgins at the lab, as he puts the call on speakerphone and sets down the receiver) HODGINS: (shaking his head, getting frustrated) It - it could be a lot of things. (Cut to Brennan and Booth in the car, exchanging a tense look; cut back to Hodgins in the lab as he stands up) HODGINS: I'll set up a statistical model, give you four or five scenarios. (Cut to Brennan and Booth in the car. Booth is out of patience.) BOOTH: There is NO time. A girl's life is at stake here. (Cut back to Hodgins in the lab, his head bowed, listening to Booth's angry voice on the speakerphone. Hodgins' work has never had so much on the line before - all his previous research has involved general locations, or victims who were already d*ad.) BOOTH: Just give me your best guess right now! (Cut quickly from Booth in the car, to Hodgins in the lab) HODGINS: (bracing himself against the edge of the desk, visibly upset, almost yelling now) I can't just guess! I have a process! (He drops his head, emotionally distraught and intense) (Cut to Booth in the car, waiting, and back to Hodgins, who lifts his head and admits his fear) HODGINS: What if I guess and the girl dies? (shakes his head emphatically) No. No way! (He stands up and puts his hands on his hips, freaked out, as Angela enters the area, approaching Hodgins carefully, alarmed to see him this way - Booth's voice can be heard over the speakerphone again) BOOTH: All right. Simmer down, Hodgins. We're all - we're all just trying to do our best in this situation right now. (Hodgins covers his mouth with one hand, listening, stressed out) ANGELA: Jack. (Hodgins looks up at her) (Cut to Brennan and Booth in the car) BRENNAN: Hodgins, are you still there? (Cut back to the lab, where Hodgins returns his focus to the phone, distracted by Brennan's question) ANGELA: Hey. (Hodgins turns to her, tense and shaken) Pretend it's me asking, okay? (she is calm and smiling) Look, we're just exchanging theories here at work like always. (Hodgins blinks, visibly calming down) Two substances, right? Put them in the same place at the same time. (his breathing is more controlled now; he's settling down and listening to what she's saying) Either they mean something or they don't. (Cut to Brennan and Booth in the car) BOOTH: Hodgins, you there, buddy? (Cut back to Hodgins in the lab, losing his concentration, tensing up again, his fingers pressing against his forehead) HODGINS: Yeah. (voice desperate) Just give me a second, please. (Cut to Booth in the car, irritated now) BOOTH: We don't have a second! (Cut back to Angela and Hodgins in the lab. The extra pressure from Booth is not helping things - Hodgins looks up at the ceiling, stressed out and upset, while Angela attempts to keep her cool.) ANGELA: (tightening her hands into fists, trying to be as diplomatic as possible) Booth, do you think you could just ... stop talking, please? (Cut to Brennan and Booth in the car. Booth gives Brennan an edgy look, but gives in and stays quiet.) (Cut back to Angela in the lab, trying to get Hodgins to calm down and focus again. She looks to him, her face tranquil and expectant; he takes a breath.) HODGINS: Okay. All right. (searching the facts) Uh, antibacterial agents. And uh, he - he's a postal worker. ANGELA: Okay. HODGINS: (frustrated sigh) Uh- ANGELA: (encouraging) What else, Jack? (Hodgins looks at her, shaking his head, thinking) (Cut to Brennan and Booth in the car. Booth leans forward a bit as he drives, waiting, anxious but silent.) (Cut back to Hodgins as he looks upon Angela's face while considering the scientific possibilities) HODGINS: anthr*x. (Cut to Brennan and Booth in the car. Booth nods encouragement that Hodgins can't see.) BRENNAN: anthr*x? (Cut back to Hodgins in the lab, his eyes still fixed intently on Angela's. He breaks the gaze and turns to face the phone, to explain.) HODGINS: After the anthr*x att*cks in 2001, the post office shut down several ... sorting centers. (Cut to Booth in the car, listening carefully, trying to see the angle) BOOTH: (nodding) Okay. All right. (Cut back to the lab - Hodgins is still staring at the telephone) ANGELA: Tell me. (Hodgins looks up at her again - it's all coming together) HODGINS: Uh, they used ethylene oxide and this antibacterial ... agent, to - (turns his attention back to the phone) - That's how they cleaned 'em. Not all of 'em reopened. (Cut to Brennan in the car, considering this information) BRENNAN: So, it's possible Sarah was kept at an abandoned sorting center. (she looks to Booth) (Cut to Hodgins in the lab, his eyes on Angela again) HODGINS: Yes. (he smiles at Angela, who smiles radiantly back at him as he turns to the telephone, nodding) Yes, it is. (he's breathing heavily) (Cut to Brennan and Booth in the car) BOOTH: I knew you'd come through for me, buddy. Good work. (Cut back to the lab, where Angela is smiling and nodding at Hodgins supportively) HODGINS: Whew. (he's relieved and smiling back at Angela, immensely grateful) (Cut to: Booth's vehicle moving down the street, at night.) (Cut to: Booth and Brennan entering an abandoned sorting center, Booth taking the lead, his g*n ready. Brennan is behind him, carrying a flashlight.) BOOTH: (sighs) All right. (he reaches down to his ankle, pulls out a small p*stol from a hidden holster, and hands it to Brennan begrudgingly) Here. BRENNAN: I didn't even have to ask. (They slowly make their way through the center, Booth attentively checking for potential hiding places and shadows) BOOTH: Yeah, well, just be careful, all right? Don't sh**t me. Don't sh**t Helen Majors. Otherwise - (he shuts up at the sound of chains rattling and exchanges a look with Brennan - the sound is coming from up ahead, potentially from an upper level reachable by a metal ladder or around a dark corner where there are a couple of entryways) (Booth advances slowly, cautiously, his eyes everywhere. Both Brennan and Booth reach the entryway and peer inside - they see Helen Majors, crying softly, hanging upside down by her ankles from a length of chain.) HELEN MAJORS: Please? (they make their way around in order to reach her as she calls to them again, sobbing) Please? (Booth and Brennan run to her, Booth holstering his g*n as they come to the area where Helen is hanging) BOOTH: Helen? HELEN: (crying) Please - please help me. (Brennan switches on a nearby light as Booth reaches Helen) BOOTH: All right. Okay. (Helen is hyperventilating) Take it easy. I got you. (he holds her from underneath, supporting her back, shoulders and hips, easing her down slowly as Brennan helps to lower the chain) I got you, I got you, all right? (he gently lays her down on the ground) Where is he? HELEN: He just left. I don't know where he went. BOOTH: (intensely insistent) Bones, stay here with her. Stay right there. (he pulls out his g*n again and exits the room) HELEN: (looking to Brennan) Don't leave me. Please don't leave me. (Brennan kneels down beside the girl and looks over to the space where Booth just exited) (Cut to a long shadowy hallway within the sorting center, as Booth makes his way, searching for the kidnapper. He advances slowly, shining his flashlight here and there, illuminating dark corners and spaces. He turns his head for one moment, and as he rounds the corner, turning his head to focus forward again, Gil Lappin jumps out at him from the shadows. He viciously strikes Booth in the arm with a crowbar, knocking him down, sending Booth's g*n and flashlight clattering away. He swings at Booth a second time, his crowbar connecting with the cement floor as Booth rolls out of the way. Lappin aims once more, slamming his crowbar down, but Booth has rolled again, trying to get away from him. This time, Booth is out of room to roll. As Lappin raises the crowbar one final time, ready to strike Booth, a g*n sounds. Groaning, Lappin twists partway, stunned as he sees his sh**t - Brennan. She holds her g*n and flashlight on him, her eyes wide and round, as blood oozes from Lappin's mouth. Gurgling, he drops the crowbar, which hits the cement with a loud clank that echoes throughout the building. Lappin collapses to the ground near Booth.) (Booth gasps, breathing hard as he tries to sit up. He looks over to Brennan, who is still advancing toward Booth and Lappin, g*n and flashlight held out as if her arms were locked in that position.) BOOTH: Is he d*ad? (Brennan is wide-eyed as Booth sits up just far enough to feel the side of Lappin's neck) BOOTH: Yeah, he's d*ad. (he falls back over, groaning) (Only then does Brennan let go, dropping her arms to her sides, visibly relieved. Her mouth is still open, shocked at what she has just done. Lappin's eyes are still open but he does not move. He is truly d*ad and she has k*lled him.) BOOTH: (pulls himself to a sitting position, holding his injured arm delicately) God. BRENNAN: (dazed) I had to sh**t him. BOOTH: (breathing heavily) Yeah. (his eyes meet hers) I'm glad you did. (Brennan still looks distraught, as the scene dissolves into hazy light.) (The image comes back into focus at the prison, where Epps sits in the visiting room.) EPPS: Well done. (Booth and Brennan stand before him - Booth's hand is in a soft cast, bandaged halfway up his arm) Really. BOOTH: Game's over, Howie. EPPS: (looking mildly pleased with himself) Yes. I won. BRENNAN: Only if you wanted your accomplice d*ad. (she sits down warily) EPPS: Lappin's d*ad? BOOTH: (remains standing) sh*t resisting arrest. EPPS: (has an intense look on his face) Who sh*t him? BRENNAN: Hmm. (she does not immediately look Epps in the eye) EPPS: It was you, wasn't it? (Brennan lifts her chin in slight defiance but says nothing) You sh*t him? (Epps stares at her, his eyes staying on her face almost the entire time he talks) Did he take long to die? (she says nothing, clenching her jaw) Did he suffer? (Booth's eyes narrow) This is better than I hoped. (looks to Booth) I thought it would be you. (turns back to Brennan) How did it feel? Dirty, yes? But there's also a rush. (close-up on Brennan who remains quiet) Pleasure. (he leans forward a little) Part of you liked it. (Booth glances at Brennan out of the corners of his eyes, checking to see if she's okay) BRENNAN: This whole game was to have us k*ll someone? (Booth returns his focus to Epps, squinting at him, studying, silent) EPPS: Who's gonna tell Lappin's mom? She loves him very much, you know. (he stares at Brennan, face devoid of any human emotion, except maybe morbid curiosity) Without her son, she'll be completely alone in this sad world. (Brennan looks like she understands what that feels like) BOOTH: We're done with you. You're never gonna see us again. (looks to Brennan) Come on. (Brennan gives Epps one last hard look before she rises from her chair) EPPS: (eyes never leaving Brennan's) I'm pretty sure you're wrong about that, Agent Booth. (Booth stares Epps down as Brennan passes to exit the room. He then follows her out the door. Epps smiles.) (Fade to: Lounge area in the Jeffersonian, upper level of the Medico Legal Lab. Brennan sits alone on a couch, hunched over, glass in hand. Booth stands at the top of the stairs, jacket in hand.) BOOTH: Vodka? BRENNAN: (laughs) It's water. But it's - (she shakes the glass, ice rattling around inside) - on the rocks. BOOTH: You know, Bones, I'm not sure you grasp the basic theory on how to get drunk. Hey ... (he groans as he lays his coat over his injured arm, reaching for a chair with the other hand, pulling it over) ... what you need to do is order a sh*t of hard liquor ... (he sets the chair down) ... from a bartender named Shaky. (he grins as he sits and settles himself in the chair) And tell him to, uh, leave the bottle on the bar. (he gives her a knowing look) BRENNAN: I'm fine, Booth. (he nods slightly, indulging her) I'm sitting here thinking about it, and ... I'm fine. (Booth raises his eyebrows at her - she clears her throat) BOOTH: Okay. (smirks) So what I'm gettin' from you here, Bones, is that you're fine. (He knows better and the look on his face tells her so) BRENNAN: (looks away and picks up a photograph of Sarah Koskoff) He m*rder Sarah. He was about to m*rder Helen. (Booth swallows but says nothing, waiting, letting her get it off her chest) You know, why should I feel upset about sh**ting him? You know, I mean, if I was going to be upset, which I'm not ... it would be because Epps thinks he b*at us, so- BOOTH: He didn't. BRENNAN: I know. BOOTH: You're upset because you think he b*at us. (Brennan looks up at him) You know what? (he nods as she looks away) He did. BRENNAN: (looks up at him again, surprised) b*at us? BOOTH: (still nodding) Yeah. BRENNAN: Well, you just said that he didn't. BOOTH: Well, I changed my mind. BRENNAN: What, in the last three seconds? BOOTH: You know, you're afraid that Epps turned you into him - into a k*ller. (she's listening, concerned, scared) You have to come to grips with the fact that you k*lled another human being. (Booth pauses, his turn to look down for a moment) Because when you k*ll someone, you know, there's a cost. (he meets her eyes again) It's a steep cost. (he pauses, voice subdued) I know. I've done it. BRENNAN: (looks weary) I did the right thing. BOOTH: I know. (Brennan looks up at him, tears in her eyes - Booth takes care to look her in the eye so she knows he means it) I was there. (he smiles at her gently, and she smiles gratefully in return) (She looks down at the photo of Sarah Koskoff again - a big wet tear hits the image) BRENNAN: Oh. Look what I did. (she sniffles) BOOTH: It doesn't matter. BRENNAN: (talking about more than just the teardrop on the photograph) It does. It matters. (Booth nods at her, watching, understanding) BOOTH: I got something for ya. (he reaches into his pocket) BRENNAN: A bottle of hard liquor? BOOTH: (smiles) The next best thing. (He holds out his hand, palm up - it is a small, plastic toy piglet, which Booth holds out to Brennan. He holds it close to her face, and leans in.) BOOTH: Hmm? (chuckles) Meet ... (he leans even closer to her) ... Jasper. (Brennan looks at the pig. Her face is softer now, relaxing. Her eyes meet Booth's and he grins at her. Brennan can't help herself - she laughs and reaches out, taking the pig. As she looks at the toy, amused, Booth smiles at her warmly.) BOOTH: You're gonna be okay. BRENNAN: (looking up at him) Yeah? BOOTH: (unwavering) Definitely. (Brennan looks down at the pig for a moment, thoughtful, and then back at Booth. They smile at each other, a new level of understanding, appreciation and closeness reached.) (Fade to White, then Black) --END OF SHOW-

{"type": "series", "show": "Bones", "episode": "02x04 - The Blonde in the Game"}

foreverdreaming

"The Truth in the Lye" Episode 2x05 Written By: Scott Williams Directed by: Steven DePaul Transcribed by: everywhereto_me Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Hallway of house. We hear moaning; mattress bouncing. Pan to bed.) BOOTH: [Out of breath] Wow! [Sighs] God, that was- Yeah, that was- REBECCA STINSON, Booth's ex: Amazing. BOOTH: And a huge mistake. REBECCA: Huge. BOOTH: Huge. [Both start to put clothes on] REBECCA: Why do we keep doing this? BOOTH: Well, you know, we don't. I mean, what's it been? Twice in the past year? REBECCA: Three. Four, if you count that stakeout. BOOTH, putting on underwear: Okay, you know what? That wasn't sex. REBECCA: Maybe not for you. But... this is it. BOOTH: You know what? You're right. But, I mean... it's not like we're doing anything wrong. I mean, you and Drew are- REBECCA: We needed to take a break. To gain...perspective. But, um, this isn't helping. BOOTH: And that's why it's over. [looking at each other] REBECCA: Done. [Cell phone ringing] BOOTH: That's mine. REBECCA: Yeah. [Booth climbs over her, giving us a nice sh*t of Booth in his tightie-whities.] [climbing over her-] BOOTH: Ow. Oh. Ow! [Booth falls off bed, picking up phone-] [Rebecca begins to make the bed] BOOTH: Booth. Yeah. Address. [picks up paper] Hey, you know, I, uh- REBECCA: Oh, no, no, no. Me too. I have to pick up Parker from school. [Rebecca gets off bed] [Booth stands up, begins dressing-] BOOTH: Oh, you know what? Make sure that you bring him the comic that I got him. He loves that. REBECCA: Yeah, sure. [Booth enters the bathroom, closes the door] [Booth's cell phone, on the bed, rings. Rebecca picks it up, glances toward closed door.] [Opening phone-] REBECCA: Uh- uh- Agent Booth's phone. [Cut to- BRENNAN at the Jeffersonian, at her computer] [Looking shocked, confused-] BRENNAN: Oh, hi. It's Dr. Brennan. Is Agent Booth... available? [Cut to- REBECCA, putting on clothes, looking uncomfortable] REBECCA: Uh, available? Yeah, Dr. Brennan, I- [Booth steps out of bathroom, with no shirt on, looking at Rebecca. Rebecca urgently hands him the phone.] [Cut to BRENNAN-, who still looks confused] BOOTH [on the phone]: Yeah, Bones. What's up? BRENNAN: Nothing, just seeing if you got the call, and if you were swinging by to pick me up or- [Cut to BOOTH, who is putting on his shirt-] BOOTH: Oh yeah. Um, I'm just gonna have to meet you there, okay? [Cut to BRENNAN-] BRENNAN: [fast] Okay, bye. [hangs up the phone] [Cut to BOOTH] [Cut to BRENNAN] [Cut to BOOTH] BOOTH: [to Rebecca] You don't, uh, think she thought- REBECCA: No. No, we have a child together. It's perfectly normal for us to- to be together. BOOTH: Right, uh, it's not like this is ever gonna happen again. [mouth's really close, almost kissing this entire conversation] REBECCA: No. Exactly. Okay, um, are you done with the bathroom? BOOTH: Yeah. REBECCA: Okay, thanks. [she walks off screen] [Cut to- the CRIME SCENE. It's a construction site. There is lots of yelling, and a "You're clear!" as Booth drives in.] [He gets out of the car.] BRENNAN: Sorry if I interrupted anything. [they walk] BOOTH: [obviously lying] What? Oh! No. No, you didn't. BRENNAN: Good. BOOTH: Okay. But if you must know, you know, Rebecca, my ex... she stopped by my place to pick up a comic that I got Parker. BRENNAN: Okay. BOOTH: She just so happened to pick up the phone. That's it. You know? Nothing more, nothing less. [turning a corner] BRENNAN: I'm sorry. Did I say I must know? [cut to- a condominium under construction. It is all wooden beams.] [They enter an unfinished bathroom] [There is a bathtub, filled with what cannot be described with words. It is a deteriorated corpse floating in a chemical combination of household cleaning products] BOOTH: [off screen] Ooh, very nice. [groans] [Booth puts on a mask] [Brennan, talking into a tape recorder-] BRENNAN: Age and sex undetermined. [Close up on an arm sticking out of the tub of nastiness.] BRENNAN: Victim is immersed in a pool of- [sniffs] what smells like a composite of domestic corrosives- BOOTH: It smells more like, uh- BRENNAN: -Common drain declogger, acid wash, bleach. Submerged two to three days. BOOTH: [takes off mask, points to tub] All right, are you saying that he's been here all weekend just dissolving? BRENNAN: [circling tub] Allowing the k*ller time for the corrosives to do their thing. MAN: [off screen] Excuse me. Can I get in here, please? [Booth turns around, revealing-] MAN: Yeah, I'm Pete Valero. I'm the development contractor. BOOTH: Okay. PETE VALERO: [walking into room] Yeah, I came as soon as- [tub bubbles] [Pete turns around, vomiting in the sink] BRENNAN: There could be evidence in there. BOOTH: [gesturing to tub] I'd say most of it's right in there. BRENNAN: I'll need Zack to help me extract the remains and whatever else is beneath the surface. BOOTH: Wouldn't it be a lot easier if we took the whole tub? PETE: No, no, no, wait. That, that tub is a- is a Godive 3000. These things aren't cheap. BOOTH: Oh do you think anybody is actually gonna want this Godive 3000 after this? PETE: Well, would they have to know? [Brennan scoffs] PETE: [defensive] Look, I'm just saying, with subsidized housing the government wants every nickel accounted for. BOOTH: I'll get you a receipt... if you can tell me why the boss of the job is just showing up right now. PETE: [looking at Booth] I was at the dentist. I got a call in the middle of a root canal. Who knew... [looks at tub] I'd be better off there? BOOTH: [points to tub] Do you know who this is? PETE: How would I know? [Brennan has gloves on and is using tongs] PETE: I got over 200 workers on this site alone... not to mention all the kids and the- the vandals coming through here on the weekend. [splash] [Brennan is pulling skin out of the tub using tongs] PETE: [turning away, looking sick again] Oh, my god. BOOTH: Oh, god. Bones! [to Pete] Wait out there. BRENNAN: [holds up the skin with tongs] It's only skin. Okay, I'll need that window, a forklift, and a flatbed. BOOTH: Why? BRENNAN: You called it. We want answers... [taps tub] the tub is coming with us. [removes what looks like a person's hair with the tongs] [Close up on the tub. It bubbles] [END TEASER] [CREDITS] [COMMERCIAL SET] [ACT ONE] [At the lab with Zack, Angela and Hodgins. The tub is being lowered onto a metal platform] HODGINS: Down. Lower, lower, lower. Keep going, keep goin'. Aand...good! [removing straps from tub] Oh, this is gonna be fun. ZACK: I should get my video camera. ANGELA: I may need a Compazine. (NOTE: Compazine: a drug used to control severe nausea and vomiting) CAM: [walking on screen] They'll be none of that. No fun, no video, no vomit. [close up of tub] Ooh! Then again= BRENNAN: [walking on screen] We have to hurry. Those chemicals are eating away at our victim. [Zack hands Brennan goggles and gloves.] ANGELA: Is there any chance he was... put in there alive? HODGINS: If we find any rope or duct tape on the body, I'd say there's a good chance. CAM: Okay, people. Let's start with the who. We'll worry about the why and the how later. BRENNAN: But if we find the why and the how first, we'll gladly take it. [Cam and Brennan are staring at each other] CAM: Though "who" is clearly the priority. BRENNAN: The who is not going to change. But the clues might if we don't hurry. [Hodgins and Angela look at each other and roll their eyes] CAM: [giving up on Brennan] What's our starting weight, Zack? ZACK: Starting weight is [looks at display] 542.13. BRENNAN: The tub itself weighs about 200 pounds. Capacity is 34 gallons. CAM: Which at about 8.3 pounds a gallon comes to 270. 275. HODGINS: And two-thirds full makes it about 180... putting this guy somewhere in the 160-pound weight class. [Brennan nods] [Cam is stirring the tub, where orange is starting to appear] CAM: The cream always rises. Or in this case, melted body fat. [raises tong, melted body fat drips off] I'll measure its volume to determine body type. HODGINS: [scooping some disintegrated body substance into a beaker] I'll start separating all things chemical from organic. ZACK:[off screen] And I know you requested a strainer of some sort, Dr. Brennan... [he comes on screen, holding a pitchfork] but I thought this could be of use. BRENNAN: For the big pieces, maybe. CAM: After that, old McZacky, get on the horn with the coroner's office and tell them I want two field-unit water sifters sent here ASAP. ZACK: They get mad when I drop your name. CAM: Then drop it twice. [Zack sticks pitchfork into tub] ANGELA: Talk about the proof in the pudding. BRENNAN: Oh, even for me, this is disgusting. ANGELA: [grinning] Was this too much even for Booth? BRENNAN: [giving Angela a look] He's still questioning workers at the site. [turning around] Hopefully, [picks up tray with what looks to be a pile of hair on it] there's enough skull here for a partial reconstruction. [hands the tray to Angela] ANGELA: [looking at the tray] Hmm. I've worked with less. [Using the pitchfork, Zack picks up a long, orange...thing from the tub] ZACK: Right femur's pitted and brittle. [looks at it closely] Marrow's practically gelatinized. BRENNAN: [looking at the bone] Our victim's elderly. CAM: [looking up] Well, that's a bit of a leap. BRENNAN: Well, not really. Zack hold still. [She grabs a paper towel and wipes a part of the bone, revealing something metal] It's a hip replacement. CAM: [peering at the hip replacement] Don't these things usually come engraved with serial numbers? BRENNAN: Uh, not this one. It looks like the chemicals b*rned those off too. [Zack puts down his plastic face cover. He carefully puts the hip replacement on a tray using the pitchfork.] [Cut to- Booth walks into Cam's lab] BOOTH: Hey, so where is Mr. Tub-O-Lard? [pan to Cam, putting something in a strainer] I figured they'd bring him here. CAM: Lard, I've got plenty of. The rest of him's in the "ookey" room where he belongs. BOOTH: Oh! Wow, so then that nasty yellow goop is- CAM: Fat. 9.3 liters so far. [Zack walks into the lab] ZACK: Oh, good, Booth, I'm sure you'll want to see this too. [Zack is holding a jar of brown goop] BOOTH: What is it? ZACK: Guess. CAM: Maybe not, Zack. ZACK: [excited] It's our victim's wallet. Can you believe it? Leather, cash, cards- every shred of identification, completely emulsified. BOOTH: Mmm, wow. You know what, Zack? I'd like to go back to the old arrangement, where you don't talk to me directly, okay? [Booth pats Zack's shoulder] CAM: [to Zack] Have my water sifters arrived yet? ZACK: Yes, that's how I found the wallet. BOOTH: Okay so the point of this is? CAM: Doing what the wallet can't. Right now, I'd say our victim's an ectomorph. Thin, linear, narrow features. And I hear you're back with your ex. BOOTH: I'm sorry? CAM: Rebecca, right? Reliving old times? [Booth chuckles. Sort of] [Booth glares at Zack[ ZACK: Uh, I'll just keep sifting. BOOTH: Yeah. [Zack leaves] [to Cam] Dr. Brennan told you? CAM: Oh, relax. BOOTH: She did, didn't she? CAM: We all have our weak moments. BOOTH: No. Mm-mmm. We don't, okay? [starts to leave, turns around] I don't. CAM: Please, Seeley. Like we haven't shared enough of them for me to know better. [They look at each other. Cam chuckles. Booth leaves] [Cut to the forensic platform. Brennan is examining something under a microscope. Booth is in the background sitting on a chair] BRENNAN: I was not gossiping. BOOTH: Ooh, really? So then what would you call it? BRENNAN: Merely sharing a point of interest. BOOTH: Great. So now what am I, huh? [Booth gets up and starts to walk toward Brennan] The world's largest ball of string? BOOTH: Not you, your behavior. [Brennan lifts her head up from the microscope and turns around] It was a textbook example of just how helpless we higher primates can be to our biological urges. BOOTH: I am not helpless. [Brennan sighs and turns back to the microscope[ BRENNAN: He's not elderly. BOOTH: I can control my, uh- Who? BRENNAN: Our victim. You see these marrow cells? The lack of collagen indicates osteogenesis imperfecta. Brittle bone disease. BOOTH: And that's supposed to tell me he's not...old? BRENNAN: Not necessarily. And if you're not helpless, then why did you sleep with her? BOOTH: Oh, I really don't recall saying that I did. BRENNAN: You didn't have to. I could hear it in your voice. I might as well as walked in on you having sex. BOOTH: [scoffing] You didn't and we weren't. [starts walking away] BRENNAN: Well, it's nothing to be ashamed of, Booth. [Booth turns around, fake smiling] Humans act upon a hierarchy of needs, and sex is very highly ranked. It's an anthropological inevitability. BOOTH: Thank you, Bones. I really appreciate you boiling me down to your anthropological inevitabilities. BRENNAN: Sure. BOOTH: Anytime. BRENNAN: You know, if our victim had brittle bone, there could be a web site of some kind. He might have been listed. [cut to- The Angelator. Brennan and Booth are standing next to Angela, who is seated next to her computer. ANGELA: Afraid not, honey. There's no official database. But I did track down eight cases of brittle bone in the area. BOOTH: How many of them are adult male? ANGELA: Give me a second. [types] [Brennan glances at Booth. She looks away. Booth glances at Brennan. Angela notices] ANGELA: What's wrong? BRENNAN: With what? ANGELA: This is usually where I type and you talk. You two are never not talking. BRENNAN: Well, we're not not talking. BOOTH: Or maybe we're not not...not. ANGELA: [grinning] Okeydoke. Number of adult males with brittle bone in the metropolitan area is...zero- same with adult females. These are all kids. BOOTH: Why is that? High mortality rate? BRENNAN: No. When O.I. is fatal, it's mainly to infants. And only in severe cases. BOOTH: So our guy has a mild case. BRENNAN: Type 1. Near normal stature, fragile bones and joints, off-white sclera. [Angela looks thoughtful. She looks at the computer.] ANGELA: Is this disease hereditary? BRENNAN: Mild cases can be. The more severe forms, types 2 and 3, are often the result of a genetic mutation. ANGELA: But if our guy is type 1 and these kids got it passed on from a parent- BOOTH: Then all we have to do is contact these kids' families and find out which one is missing a dad. \ ANGELA: Well, let me print you the list. BOOTH: Print two. We'll split up. [Brennan looks at Booth then looks away with her jaw clenched] ANGELA: Hmm. [cut to- Brennan is holding a card, the print out from Angela, and ringing the doorbell to a house. A woman opens the door] BRENNAN: Mrs. Seaver? MRS. SEAVER: Yes? BRENNAN: I'm Dr. Brennan with the Jeffersonian Institute working in collaboration with the F.B.I. MRS. SEAVER: The F.B.I.? Is this to do with Larry? BRENNAN: That would be your husband, Lawrence Seaver? Raymond's father? MRS. SEAVER: He hasn't answered his cell phone in days. I've left so many messages. Please come in. [Brennan walks in] WOMAN ON TV: Meerkats form- MRS. SEAVER: Ray, honey. We have company. [There is a boy sitting on a couch] RAY: Who's she? Did they find Daddy? BRENNAN: My name is Temperance, Ray. And I'm just here to ask a few questions. [Brennan picks up a framed picture of the family- Larry, Ray, and Mrs. Seaver] BRENNAN: You're husband's been missing since- MRS. SEAVER: Thursday. We didn't think of him as missing. He just left on his business trip like he does every week. But he never fails to at least call us back. [pan to- Ray's arm. It's in a white cast with lots of signatures on it.] BRENNAN: That must've hurt. RAY: Not so much. I'm used to it. MRS. SEAVER: Ray has brittle bone. It's just a mild form, though, like Larry's. BRENNAN: [to Ray] You think I could sign your cast? RAY: [smiling] Sure, I'll get a pen. [Ray walks off] BRENNAN: [still holding the picture frame] Mrs. Seaver, I need to borrow this photo. MRS. SEAVER: Okay. Why? BRENNAN: Well, we found a body. MRS. SEAVER: [starting to cry] Oh, god. [cut to- Brennan and Angela are observing the top of a skull in the Angelator. Brennan is holding the framed photo] ANGELA: Sorry I couldn't do more. [she presses some things on her notepad PC] Skullcap was falling apart faster than I could put a face on it. BRENNAN: I'm not sure we'd have a match either way with so little to work with. [Booth walks in] BOOTH: Okay, here we go. Got our guy. [he is holding a framed photo] BRENNAN: What? BOOTH: Mother and her daughter up in Maryland. Dad missing since Thursday. [he holds up the photo for Brennan to see] [Brennan holds up her photo with wide eyes] BOOTH: Who's that? BRENNAN: Mother and son down in Virginia. Father missing since Thursday. [Booth takes the two photos. We zoom in on the two pictures. Seeing that the same man is in both pictures, with two different families.] BOOTH: Whoa. Mine's Lawrence Turner, 35, commercial electrician. ANGELA: Oh- BRENNAN: And I've got Lawrence Seaver, 35. ANGELA: my- BRENNAN: Commercial electrician. ANGELA: God. BOOTH: I think old Larry's got two wives. BRENNAN: More like two lives. [END OF ACT ONE] [commercial set] [ACT TWO] [Booth's office. The woman from Booth's picture is sitting in a chair talking on the phone as Booth walks in with a glass of water. Booth sits in the chair on the other side of the desk] WOMAN: [Into phone] Just make sure Jenny takes her meds. And tell her Mommy will see her in the morning. Thanks Betty. [Brennan enters as woman hangs up phone] BRENNAN: How old's your daughter? [Brennan sits down in a chair besides the woman] WOMAN: Six and a half. She and Larry, they have a special bond. BRENNAN: Brittle bone. WOMAN: You know about that? BRENNAN: She's type 1 like your husband? WOMAN: [nodding] He's always felt so guilty about that. He really dotes on her, on both of us. BOOTH: Mrs. Turner, your husband ever talk about any conflicts at work? MRS. TURNER: Never. Everyone loves Larry. He's fun, smart, hardworking. That's what keeps him out of town so much. [Booth and Brennan share a look] BOOTH: [Uncomfortable, kind of guiltily] Yeah, about that- I didn't realize electricians were called upon to be away from home so much. MRS. TURNER: There's just so much underbidding. And it's not like we can get by on what I make. BOOTH: As? MRS. TURNER: I teach. Eighth-grade science. BOOTH: Got it. MRS. TURNER: So he has to travel. [pan to Brennan, who gives Booth a look like 'get on with it'] Go where the money is. Not that he ever complains. [Brennan clears her throat and give Booth a look] It makes coming home to us all the more sweeter, he says. [tearing up] Oh, god! What are we gonna do? BOOTH: Will you just excuse me for one moment. I'm so sorry. [Gives Brennan a look and gets up from chair] [outside in the hall] BRENNAN: These women have to know the truth about their husbands. BOOTH: They could be in cahoots. BRENNAN: Cahoots? BOOTH: If they somehow found out that Larry was two-timing them, they could both want him d*ad. BRENNAN: Okay, so what now? We ask them? BOOTH: No, no, no, no, no. [smoothly] It's all taken care of. [Booth walks back into the office] BOOTH: Mrs. Turner, could you please come with me? [leading her out of the office] Right this way. Just wait here in the visitors' lounge. We won't be long. Help yourself to a cup of coffee. MRS. TURNER: Thank you. [she goes into a room] BRENNAN: [walking with Booth] That's the interrogation room. BOOTH: Not tonight. [They walk into the viewing room and watch Mrs. Turner through the glass. She is preparing a cup of coffee. There are couches and lamps] BOOTH: Hmm, nice touch with the kitty posters. BRENNAN: Who are you talking to? BOOTH: That couple in there. [Booth looks to a man and woman sitting next to each other on a couch] Agent Curry and Moran. They set up the room. BRENNAN: I'll never drink FBI coffee again. [a phone beeps, Booth picks it up] BOOTH: [into phone] Whenever you're ready, Charlie. [he hangs up the phone] BOOTH: You know, I almost married her, you know. BRENNAN: Agent Curry? BOOTH: Rebecca. My ex. BRENNAN: Oh. You can talk about her now. BOOTH: Yeah, she got pregnant. I wanted to do the right thing, but, you know, she said no. BRENNAN: You've told me this before. Not that you've ever said why. BOOTH: Well, issues with my job. She wanted to start her own career. She wanted to finish graduate school. BRENNAN: [skeptical] Alone with a baby? BOOTH: Logic. Right? You're applying logic? BRENNAN: Do you still love her? BOOTH: Not...like I did. Not like that. BRENNAN: Then why can't it just be sex? BOOTH: There's nothing "just" about sex, Bones. BRENNAN: But all mammals need it. That release of serotonin. The rush of endorphins. Naturally, you seek it with someone with whom you share a sexual rapport. BOOTH: Rapport, right. That's the word. BRENNAN: I know when I'm in need of a release..there's a former partner or two I'm...sure I could call. BOOTH: Okay, Bones. Thanks so much. I feel so much better now, huh? [looking back towards window. An agent is walking in with Mrs. Seaver] Here we go. AGENT: [over speaker] Help yourself to coffee, Mrs. Seaver. [Mrs. Seaver sits down on a couch across from Mrs. Turner] BRENNAN: Oh, I get it. Very smart. BOOTH: Well, it's my job, Bones. It's, you know, what I do for a living. BRENNAN: [looking at Mrs. Seaver and Mrs. Turner] They don't seem like- wait. [Mrs. Turner is getting up at walking towards Mrs. Seaver. She hands her a tissue, and sits back down] BOOTH: Hmm, they may as well be in separate rooms. BRENNAN: Making them either great actresses who are in cahoots- BOOTH: Or...they have no idea what's going on. [cut to- the lab. Angela walks up to Cam, who is examining bones on her table] ANGELA: How could these women not know? CAM: Brennan was pretty sure that they didn't. And still don't apparently. Booth wants to wait to tell them. ANGELA: Wait for what? To summon the nerve? CAM: Maybe. I just wouldn't want these women finding out at the funeral. ANGELA: I'll take a front row seat for that. [Cam looks at Angela incredulously] Sorry. Did I say that out loud? CAM: [to Zack, at a table close to Cam] Have you found anything resembling a w*apon in the tub yet? ZACK: Not yet. Why? CAM: [looking at a close up on her computer] These skull fragments may feel like wet cardboard, but I'm pretty sure we're looking at blunt force trauma. ZACK: [looking at the close up] I'll second that. Roughly "V" shaped. ANGELA: Corner of a 2-by-4, maybe? CAM: Specks of blood at the point of impact. Could've been the lethal blow. ANGELA: Making him d*ad before he was doused with lye. Oh, happy day. HODGINS: [entering] I've isolated our corrosive culprits. [putting on gloves] Sodium hypochlorite, calcium hypochlorite, and hydrochloric acid. CAM: Available at your local market. ANGELA: Lucky the whole tub didn't explode. ZACK: [walking over] It practically did. Along with teeth, I keep finding these tiny shards of copper from the fixtures. [he hands Cam a dish with the shards] HODGINS: Is that what this is? [using forceps, he holds up a ring] ZACK: No. That would would be a wedding band. HODGINS: Braided gold and platinum. Preserved by true love, no doubt. ANGELA: One metal for each desperate housewife. CAM: People, can we at least fake some sense of decorum. ANGELA: I can't help it. It's so Jerry Springer. First of all, how does anyone juggle two spouses? HODGINS: I can think of ways. Of course, by juggles, I mean quite literally- CAM: I have a scalpel. ANGELA: Maybe he dissolved himself so there'd be more of him to go around. [Cam gives her a look] I'm going to hell, aren't I? HODGINS: I'll save you a seat. [Angela grins. Cam looks at the two of them.] [cut to- the construction developer's building. Booth is speaking with the secretary, CHLOE DANIELS, at her desk] CHLOE DANIELS: Oh, no. Not sweet Mr. Seaver! It can't be him! BOOTH: Yeah. Well, um, is that your boss in there? [looking into a room behind Chloe] CHLOE: [ignoring Booth] I mean, who would do something like that? Everybody loves the man. [MR. VALERO, the contractor from the construction site, looks up and sees Booth.] BOOTH: Well, you know, not everyone. VALERO: [to Chloe] Hey, what's goin' on? CHLOE: Mr. Valero, you won't believe it. BOOTH: [to Valero] Agent Booth. We met yesterday. CHLOE: It was Mr. Seaver. That's who was in the bathtub. VALERO: Wait, Larry? The electrician? BOOTH: Yeah. Larry the electrician. Now- VALERO: Son of a bitch! Now I'm never gonna see my money. [Booth looks at him, surprised by what he just said. He and Chloe look at each other.] [cut to- another room at the office, only Booth and Valero are present] BOOTH: You know, I must say, uh, Pete, you're the first person I've come across who's ever had a bad word to say about Larry. VALERO: Well, the guy does have a way with people. Or, he did. I mean, I liked him too before he got all slippery. BOOTH: Slippery. VALERO: I fronted the guy 85 grand to cover electrical supplies. Last week, I got the inspector walking around, and she cites me for cheap materials. Substandard circuit breakers, insufficient G.F.I.'s. BOOTH: Where'd the 85 grand go? VALERO: Exactly what I asked Larry. "Show me receipts," I said. [sitting down with his legs up on the table] What do I get? Sob stories of bad bookkeeping, his son's health, problems with the wife. BOOTH: His wife? VALERO: Yeah. Like I don't got a wife of my own, right? [chuckles] BOOTH: [sitting down opposite Valero] You know, you realize, Pete, that everything you're telling me sounds a lot like motive. VALERO: [scoffs] Great. Do I need a lawyer? BOOTH: I don't know. You tell me. VALERO: All right, look. I can't say that I wasn't angry enough to want the guy d*ad. But like always, I fell back on the old builders' code. BOOTH: [quoting] "Can't squeeze money from the d*ad man"? VALERO: [surprised] You know it. BOOTH: Well, you know, as codes go, it's hardly limited to builders. VALERO: No, no, no. It's our code. You can look it up. BOOTH: No, no. Maybe later. Hey you wouldn't happen to have any of Larry's old paperwork on file? Accounts, receipts..? VALERO: Yeah, yeah. Sure. [he gets up] [cut to- Medico Legal Lab - Autopsy Bay] ZACK: [walking in] I think I've stumbled upon an anomaly, Dr. Saroyan. [he holds up a small item] CAM: [taking the item] It looks like a splintered ulna bone. ZACK: But it's not. It's ivory. CAM: From the tusk of a small elephant? ZACK: I was hoping you'd know. If you notice these indentations here. CAM: Like teeth marks on a pencil. See what Angela can make of it. [hands it to Zack] And after that, I'll need you to go back to the crime scene with the photos I'm taking. See what you can find with the approximate shape and dimension of this blunt force wound. ZACK: Like a m*rder w*apon? CAM: It needn't look like on. [pointing to the computer] Anything that replicates this pattern. [Zack walks away as Hodgins enters] ZACK: [to Hodgins in passing] I'm going on police business. HODGINS: So proud. [to Cam] Wait, does he mean out? In the world? CAM: We'll pin our phone number on his shirt. What's that you got there? HODGINS: Well, having finally h*t the very bottom of the tub, I found it plugged with a ceramic stopper, which I lifted and viola. [Cam takes from his hand a short tubular item] What do you make of this? [Cam examines it] [Cut to- Medico Legal Lab - Brennan's Office] [Brennan is on the couch, reading something] BOOTH: [walking in] Bones [laughs] are you ready for this? BRENNAN: Did you tell the wives yet? BOOTH: No, not yet. [Brennan shakes her head] But I did some checking into two-time Larry's finances. Under the last name Seaver, he's got a half-a-million-dollar life insurance policy. BRENNAN: Assigning motive to Gayle Seaver. BOOTH: However, under the last name Turner he's got a living will leaving everything to Lila and their daughter. BRENNAN: Giving both women motive. BOOTH: Right. Which is just a matter of which one needed the money more than they needed their Larry. CAM: [walking in carrying the thing Hodgins gave her] I might be able to help. BOOTH: With what? A very small used condom? CAM: It's the finger from a rubber glove. Hodgins just found it wedged under the tub's drain stopper. BRENNAN: [standing up] Well it was spared the corrosive effects of the lye. Meaning we may be able to pull a fingerprint from the inside. CAM: No maybes about it. If there's a print, I'll pull it. And when I pull it- BOOTH: We'll have our k*ller. [commercial set] [ACT THREE] [cut to-FBI] BOOTH: It's just standard procedure, Lila. Just press four fingers firmly and hold. [she is getting her fingerprints taken] Our investigation turned up a print at the crime scene. [now Booth is taking Mrs. Seaver's prints] And we just need yours, Gayle, to avoid any possible confusion. [cut to-FBI] [Brennan, Booth, and Mrs. Seaver are walking towards Booth's office] MRS. SEAVER: This isn't gonna take long, is it? BOOTH: [to Brennan] Our tech has the print you pulled? BRENNAN: Ring finger, left hand. BOOTH: [to Mrs. Seaver] Then this shouldn't take long at all. Just wait here. [he usures her into his office] [outside the office-] BRENNAN: Wait. Are you sure this is the best time to tell them? BOOTH: What does that mean? After two days of nagging me, you're just now you're getting cold feet? BRENNAN: What? I do not nag. BOOTH: Well, you know, it's an anthropological inevitability for women to gossip and nag. [walks into his office] [Mrs. Turner is seated, Mrs. Seaver is still standing] BOOTH: Can I get anyone a soda? MRS. TURNER: No thank you. [to Mrs. Seaver] Are you on my husband's case too? MRS. SEAVER: No. I don't work here. You're the, um, lady from the waiting room. You gave me a tissue? [she sits down] MRS. TURNER: Oh, yeah. That was you? MRS. SEAVER: Yeah. MRS. TURNER: Sorry, I'm a little out of it. MRS. SEAVER: Yeah, I know how that feels. BOOTH: Actually, ladies, let me make some introductions. Uh, Gayle Seaver, Lila Turner. Lila, Gayle. MRS. TURNER: Hi. Lila, that was very sweet of you. I- I'd just lost my husband. MRS. SEAVER: You did? So did I. BOOTH: Actually, that's...why you're both here really. Um, for the same reason, for the same husband. MRS. TURNER: I'm sorry? BOOTH: Yeah. Me too. BRENNAN: What Agent Booth's trying to say is that your husbands, Larry...are the same Larry. [Mrs. Turner and Mrs. Seaver look at each other] BOOTH: Uh, this will help. A little show and tell. Um- [he hands a photo of the Seaver family to Mrs. Turner, and hands a photo of the Turner family to Mrs. Seaver.] MRS. TURNER: [looking at the photo] Well, this is wrong. MRS. SEAVER: It's a joke. A sick joke. BOOTH: Actually, it's not- MRS. SEAVER: [standing up] My Larry would never- MRS. TURNER: [standing up] Your Larry? MRS. SEAVER: Yes- MRS. TURNER AND MRS. SEAVER: This is my Larry! MRS. TURNER: He's my husband. What are you talking about? MRS. SEAVER: [being held back by Booth] Just go ahead and lie like that? [they get physical] BOOTH: Bones? BONES: Okay. Let's sit! Everyone just sit down. MRS. TURNER: This is ridiculous. [she sits down] Fine. [Booth's office phone rings] BOOTH: [into phone] Booth. Yeah? Yeah, I'm meeting with them right now. Right. The one from the glove. BRENNAN: [to Mrs. Seaver and Mrs. Turner] I'm sorry. I can't imagine- MRS. SEAVER: [holding up photo of Turner family] Whose kid is this? MRS. TURNER: [holding up photo of Seaver family] Whose little girl is that? BOOTH: [into phone] Are you sure? Thanks. [he hangs up phone] BRENNAN: What? BOOTH: [looking uncomfortable. Out the side of his mouth] Um- The print we found on the rubber glove at the crime scene... it doesn't match either wife. BRENNAN: [quietly] Oh, so it's back to square one. BOOTH: [to the wives] Are you sure I can't get anyone a soda? [cut to- Brennan walking out of Booth's office. Rebecca is walking toward her. REBECCA: Hey. Dr. Brennan, right? BRENNAN: Rebecca, hi. REBECCA: Is he in there? BRENNAN: He is, but, it's not a good time. Not that my powers of discernment have ever been particularly sharp...vis-a-vis good times from bad, but in this instance, it's bad. REBECCA: And I thought Seeley was exaggerating about you. BRENNAN: With regard to...? REBECCA: Just tell him to give me a call. [Brennan nods, and Rebecca walks away.] BRENNAN: Hey. [Rebecca stops] BRENNAN: Can I ask you something? [walks to Rebecca] Why did you say no? REBECCA: Excuse me? BRENNAN: When he asked you to marry him? I mean, he seems an ideal candidate. Strong, alpha male, good protective instincts. REBECCA: And I should discuss this with you why? BRENNAN: It's just- I'm not sure he knows. And... I think it bothers him. [Rebecca struggles for words. She moves off to the side, Brennan follows] REBECCA: I've always taken care of myself. To a fault, sometimes. And we got pregnant, Seeley proposed. But I didn't want to be one of those women who gets married out of need. So I said no. BRENNAN: I can see that. REBECCA: By the time that I realized I'd made a mistake... that I'd still be the same person- I think there's a moment for two people. A single moment where they can either catch f*re or- Seeley and I, we missed our moment. Do you understand? BRENNAN: I'm trying. But the "single moment" thesis doesn't explain- REBECCA: Why we still get together. Fall together, really. Because, I think that we just feel what used to be there. And we miss it. BRENNAN: I think Booth thinks you didn't marry him because he wouldn't make a good father. REBECCA: What? BRENNAN: He worries about it himself. What he does for a living. His past as a sn*per. REBECCA: Oh god. [she pauses] Uh, do me a favor? Don't tell him that I came by, okay? Please. [Brennan nods. Rebecca leaves.] [cut to- Medico Legal Lab - Platform] [the tub is almost empty] HODGINS: Man, what I would've given to have been a fly on the wall when you told those wives. BRENNAN: You would've been swatted, trust me. BOOTH: No match on the prints from our nationwide database either. BRENNAN: At least we can assume our k*ller was a first-time offender. BOOTH: Great. Thanks, Bones. That narrows it down. HODGINS: So I hear you're back with your ex. [Booth glares at Brennan] BRENNAN: Don't look at me. HODGINS: [oblivious] Your son must be thrilled. I mean I know I may thumb my nose at the hypocrisy of marriage as a sacred institution, but I think a boy truly benefits- BOOTH: I am not back with my ex. HODGINS: Let me finish. A boy truly benefits from knowing where his parents stand, together or not. Like I once had this dancer down in Miami whose stage name was Abbey Road. Anyway, she had a kid too, right? BOOTH: That'll do, Ringo. [Zack walks in holding a bag and a file] ZACK: I think I scored, Dr. Brennan. BOOTH: Somebody just k*ll me right now. ZACK: [holding up an evidence bag] Dr. Saroyan sent me back to the crime scene. [handing the bag to Brennan] That's a junction box with a single brown hair embedded. BRENNAN: This is at floor level? ZACK: Across from where the bathtub had been. [holding up case file] You'll find its contours match our trauma wound. BRENNAN: Then let's see if this hair is a match for Larry. [begins walking out] HODGINS: Before you go, are we sure these copper bits are from the tub? ZACK: I assumed they'd come off the fixtures. HODGIN: Yeah, but- but the drain, the faucet and the spigots...they're all pristine outside a scratch or two. BOOTH: Wait. Let me see that. [picks up pieces] It's bird sh*t. Or it was. [looks around] It's compressed copper that's frangible so it breaks apart on impact. ZACK: Could they k*ll a man? HODGINS: I think our vice president disproved that possibility. BOOTH: Look, any a*mo at close range will do the job. BRENNAN: But at the very least, a g*n would've sent Larry flying, causing his head to h*t this junction box. HODGINS: Which given his condition- BRENNAN: Would be fatal. [cut to- Medico Legal Lab - Angela's computer] [Hodgins, Cam, and Zack are all present] ANGELA: Okay. What you thought were teeth marks, Dr. Saroyan, turned out to be Chinese characters engraved along the side. HODGINS: What do they say? ANGELA: They say: "What make foolish man think I speak Chinese?" [smirks at Hodgins] HODGINS: I thought you were half Chinese? ANGELA: And I think you're half Swedish. Let's hear some Swedish. CAM: What is it, Angela, please? ANGELA: [grinning] It's a chopstick. Only it's not the kind you eat with. HODGINS: There's another kind? ANGELA: Well, you wouldn't comb your hair with a fork, would you? HODGINS: My hair? ANGELA: All right, look. The one character that I was able to translate, [to Hodgins] off the internet, is the word "beauty," and I realized it's meant for hair. CAM: Where you twist it in a bun and stick this through to hold it in place? [Angela nods] But if that's what this is, we can be pretty sure it wasn't Larry's. [cut to- Booth's car] BOOTH: [into phone] Thanks. [hangs up. To Brennan-] Roommate says he went to go meet some friends at the Beltway Burger. BRENNAN: And you think it's this Chloe girl because- BOOTH: Of the chopsticks, right? As soon as Cam said it, I knew it. Because when I went to go see Pete, she had chopsticks in the back of her hair. And how did Hodgins find out? BRENNAN: I'm sorry? BOOTH: "Yeah, I hear you're back with your ex." BRENNAN: I don't know. I assume it was Cam. I was only trying to engage her in social intercourse. BOOTH: Excuse me? BRENNAN: Just trying to be normal. Congenial exchange with a coworker. And if that's what gossip is, I don't like it at all. BOOTH: Yeah, you think you don't like it? I can't stand- There it is. Beltway Burger. [horn honking, music playing. Booth pulls in. We see Chloe setting a tray of food down on a table. She is listening to headphones. She has chopsticks in her hair. Booth and Brennan walk up] BOOTH: Hey Chloe. Meetin' some friends? CHLOE: [yelling] Oh, hi! You're that FBI guy! BOOTH: [pulls headphones out of her ears] Yes, I'm the FBI guy. CHLOE: So you worship at the temple of Beltway Burger too, huh? BOOTH: Yeah, on occasion. CHLOE: Yeah, I may be 90% vegetarian but their burgers- can't get enough of 'em lately. BRENNAN: How many weeks are you? CHLOE: Excuse me? BRENNAN: Pregnant. I could tell by your gait. Your ilia- they've already started shifting to widen the birth canal. CHLOE: You can tell that? BOOTH: So you are pregnant? CHLOE: 14 weeks. BRENNAN: Booth- [we see Mrs. Seaver and her daughter, and Mrs. Turner and her son approaching] Chloe's friends. BOOTH: Chloe's friends. [to the women] Taking the kids out for a little late night snack, ladies? BRENNAN: Don't tell me. Larry's the father. [Chloe sighs] [cut to- FBI - Interrogation 1] MRS. TURNER: There's a playground about halfway between Gayle and me...designed for kids with special needs. Rubber surfacing, high-back swings. [Interrogation 2] MRS. SEAVER: I took Ray there last week, and Lila was there with Jenny. The kids started playing. We started talking. And one topic led to another. BRENNAN: And- small world. MRS. SEAVER: Yeah, too small. BOOTH: What about Chloe? MRS. SEAVER: Well, after we got over the initial shock, like yesterday but real, we decided to follow Larry to work the next morning- straight to a motel, where Chloe was waiting. [Interrogation 1] MRS. TURNER: And if that wasn't enough to make our heads explode, we then had to find out about Chloe's...condition. BRENNAN: At which point you knew it was time to confront Larry. [Interrogation 3] CHLOE: I had no idea that Larry was married. BOOTH: Let alone twice. BRENNAN: But since your prints match the one left in the rubber glove, we assume it wasn't long before you found out. [Interrogation 2] BOOTH: We checked your phone records, Gayle, and, uh- you didn't leave Larry any messages after Friday night. BRENNAN: The night you, Lila, and Chloe told him you were going to see him together to get answers. [Interrogation 1] BOOTH: So you found Larry at his job. You sh*t him point-blank. And you dragged his sorry ass back to the bathtub. BRENNAN: Where you doused him in sodium hypochlorite, calcium hypochlorite. BOOTH: Or as you and I like to call 'em, bleach and Quickie Plumber. BRENNAN: Which, as an eighth-grade teacher, you knew would do the trick. BOOTH: Simple earth science. MRS. TURNER: Look all that's true. But we didn't k*ll him. BOOTH: Really, then who did? MRS. TURNER: He k*lled himself. [Interrogation 2] MRS. SEAVER: He k*lled himself. [Interrogation 3] CHLOE: He k*lled himself. BRENNAN: Larry was d*ad when you got there? CHLOE: On the bathroom floor. [Interrogation 2] MRS. SEAVER: The g*n was still in his mouth. [Interrogation 1] MRS. TURNER: The coward must've freaked at the thought of facing us together. [Interrogation 2] MRS. SEAVER: If we'd surprised him, maybe he'd still be alive. BOOTH: Back up. You're saying that the g*n was still in his mouth? MRS. SEAVER: His finger was on the trigger. It was awful. BOOTH: And where's the g*n now? MRS. SEAVER: I buried it in my backyard. BRENNAN: That's a good place for it. [cut to- FBI] BRENNAN: Unbelievable. BOOTH: Yeah, you got that right. You know what, they're lying. BRENNAN: How do you know? BOOTH: Oh, come on. They've been lying since day one. Between all of them, they should have a dozen Oscars by now. BRENNAN: I know what those are. BOOTH: I mean, come on. su1c1de? Mm-mom. Bird sh*t, or not, okay, every self-inflicted I've seen, the guy sh**t himself, and he drops the g*n. Right? It's an a*t*matic reaction. Bang, drop. There's no way the g*n ends up in his mouth. BRENNAN: Then we'd better go dig up that g*n. [Rebecca walks in] REBECCA: Seeley. BRENNAN: I'll get the ball rolling. [she exits] REBECCA: Was that Dr. Brennan? BOOTH: Uh-huh. Why are you here? REBECCA: I needed to know if you were gonna coach Parker's T-ball team this year. BOOTH: You know I always coach Parker's T-ball team. REBECCA: I didn't wanna assume- BOOTH: Okay, whoa. What is going on here, Rebecca? Okay? [he pulls her into an empty room] Because look. I thought we agreed here. We cannot end up groping each other in the FBI closet. We can't do that. We're done. REBECCA: I know. BOOTH: Really? REBECCA: Seeley, all the excuses I gave you for not wanting to get married...my independence, your work- BOOTH: I know. REBECCA: No, you don't. You are a wonderful father. And Parker is a lucky kid. Such a lucky kid. And obviously, we still have feelings for each other. Do you still wanna marry me? BOOTH: Rebecca- No. I don't. REBECCA: I don't wanna marry you either. Here are the forms for T-ball. I'll miss you. BOOTH: Yeah. And I'm gonna miss you too. REBECCA: You know what I'm gonna miss the most? BOOTH: Yeah. But let's not go there. [Rebecca exits, Booth watches her go] [cut to- Medico Legal Lab - Platform] BRENNAN: Okay. DNA on the barrel confirms it was in Larry's mouth at some point. BOOTH: [poking at an enormous sh*t g*n] Yeah. Well, I still don't but it. You know, the kickback alone would've forced it out. BRENNAN: Unless he was d*ad before the sh*t. BOOTH: Well, yeah, that's true. But, uh- Wait, what? BRENNAN: The inside of Larry's skull is pitted, which I had always attributed to the effects of the lye. But each tiny hole matches perfectly with the bird sh*t, right down to these specks of copper. BOOTH: Are you saying that it was su1c1de? BRENNAN: I would, except these holes are void of blood, which would suggest they were self inflicted after blood stopped pumping through Larry's head. BOOTH: No, keep talking. I'll catch up. BRENNAN: Well unlike this blunt force trauma- no shortage of blood here. Proving he was d*ad before he was sh*t. BOOTH: So now we're talking about a faked homicide to cover up a faked su1c1de? BRENNAN: A faked su1c1de meant to cover up an actual, original m*rder. BOOTH: Now, just when you think things couldn't get any more twisted- CAM: [entering] How's this for a curveball? BOOTH:-in walks Cam. CAM: After retrieving and reassembling every tooth from that tub...I now discover that I had one extra. [she hands an evidence bag to Brennan] BRENNAN: Well, this is not a tooth. It's a crown. CAM: Exactly. Any of your women happen to be missing one? BOOTH: Not that I could see. BRENNAN: [chuckling] Well, it wouldn't be theirs anyway. It's sized for a man. CAM: I knew that. BOOTH: A man's tooth and it's not Larry's. BRENNAN: It's not a tooth. It's a crown, whereby a dentist files down an existing tooth- BOOTH: I know what a crown is, Bones. BRENNAN: Except Pete called it a root canal. BOOTH: Pete. [cut to- the construction site] MAN: Yeah, right there. [Booth and Brennan enter] PETE: Well, look who's here. Returning to the scene of the crime. BOOTH: Funny. I was gonna say that to you. [to workers] Okay boys, that's lunch. Let's go. PETE: Why? No, no. I'm talking about that. Look at my wall there. [points to broken wires] Who's gonna pay for that. BRENNAN: Let's find out. Smile for me, Pete. [she shines a LED light in his face] PETE: Who! Back off! What's this about? BRENNAN: Temporary crown, maxillary central incisor. BOOTH: [taking out cuffs] Turn around, Pete. PETE: Like I have any idea how Larry got in that tub? BRENNAN: Actually, on that detail, we're quite sure you don't. BOOTH: Making that look on your face when you saw it all the more priceless. PETE: That's because I didn't know what happened- BOOTH: Well, let me tell you what I know, Pete. Okay? I know Larry owed you 85 grand. So Friday night you come here to have a little talk to him about it. About the same time, he gets a phone call from his very unhappy wives. PETE: Wives? BOOTH: Yeah. Which puts Larry in a really bad place. So when you asked him, "Hey, you know, where's my money?" He pretty much blows you off. BRENNAN: Like he has more important things to worry about. BOOTH: Bad enough that Larry rips you off, but he disrespects you on top of it? That's not gonna happen in this lifetime. BRENNAN: So it got physical. Larry knocked your crown loose. And you shoved him down here where he h*t his head on the socket casing. PETE: I-I-I swear he didn't land hard. BRENNAN: With his O.I. condition, it didn't matter. Wouldn't take much. PETE: It was an accident. I'm sorry. BRENNAN: So sorry you had to cover it up? BOOTH: Stick a cheap g*n in his mouth, pull the trigger, and make manslaughter look like su1c1de. PETE: The guy had ripped me off for enough. I couldn't let him ruin me too. BRENNAN: And you can live with that? PETE: A person can live with anything if they don't think too hard. BOOTH: Let's try this again, Pete. Turn around. PETE: [getting cuffed] How did he get in the tub? It's been driving me nuts. BRENNAN: You know what? Try not to think about it. BOOTH: Come on. [cut to- Medico Legal Lab - Angela's Office] ANGELA: The irony is that I cannot think of a single woman who would want three husbands. HODGINS: Good thing. A guy would never be stupid enough to let it happen. ANGELA: Excuse me. These women were not stupid. [turning around- Hodgins is lounging in the now empty tub] And that is completely gross. HODGINS: But comfy. [Angela smiles] Welcome back by the way. ANGELA: What? HODGINS: Well after two days of inappropriate comments, you're back to judging me for gross behavior. ANGELA: When am I ever appropriate? HODGINS: Good point. [she is leaning on the edge of the tub] Maybe it was just the judging me I missed. Ah, the woman I know and love- [Angela raises her eyebrows] in a purely nonromantic, happy-to-be-judged way. ANGELA: Well- Anyway. HODGINS: These women. ANGELA: Right. Not stupid. And frankly, that they allowed themselves to be duped, is a sad statement on how lean the market is out there. HODGINS: I resent that. I'm out there. ANGELA: You certainly are. HODGINS: Well how not stupid could these women have been to think that they could get away with faking a m*rder? ANGELA: Or how compassionate were they to recognize that they were all in the same boat. So why let Larry take his insurance money with him? HODGINS: Yeah. A lot of good it'll do 'em in jail. [cut to- Medico Legal Lab - Brennan's office] BRENNAN: So you never said how it ended up with Rebecca. BOOTH: Well, yeah, it ended. The only time we'll ever spend together is with Parker. BRENNAN: You sure that's what you want? BOOTH: You know what, Bones? It might be all anthropology to you, but there are certain people that you just can't sleep with. I mean, you can pretend that it's just sex. You can lie to yourself, and you can say that it's all good. But, um, there's just- There's too many strings and- and too much at stake, you know? Too much to lose. BRENNAN: Yeah. I can see that. BOOTH: [standing up] It's over, you know? I'd appreciate, you know, your support in that. BRENNAN: I will. And if you should slip, I will...keep my mouth shut about it. BOOTH: Thank you. But, I mean, it's not like I'm gonna- BRENNAN: No, I mean with anybody. I'm sure Rebecca's not your only option for satisfying your biological urges. [they hold sexy eye contact] ANGELA: [entering] Please tell me these women are not going to jail. HODGINS: [behind her] After trying to bilk the insurance system, they'll get nothing less than a f*ring squad. ANGELA: Not if they never filed a claim. HODGINS: Because our friends here caught them. BOOTH: Well you're both kinda right. Given their kids and the circumstances, the D.A. is gonna offer probation provided that all three women show remorse and attend mandatory counseling. HODGINS: In exchange for movie rights I hope. [to Angela] You know they're gonna get calls. ANGELA: I hope so. [Hodgins exits] Hey nice going by the way. Cam tells me your back with your ex. BOOTH: Cam. ANGELA: Mmm. BOOTH: Cam in her office? [he exits] ANGELA: [inhales] I said something wrong. BRENNAN: Ooh, would it be gossip if I told you? ANGELA: I hope so. [they both leave] [cut to-hallway, the same hallway we saw in the teaser. It sounds like sex] [we see Booth, only Booth] BOOTH: Wow. That was, uh- That was- [pan to...] CAM: Wicked? BOOTH: Yeah. And a huge mistake. CAM: Not if we don't do it again. BOOTH: Deal. CAM: Deal. Not after tonight, I mean. BOOTH: Never again. CAM: No. [they kiss] [THE END]

{"type": "series", "show": "Bones", "episode": "02x05 - The Truth in the Lye"}

foreverdreaming

"The Girl in Suite 2103" Episode 2x06 Written By: Christopher Ambrose Directed by: Karen Gaviola Transcribed by: Elo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Cut to inside an elevator car. Booth and Brennan are standing inside the elevator as typical elevator music is playing in the background. Booth is swaying to the music a bit as Brennan looks bored.) BRENNAN: (looking at Booth) You like this song? BOOTH: (turning to Brennan) Nobody likes this song. BRENNAN: Well, you're dancing to it. BOOTH: Maybe swaying a little (hums). BRENNAN: And humming. BOOTH: Bones, you know, it's just something that you don in the elevator. BRENNAN: Buddhists say that if we can lose ourselves in the moment without distraction or desire, we experience truth. BOOTH: Why can't you just hum like a normal, happy person? (Elevator door opens and reveals a room that is severely damaged by an expl*si*n.) BRENNAN: (putting on gloves) Not really in the mood. BOOTH: (following Brennan out of the elevator) Ok, here we go. (Various sh*ts of the inside of the room are shown. There are several people milling around looking at the remains and debris etc. Radswell, who is also a little person, approaches them.) RADSWELL: Special Agent Booth, and I'm gonna assume this is Dr. Brennan? BOOTH: (in a weary tone) Bones, Alex Radswell, he's, uh, from State Department. BRENNAN: Why'd you say it like that? RADSWELL: Booth believes the State Department was put on Earth to protect bad guys from the FBI. BRENNAN: (shining her flashlight around) I count three d*ad? RADSWELL: Four. There's one behind the bar. Already ID'd as the bartender. This was a cocktail party after a conference on drug tr*ffick in South America. The keynote speaker was Colombian judicial attaché Dolores Ramos. BRENNAN: Did she survive? RADSWELL: Minor burns, smoke inhalation. She'll be fine. Luck of the draw. BRENNAN: (to Booth) You seem uncomfortable. Does his size make you self-conscious? (pointing to Radswell) BOOTH: Bones. BRENNAN: It's a condition-skeletal dysplasia. Pseudoachondroplasia or S.E.D. congenita? BOOTH: Bones! BRENNAN: What? RADSWELL: Dr. Brennan, I can see that you're a straightforward person and as much as I appreciate that quality, what you're asking me is neither your business nor relevant. BRENNAN: But it's my business because I'm a forensic anthropologist. But, you're right, it's not relevant. BOOTH: So, what happened here? b*mb? RADSWELL: (pointing into the room) The blast came from the room next door. Your people are working on the cause right now. CAM: (entering from the other room) I'm betting Colombian drug types, they just love bl*wing people up. RADSWELL: Before she was attached to the embassy, Dolores Ramos was a prosecutor in Bogota. She had plenty of enemies in the cartels. BOOTH: You ID anyone else beside the bartender? RADSWELL: Hector Madure, (points to body) Chief of police from Quito, Ecuador. CAM: (holding up a photo) I brought you in to confirm the identity of his wife. She's the extra crispy one. (Brennan heads over to the body.) RADSWELL: (points to another remain) Father Gabriel Ruiz, he ran a drug program for kids in Bogota. BOOTH: Well, you know, it's a big score for the drug cartels. Anyone of these people, you know, make a good target. RADSWELL: (leaving) I'm gonna check on the conditions of the survivors, you need anything, just holler. BOOTH: Will do. (Brennan is comparing the skeleton with a photo of the woman she was given.) BOOTH: What do you got, Bones? BRENNAN: Female, mid 40s. Bone structure fits this picture of Constanza Madure pretty closely. Dental work will confirm. (looks around the body) The debris embedded in the remains suggests an expl*si*n. BOOTH: So does that giant hole in the wall there. BRENNAN: (looks at something on the ground nearby) Part of the navicular. Top of the left foot...not hers. There are other bone shards scattered here. BOOTH: Ooooh, you mean like, extra bits? BRENNAN: Yes. These are fragmented from the blast. (Looks at a wall) Ah, there's bone fragments here in the wall. I think someone was standing in this room very close to the b*mb when it went off. BOOTH: Well, it had to be the b*mb, right? Mean, talk about instant karma. BRENNAN: The question is, where are the rest of his remains? BOOTH: Vaporized maybe. BRENNAN: Unlikely. (walks over and crouches down somewhere) Oh, huh. BOOTH: What do you got? BRENNAN: An external occipital protuberance. Fissures indicate thermal detachment. It's the back of a human skull. BOOTH: (calling out) Cam, any of your bodies missing a protuberance? CAM: No, all of these remains are fully intact. BOOTH: Fully intact. CAM: Uh huh BRENNAN: (stands up and shines her flashlight at the chandelier hanging from the ceiling, where a skeleton can be seen) Not all of them. BOOTH: Oh. OPENING CREDITS (Cut to the Medico-Lab. Booth, Brennan and Cam are waling out of her Brennan's office and discussing the case.) BOOTH: Arson investigators say that the expl*si*n definitely originated in the room next to the cocktail party. CAM: Who was checked in there? BOOTH: Nobody, it was being renovated. BRENNAN: Well, paint, combustibles-they would've added to the force of the f*re and expl*si*n. BOOTH: So, maybe the b*mb got caught by his own expl*si*n. BRENNAN: Her own expl*si*n. BOOTH: Wait, the b*mb was a female? BRENNAN: Sciatic notch doesn't lie. CAM: Neither does the vagina. BOOTH: Whoa, uh, wait a minute. Whoa, wait a minute. You're saying this skull was so hot that it explodes, but the girlie parts are still intact? CAM: (walking on to the platform with Brennan) She was thrown into that chandelier above the f*re. The deep tissue remained intact. BOOTH: Thank you for that, I'll-(turns to leave). (Brennan and Cam join Hodgins and Zack on the platform, examining the remains.) HODGINS: Particulates embedded in the remains are a combination of glass, wood splinters, plaster and drywall. ZACK: The b*mb is Caucasian, 5 feet 4, late teens/early 20s. Still no ID. CAM: The hair sample makes her a bleach-bottle blonde. ZACK: Ankylosis in the right trochlea and capitulum and scaphoid. BRENNAN: Occupational markers from carrying a tray. HODGINS: Mad b*mb-teenage assassin-waitress? CAM: She might not have had a choice. BRENNAN: I don't understand. CAM: The cartels force people to do what they want. Your waitress refuses, the cartel wipes out her family. HODGINS: I'm running chemiluminescence tests now to get a chemical fingerprint and then chromatography to see what triggered the blast. (Hodgins leaves the platform, but not before giving Angela a big smile as she approaches the rest of the group.) ANGELA: I scanned the skull and reconstructed a face. (She walks over to a computer terminal and pulls up the images.) CAM: Send it over to Booth. If drugs are involved, maybe she has a record. ANGELA: Yeah, I already did that. CAM: Listen, people, please. Don't be sending stuff without informing me first. BRENNAN: But you wanted her to send it, I heard you. CAM: But not without first-(pauses) just run everything by me first, ok? Every circus needs a ringmaster. In this circus, it's me. (Cam leaves. Angela and Brennan exchange a look of disbelief.) ANGELA: (whispers) Yeah. (Cut to FBI Building. Booth, Brennan and Radswell are getting off the elevator.) RADSWELL: All we ask at the State Department is that you treat this woman with the respect she is due as a friend of this country. BOOTH: I know how to question the witness. RADSWELL: I am here at the request of the Colombian ambassador, Judge Ramos and the State Department. BRENNAN: Well, that's disingenuous. What are the chances that all three would ask you separately? (places hands on her hip) RADSWELL: Why are you being so confrontational? BRENNAN: You're used to people deferring to you because of your size. It's a normal response that you take advantage of. I don't like it. BOOTH: Here we go. BRENNAN: Well, see? (to Booth) Even you don't want to say anything to hurt his tiny feelings. (to Radswell) I don't mean that your feelings are tiny, I mean that you have feelings about being tiny. RADSWELL: The ramifications and repercussions of impeded access will compromise accommodative responses detrimental to your unabated participation in our shared endeavours. (Confused look on Brennan's face.) BOOTH: That's State Department speak. We don't do it his way, we'll get fired. BRENNAN: See? If a regular-sized person tried to intimidate you, you'd thr*at to kick him through the window. But because in his case it's an actual physical possibility- BOOTH: Let's just question the judge. RADSWELL: Thank you. BOOTH: You're welcome. (They walk towards the conference room.) BOOTH: (turning to Brennan) That was a nice moment-me translating for you. (Cut to inside the FBI conference room. Radswell is sitting at the head of the table with Booth/Brennan on one side and Judge Dolores Ramos and her husband Juan on the other.) DOLORES: I was speaking with Father Ruiz when the b*mb went off. I believe his body protected me from the blast. JUAN: I was barely touched. Father Ruiz was a very close friend of ours. BOOTH: (taking a photo from a file in front of him) Did you see this woman at the hospitality suite at the time of the expl*si*n? (pushes Angela's rendering across the table.) DOLORES: No. BRENNAN: You're sure? She wasn't serving drinks, anything like that? JUAN: The service staff were all from the embassy. Who is she? RADSWELL: She may have been the b*mb. BOOTH: Mr. Radswell. RADSWELL: The State Department recognizes Judge Ramos as a great friend to this country and has charged me with keeping her apprised of this investigation. BOOTH: Did you or anyone receive any thr*at at the embassy before the conference? DOLORES: We are always receiving thr*at. It's a fact of life for us. JUAN: The government provides my wife and our family with bodyguards. We have lost loved ones in the past. DOLORES: A daughter, eight years ago. BOOTH: Our condolences. JUAN: Do you believe this woman to be connected to the cartels? BRENNAN: We haven't identified her yet. RADSWELL: Perhaps, Judge Ramos your friends in Colombian law enforcement could be of help. DOLORES: Yes, of course. Anything to aid the investigation. BOOTH: Thank you, Judge Ramos. That's all for now. (Cut to Lab. Hodgins is entering Angela's office with his camera.) HODGINS: Hey, can you upload the pictures from this camera? ANGELA: Am I going to regret it? HODGINS: What kind of guy do you think I am? ANGELA: (takes camera and walks over to her computer) It's just that men sometimes think things are funny that women merely find gross. HODGINS: (sitting down next to Angela) They're pictures of the hotel room. I went there to collect some samples. (Pictures show up on screen) Yeah, see...the heat blast deposited the first layer of residue on the walls-hydrocarbons. ANGELA: The first layer? HODGINS: Yep, lawyer two...I had to use an electron capture detector to identify. It was toluene and benzene-oxidized paint-which just exploded from the cans. ANGELA: The expl*si*n was a two-parter? HODGINS: More accurately a f*re, then an expl*si*n. But get this...I found a patch of wall with only oxidized paint on it. Basically a shadow. See, something was between the wall and the f*re, then was gone when the expl*si*n occurred. Think you can figure out what it was? ANGELA: I can try. HODGINS: (exchange looks with Angela) Cool. I also found these blobs of melted something (takes out tube). ANGELA: Yeah, not my department. You're just trying to prolong this conversation. (They both smile as Hodgins leaves.) (Cut to platform. Zack and Cam approach the remains.) ZACK: What do you want to know? CAM: Everything. ZACK: The expl*si*n shifted the placement of the teeth in the maxilla and mandible. (pointing to computer screen) I've repositioned them so that we can match the dentals. The computer is looking now. (crosses arms) Why do you suddenly want to know everything? CAM: I think there's a tendency here for each of us to work too independently. ZACK: My closest acquaintance outside work is a woman I know who's a performance artist. Last month, she enclosed herself in a plastic box with six rabbits. It went over quite well, perhaps you've heard of her? CAM: Zack, when I said everything, I meant just the case. (Computer beeps.) ZACK: (looking at the screen) Lisa Winokur. CAM: Yep, never heard of her. ZACK: Me neither. CAM: Isn't she the rabbit woman? ZACK: No. Lisa Winokur's the woman in the chandelier. CAM: Oh, good. I'll let Booth know you ID'd the victim. ZACK: If you'd like to know anything else- CAM: I think I'm up to speed for now, but thanks. (Cam leaves Zack.) (Cut to a front porch. Booth is talking to Jill Winokur.) JILL: I saw about the expl*si*n on the news. But Lisa wasn't supposed to be working at the hotel last night. So I never thought she'd be one of the casualties. BOOTH: How long had your daughter been working there? JILL: Off and on, a couple of years. Waitressing when she needed money. Tomorrow's her birthday, I ordered the cake (sobs). I thought that she was spending the night out with friends-that's why she didn't come home. BOOTH: She spend many nights away from home? JILL: My daughter was a very attractive young woman living with her mother. She had boyfriends, and, yeah, sometimes she didn't come home. BOOTH: Did she have, uh-um, anyone special in her life lately? JILL: Yeah, but I-I never met him. I don't know his name. BOOTH: Is there anything you can tell me about him? JILL: Oh, he was foreign. Puerto Rican maybe? She called him "Senor Hot Stuff". Maybe that was a joke...she said he was rich. Lisa was a really sweet girl (cries.) (Cut to Angela's office. She is showing Hodgins something on her computer.) ANGELA: (pointing to screen) The f*re started approximately here, which means that whatever cast your reverse shadow was positioned here. HODGINS: What cast the shadow? ANGELA: Well, I manipulated the images you gave in order to figure out the shape of the silhouette. The dark areas are where there was both blowback residue from the f*re and the deposits of oxidized paint left by the expl*si*n. By going in as far as individual pixels, I was able to find the area where there was only paint residue. HODGINS: That's a person. ANGELA: Yeah. Given the angles and the distance from the wall, I'd say it's somebody about six feet tall. HODGINS: And Lisa Winokur was only 5 foot 4. ANGELA: Which means whoever this was got out before the actual expl*si*n occurred. HODGINS: (looking at Angela intently) Oh, I could kiss you. ANGELA: That would require permission, which I deny. HODGINS: I'll tell Booth that the b*mb is alive and is six feet tall. (Hodgins gets up to leave, as Cam arrives.) CAM: You'll tell who what? (Hodgins leaves without stopping) There's a loop people, and I'm in it. Not only am I in it, I'm the big curvy part. (Cut to a bar, Booth and Brennan are interviewing Denise, a waitress.) DENISE: Lisa wasn't scheduled to work last night. She just came in on her own as a customer, picked up a guy. BOOTH: You know anything about him? DENISE: Looked Hispanic. That's not P.C. to say, but you want details, right? BOOTH: Um hmm. DENISE: And it looked like he had money too. BOOTH: How tall was he? DENISE: I don't know. He was sitting when I saw him. Look, Lisa was a good kid, but she used to scope the place for rich guys. BRENNAN: So she was a prost*tute? DENISE: What? No, no. She was just like any of us. BOOTH: Looking for a husband, right? DENISE: This guy last night-she zoned in on him real hard. Took him upstairs, you know, for privacy. BOOTH: Upstairs where? DENISE: The room that was being renovated. The-the one that caught on f*re. I mean, it's against the rules, but we've all done it. BOOTH: Right (chuckles). (Brennan gives a look that she's not amused at the flirting nature between the two.) DENISE: I mean, why else work in a high-class place like this, right? BOOTH: Yeah. BRENNAN: Someone's trying to flag you down. DENISE: (turns to look behind her) Oh. BARTENDER: Denise, Denise! DENISE: Excuse me (turns away). BOOTH: Looks like it's possible that Lisa went upstairs for a little-(clicks tongue) quickie and, uh, wandered into a nightmare. BRENNAN: She was trying to get you to upstairs for a little-(knocks on the table and whistles)- DENISE: (comes back) Hey, that's the guy that Lisa was with (points). (A guy walks across the bar.) BRENNAN: Yeah, he looks like he can be six feet tall. BOOTH: What do you say we go pay him a little visit? (They walk up to the guy who is now sitting at the bar.) BRENNAN: Mind if we ask you a few questions? ANTONIO: (nonchalant) Oh, well, lose your friend, and maybe. BRENNAN: It's about Lisa Winokur. (Antonio turns and Booth tackles him to the floor. Quickly, somebody pulls out a g*n and trains it on Booth.) BOOTH: Ok, it's cool, man, it's all good. (Booth slowly gets up and grabs the arm with the g*n. A small kafuffle breaks out that ends up with both men on the ground with Booth and Brennan towering over them with g*n pointed.) ANTONIO: My name is Antonio Ramos! Call the Colombian embassy, I have diplomatic immunity. (Cut to Lab, inside the Autopsy room.) CAM: Musculature of the neck preserved the trachea, a swab shows no trace of carbon. ZACK: So Lisa Winokur was not breathing when the f*re started. CAM: I found semen. ZACK: Where? CAM: The usual place. ZACK: No, I mean, no condom? CAM: Well, the sex may not have been consensual. ZACK: If she was already d*ad when the f*re started, what k*lled her? CAM: Too much tissue damage for me. Now it's time for the boneyard. (Zack gives Cam a funny look) You, Zack. Do your thing. ZACK: I'll have to ascertain if these fractures were the result of heat, expl*si*n or trauma. Which means I need to know the exact nature of the expl*si*n. CAM: How do you do that? ZACK: The usual way. (Cut to inside an interrogation room. Booth and Brennan are with Antonio.) ANTONIO: My embassy has been informed of my whereabouts, I have nothing more to say. BRENNAN: Antonio Ramos. BOOTH: Any relationship to, uh, Judge Dolores Ramos? ANTONIO: She's my mother. BRENNAN: This seriously calls genetics into question. BOOTH: You know, your mother is a great woman. (Places a bottle of water in front of Antonio) Have some water. Why'd you run, Antonio? (He reaches out to grab the bottle with his right hand, but switches to the left) In my experience, there are two reasons why people run. One, danger. BRENNAN: (observes Antonio's hand switch) What's wrong with your arm? ANTONIO: What? BRENNAN: Your arm, how did you hurt it? BOOTH: (continues) The second reason people run is they got something to hide. So...you got something to hide, Tony? BRENNAN: (coming around to examine Antonio's arm.) Compound fracture, there or five pins in there. Say, uh, six months old? BOOTH: (holding out picture of Lisa) Did you have sex with her last night? ANTONIO: (chuckling) Is she what this is about? Because it was her idea, not mine. BOOTH: How well do you know her? ANTONIO: Very well, and not so well, if you know what I mean. (Booth chuckles in understanding.) BRENNAN: I don't know what he means. BOOTH: It means he had sex with her and forgot to learn her name. ANTONIO: Well, you say that, not me. BOOTH: Well, it's not like you, uh, exactly have a record because you have, you know, diplomatic immunity. More like a list of complaints. (Booth drops his file on the table and Brennan picks it up.) BRENNAN: Let's see here. Ok, speeding, DUI, riding a motorcycle on the mall, urinating on a national monument. BOOTH: Good one. BRENNAN: Substance abuse charges, every one of them. My guess is you, uh, got drunk and fell off a bicycle (pointing to his arm). ANTOINO: It was a motorcycle. (Radswell enters the room with Judge Ramos, not amused.) RADSWELL: Agent Booth, you know Antonio Ramos has diplomatic immunity, yet you insist on questioning him. BOOTH: Uh, diplomatic immunity doesn't mean I can't question him. It means I can't throw him in jail. DOLORES: Are you all right, Antonio? ANTONIO: Mm-hmmm. RADSWELL: Mr. Ramos, you're free to leave. The FBI will not bother you anymore. BRENNAN: Can he promise that? BOOTH: No. (to Radswell) Do you have any other higher aspirations rather than just, you know, babysitting drunken playboys? BRENNAN: (turning to the Ramos' who are leaving the room) She's d*ad. ANTONIO: (opening the door) Who? BRENNAN: Lisa. (holds out photo) Lisa Winokur. That was her name. ANTONIO: How did she die? BRENNAN: In the same expl*si*n that nearly k*lled your mother. BOOTH: Did Lisa ever mention your parents? RADSWELL: (warningly) Agent Booth. ANTONIO: She knew who they were. DOLORES: Antonio, answer no more questions. RADSWELL: That's enough. (Ramos' leave the room. Booth and Brennan start leaving, Brennan giving Radswell a hard look.) RADSWELL: You have something to say to me, Dr. Brennan? BRENNAN: Little people have a long history of being close to power. RADSWELL: As clowns and court jesters. I see you've been to the art museum. BRENNAN: Yes, but as clowns and court jesters they were the only ones allowed to mock the king, to give him perspective. You don't do that, Mr. Radswell. You just do what the king says without putting anything into perspective. RADSWELL: Good thing I'm neither a clown nor a court jester. (He moves to leave and reaches for the bottle of water left behind by Antonio.) BRENNAN: Whoa-don't do that. It's DNA evidence. (Cut to the lab, in one of the testing rooms.) HODGINS: The FBI couldn't find any evidence of an expl*sive charge. ANGELA: Then what blew up? ZACK: There was liquor in the room. (setting up the experiment) Paint, turpentine. CAM: Paint, turpentine and liquor blew down a wall, torched four people and deposited a corpse in a chandelier 12 feet off the ground. ZACK: There was also petroleum distillate and six H.V.L.P. canisters hidden under traps. HODGINS: High volume, low pressure. So you can see where this is going. CAM and ANGELA: No, we can't. HODGINS: A f*re was set. The question is, given these ingredients, would there be a secondary expl*si*n? (hands the ladies ear plugs) ZACK: I did the math very carefully (adjusts some knobs). This experiment should generate an expl*si*n approximately 1/1000th the magnitude of the expl*si*n at the hotel. CAM: Excuse me? ZACK: 1/1000th. ANGELA: I think she meant the expl*si*n part, Zack. HODGINS: Relax, a little pop. This blast wall Zack built-it's merely a precaution (puts on goggles). ZACK: (standing behind the blast wall) We can watch through this porthole. ANGELA: Hey, I'm gonna wait outside. CAM: I hear that. (They both leave. Hodgins joins Zack behind the blast wall.) ZACK: Did they not hear me say I did the math quite carefully? HODGINS: All right, I'll ignite the alcohol. ZACK: The math says there will be a ten to twelve second gap before the H.V.L.P. container explodes. HODGINS: Fine, ready? Igniting the alcohol. (Turns on a switch that ignites a flame.) ZACK: Ten, nine, eight... (Cut to Angela and Cam waiting outside the testing room. A loud expl*si*n takes place and glass shatters from inside the room. They run back into the room where Zack and Hodgins are on the ground all covered in soot.) ZACK: Man! HODGINS: Woah! (coughing) CAM: (enters the room) Are you all right? Can you breathe? (helps Zack get up) ANGELA: (holding fingers in front of Hodgins) Hey, how many fingers am I holding up? HODGINS: (getting up) I'm ok, I'm all right. Come on. (They leave the room.) ZACK: I don't understand what happens. HODGINS: You know what that proves? ANGELA: That you guys are idiots? ZACK: (thinking) That a blast that strong wasn't necessarily a b*mb. HODGINS: Most likely, somebody k*lled Lisa Winokur then started a f*re to cover up their crime. CAM: Without knowing there would be a huge expl*si*n. That's good guys, nice job. (Cut to FBI building, Booth and Radswell are walking down a hallway.) RADSWELL: Your theory of the crime is that Antonio Ramos started a f*re to cover up a r*pe and m*rder. BOOTH: DNA matches the sperm found in Lisa Winokur. RADSWELL: What do you want from me? BOOTH: I want you to have the kid declared persona non grata because of his previous offenses. That gets rid of diplomatic immunity. RADSWELL: And you can arrest him? BOOTH: Exactly. RADSWELL: Never gonna happen. BOOTH: Right, because Judge Ramos is such a good, good friend of this country. RADSWELL: I don't think you can calculate just how many American lives she's saved by taking a hard line on the cartels in Colombia. BOOTH: Obviously you have orders from the State Department to have this whole diplomatic mess booted out of the United States and back into Colombia. Don't say anything. Just, you know, if I'm right, just keep breathing. RADSWELL: Bogota, 1998. The Ramos family is leaving the city for their country home. Their convoy is att*cked. End to a long, ugly story-13 year old Antonio is running away from the fighting carrying his little sister. Only trouble is, he has to keep going back to pick up pieces of her brain. BOOTH: That's a sad story, but it doesn't mean the guy can get drunk and k*ll five people, including an American citizen. (Radswell enters an elevator and leaves. Booth's cell phone rings.) BOOTH: (picking up) Yeah? CAM: Booth, it's Cam. We know how Lisa Winokur died. (Cut to lab. Inside the skeleton room, everyone is standing around Lisa's skeleton.) BOOTH: She was strangled? ZACK: The hyoid is cracked at the tips but not b*rned. BRENNAN: Something was around her neck when the f*re got to her. CAM: Hodgins found b*rned fibers, he's analyzing them now. ZACK: I also noticed a broken finger. I'm using those words especially for you, Booth. BOOTH: (peeved) Thanks. ZACK: Also, disjunct of acromion and coracoid with damage to the glenoid. (to Booth) Dislocated shoulder. CAM: A typical injury of a victim on the ground straining against someone strangling her from behind. BRENNAN: There was a split in the cartilage between the T3 and T4 vertebrae (examines on the tv screen). BOOTH: (quietly) Excuse me (leaves the room). ZACK: (to Brennan) I thought that might be from the f*re or expl*si*n. BRENNAN: But why only those two vertebrae? ZACK: You make a good point, I'll take another look. (Cut to the main area of the Lab. Cam is looking at some files walking, with Booth catching up to her.) BOOTH: Cam? Cam. (in step with Cam now) Has anyone said anything to you about, um...(whispers) you know? CAM: Us sleeping together? BOOTH: (quietly) You gotta be way more careful about blurting that out. Ok, voices, they carry, building like this. CAM: There's no one around, and you brought it up. BOOTH: Well, I mean, Angela is practically psychic about this kind of stuff, right? So you can't be thinking about me when, you know, she's around. Especially not naked. CAM: I'll do my best. HODGINS: (appears behind them) Onyx, peridot and Peruvian opal. (Cam and Booth pause, as if they have been caught) Probably jewelry. It's an unusual combination, very expensive. BOOTH: Yeah, well, Lisa Winokur-I mean, she was a waitress. You know, I highly doubt that her tips would be able to cover expensive jewelry. (Hodgins watches their babbling curiously.) CAM: Well, a waitress that's having sex with a Colombian princeling-I mean, you don't buy expensive jewelry for a one-night stand. BOOTH: And maybe Antonio was lying about not knowing Lisa. CAM: Well, exactly. BOOTH: Yeah. HODGINS: Angela found a jeweler named Lawrence Melvoy who works in this stuff. CAM: Ok. BOOTH: I'll start- CAM: All right, great. BOOTH: (awkward) Yeah. (walks over to Hodgins) Take that? HODGINS: Yeah, yeah (Booth takes the tray with the jewelry). (They both exchange looks.) (Cut to the FBI building. Booth is interviewing Lawrence Melvoy, the jeweler.) MELVOY: (looking at the tray) Oh, my God. What happened? BOOTH: Is this jewelry yours? MELVOY: Definitely. BOOTH: Are these pieces expensive? MELVOY: This piece was worth 8,000. BOOTH: Dollars? MELVOY: My work is all original. (picking up a piece) This one went to a young woman. Cheap shoes, expensive watch, you know? BOOTH: No, I'm sorry, I don't know. MELVOY: That combination means that someone else purchased this piece for the young woman. BOOTH: (opening a file and taking a picture of Lisa out) Could, uh, this be the woman? MELVOY: That's her. BOOTH: Yeah. I need to know who made the actual purchase. MELVOY: I don't know the buyer. BOOTH: You know how it was paid? MELVOY: I have a bank routing number. BOOTH: Ah, that'll do. (Cut to Booth's office. He is chicken-pecking at his computer when Brennan enters.) BRENNAN: Hey, I've had a realization. (notices what Booth is doing) Oh, I've never seen you on the computer before. BOOTH: I'm, uh, just trying to find out who bought Lisa Winokur expensive jewelry. What? Me being on the computer-is that what, your realization? BRENNAN: No. Antonio Ramos could not have been Lisa Winokur's attacker. BOOTH: Why couldn't our prime suspect have committed the m*rder? BRENNAN: Antonio's arm has pints in it. BOOTH: Pins? BRENNAN: Yeah, so maybe 30% of his normal strength. No way that's enough to dislocate our victim's shoulder. So how? BOOTH: How what? BRENNAN: Well, how can you find the jewelry thing on the computer? BOOTH: I have a bank routing number that d*ad ends at an offshore corporate account belonging to a shell corporation in the Netherlands Antilles. BRENNAN: Isn't that impossible to trace? BOOTH: Well, no. Since 9/!!, all foreign wires have to register an individual's name with the State Department. So I simply access the State Department database... (Booth types a search into the screen and a window pops up with the words 'Access Denied, confidential per US State Department'.) BOOTH: Aw, hell. BRENNAN: What? BOOTH: That little bastard is protecting someone. (Cut to another room in the FBI office, Radswell, Brennan and Booth enter.) RADSWELL: If the computer says confidential, then it's confidential. I find it best not to argue with computers. BOOTH: Were you the one who authorized the block or did it come from higher up on the food chain? RADSWELL: Go through channels, make a request. BOOTH: (peeved) Go to hell, Alex. BRENNAN: Why are you being so mean? BOOTH: Cause "go through channels" is diplomatic double-talk for "get lost." BRENNAN: (to Booth) Can I talk to him? RADSWELL: Hello? Dr. Brennan? I'm just small, not invisible. BRENNAN: Under what circumstances, in general would the State Department block a name like this? BOOTH: Come on, Alex. Hey, don't be one of them. Go on a limb, huh? RADSWELL: (relenting) Fine. Might be an intelligence asset or someone under investigation. It could be a request from Homeland Security...they just do whatever the hell they want. Could be a CIA shell company masquerading as a bad guy, or a bad guy who's been compromised. The IRS could be working offshore shelters, it could be someone- BOOTH: Ha! Ha! BRENNAN: (confused) He didn't say anything. BOOTH: (walking over towards Radswell) He was about to say "diplomatic immunity." RADSWELL: Let's say the boy bought the girl some jewelry. That doesn't mean he k*lled her. BOOTH: It means he was lying when he said he met her for the first time that night. Come on, Alex. This isn't evidence for court, I'm just, you know, collecting names. RADSWELL: Please, like that's gonna work on me. BRENNAN: Whoever k*lled Lisa Winokur is responsible for the deaths of four other people, including a priest. Doesn't the State Department have to assure those families they're doing everything they can to apprehend the responsible party? RADSWELL: Are you thr*at the State Department? BRENNAN: No. BOOTH: Yes. BRENNAN: What? BOOTH: That's a great idea. BRENNAN: What's a great idea? BOOTH: The FBI blackmailing the State Department. RADSWELL: He has diplomatic immunity, there's nothing you can do. BOOTH: (throwing a football up and catching it) Come on, Alex. Baby steps. (pause at Radswell's reaction) No offense. BRENNAN: (chuckles) I just got that. It's baby steps, because you're so small. (chuckles) It's probably offensive. RADSWELL: Sorry, I can't help you. (he leaves) BRENNAN: Sorry. (Cut to Angela's office. She's working on her computer as Hodgins approaches her with two mugs of coffee.) HODGINS: Brought you some coffee. It's late. ANGELA: (smiles) You said you found b*rned silk fibers on Lisa Winkour's throat, right? HODGINS: Yeah, the good stuff too. Unwound filament, probably Chinese. None of this carded, combed or spun stuff. And definitely not nubbly. (Angela looks at him with a grin) HODGINS: What? ANGELA: You are a man of odd enthusiasms. I'm checking for silk neckties on the men at the party. (computer beeps) Look at this. (Video footage of Antonio in the elevator appears on the screen.) HODGINS: That's Antonio two hours before the expl*si*n. ANGELA: All the evidence points towards him. But Brennan says with his bad arm, there's no way he could've k*lled Lisa Winokur. HODGINS: (hesitating) I...I know something. And when you know it, you should know that I know. But I don't feel we can discuss it until you, you know, know it independently from me. (Hodgins leans down towards the top of Angela's head. Angela turns around.) ANGELA: Are you sniffing my hair? HODGINS: You called it, baby. Man of odd enthusiasms. (Hodgins turns to leave as Angela brings up the ends of hair to her nose.) (Cut to skeleton room. Zack is operating a machine over the bones.) ZACK: Lisa Winokur's finger is broken. CAM: Zackaroni, almost every bone in her body was broken. ZACK: (shows Cam on the screen) This break was professionally set. (zooms the image in) It had started healing, I'd say around two weeks ago. And before I cleaned the bones, I noticed this metallic sheen. (shows another image on the next screen) I thought it was a cheap ring, but it's aluminum. I think it was a splint. CAM: Do you draw a conclusion from that? ZACK: I don't really do that, which is why I called you. (Cut to an office. Jill Winokur is sitting at the table with Booth and Brennan.) JILL: I don't see how health insurance forms can help you. BOOTH: (takes the files from Jill) Yeah, I'm gonna have these photocopied, ok? JILL: Sure. (Booth stands up to leave, but not before he clears his throat, indicating something to Brennan. Brennan is left alone with Jill.) BRENNAN: Anthropologically speaking a man gives a woman a gift as a way of laying claim. As a way of marking her as his to the other males in the community. JILL: All I know is, he gave her nice things. And when he started talking about breaking it off, we were both surprised. BRENNAN: They were breaking up? JILL: (nods) I told her not to give up that easy. I told her when it comes down to it, a man like this, who's rich and sophisticated, he'll do the right thing by you. BRENNAN: You advised your daughter to get pregnant? JILL: It sounds bad, but there was no reason for Lisa to live the life I led. Please tell me my daughter wasn't m*rder because I told her to get pregnant (sobs). BOOTH: (at the door) Excuse me. Bones, can I talk to you for a moment? BRENNAN: Uh...(looks back at Jill), excuse me. (Brennan leaves the room and talks with Booth outside.) BOOTH: What did you do to her? BRENNAN: I don't know. BOOTH: (holds out the paper) Hospital admission forms. BRENNAN: Yeah? What about 'em? BOOTH: Well, look at the signature of the person who dropped Lisa off at the emergency room. BRENNAN: (looking at the page) "Juan Vasco Ramos." That's Antonio's father. BOOTH: Lisa was having an affair with the judge's husband, not her son. BRENNAN: And he was leaving her. BOOTH: How do you know that? BRENNAN: (looking at Lisa through the glass window) She advised her daughter to get pregnant when it looked like Juan Ramos was about to dump her. BOOTH: Yeah, Lisa sees the boy drunk, decides to seduce him. BRENNAN: Has unprotected sex in an effort to get pregnant. BOOTH: Dad finds out, and suddenly the troublesome girlfriend is worth k*lling. BRENNAN: (looking through the glass) She's worried that her advice got her daughter k*lled. BOOTH: Yeah, she's probably right. I tell you what, I'm gonna call Radswell and have him bring Dad in for questioning. (turns to leave, but stops) Oh, you know what? I should leave you alone more often. (Cut to FBI office, Radswell arrives as Booth and Brennan waits.) RADSWELL: Good morning. BOOTH: Where's Juan Ramos? RADSWELL: He declined your invitation. He decided to go back home to Colombia. BOOTH: What airline? RADSWELL: Why? You can't do anything anyway. BRENNAN: Well, he k*lled five people! RADSWELL: Yes, yes, let's not go through the mortality list again. BOOTH: I need to know what airline. RADSWELL: Private jet out of Kent Island Airport. (Cut to Booth's SUV.) BRENNAN: Even if we get there on time, how are we gonna stop them from taking off? BOOTH: All right, call Hodgins. BRENNAN: What can Hodgins do? I mean, this isn't about evidence. BOOTH: Just give him a call. (Cut to lab, Hodgins picks up his phone. The following conversation cuts back and forth from inside the car to the lab.) HODGINS: Bugs, slime, particulates. What's your poison? BOOTH: (talking into Brennan's phone) Hodgins, just listen. Don't say anything, just do as I ask. (Hodgins remains silent.) BOOTH: You there? HODGINS: You told me not to say anything. BOOTH: Look, ok, listen to me alright. I need you in your craziest most paranoid conspiracy mode to call the FAA and tell them that a private flight to Bogota is about to leave Kent Island Private Airport and is carrying aliens or-or t*rrorists, or, you know-you know what to do. Now, do you got any questions? HODGINS: Just one. Full court press, no holds barred, maximum effort? BOOTH: Just stop the plane from taking off. (Booth hangs up, and Hodgins has a big smile on his face.) (Cut to Kent Island airport, inside a hanger. A SWAT unit is surrounding a private plane.) MAN #1: FBI! MAN #2: Everybody out of the plane! (Everyone gets off the plane as Booth's SUV screeches to a stop.) BRENNAN: (getting out of the car) What will happen to Hodgins if the State Department finds out? BOOTH: Know what? Better they don't find out. (Brennan and Booth exchange looks with the Ramos'.) (Cut to lab, up in the catwalk, Radswell approaches Booth, Brennan and Cam in the lounge.) RADSWELL: The FAA got a call saying Judge Ramos's plane had been targeted by the National Liberation Army, a t*rror1st organization in Colombia. BRENNAN: And you took it seriously? RADSWELL: Caller used a highly classified code phrase which established the thr*at as authentic. BOOTH: Really? RADSWELL: A highly classified code phrase known only to a gold-plated asset inside the t*rror1st organization. If it weren't, I might suspect you had something to do with it. Booth, you seem to have trouble accepting that there is absolutely nothing you can do in these circumstances. BOOTH: Well, Juan Ramos just, you know, flying out of here. This whole diplomatic immunity thing. The whole thing just stinks. BRENNAN: You should think it stinks too, Mr. Radswell. RADSWELL: Put together your evidence package, submit it to State. We'll present it to the Colombian authorities. Let them decide whether or not to levy charges (turns to leave). CAM: Wait, wait. That's our only option? Hope that a foreign government will lay charges based on a forensics-heavy investigation done by American law enforcement on another continent? RADSWELL: Unless you can persuade him to give up diplomatic immunity, yes, it's our only option. BRENNAN: How long have we got to do that? RADSWELL: About as long as it takes to take apart a plane and put it back together again. Maybe 24 hours. (turns and leaves) (Cut to platform, Zack is following Cam to the autopsy room.) ZACK: You're the one who said you have to be kept up to date on everything. CAM: No, when I said everything, I might have been a bit too-you tend to bevery literal. ZACK: Thermal dislocation can be extremely deceptive. Typically heat causes short bones to move at the ends. These were split in the middle. CAM: What? (Cam rushes outside and shouts.) CAM: Brennan! ZACK: Whoa, what'd I do? CAM: T3 and T4 are behind the lungs. This is why we have to communicate more because- BRENNAN: (enters the autopsy room) I have a cell phone, Dr. Saroyan. CAM: I found evidence of a perforation in the membrane of her lungs. BRENNAN: That could be connected to the T3 and T4 vertebrae damage. CAM: Exactly what I thought. (to Zack) Could it have been pierced by a rib during the att*ck? ZACK: The ribs were not broken pre-expl*si*n. BRENNAN: The vertebrae were pushed apart so they'd slide across the lung surface. That would cause a tear. CAM: No, this is definitely a puncture. ZACK: Whatever pierced the membrane was forced through the vertebrae. CAM: A Kn*fe? BRENNAN: Zack? ZACK: No cuts on the bone, something softer than a blade. CAM: (thinking) To reach the lung from the back means moving through the epidermis, dermis, hypodermis, subcutaneous fat and three layers of thoracic muscle fiber and connective tissue. Not to mention splitting those vertebrae. BRENNAN: That requires a great deal of pressure, suggesting the force of a leg, not an arm. ZACK: It's as though Juan Ramos drove something into Lisa Winokur's back with his foot. Mm...like a golf tee? (Cut to Angela's office. She is at the computer looking at footage of the Ramos the night of the party. Brennan, Cam and Booth are standing behind her.) BOOTH: A golf tee? That makes no sense. ANGELA: I'm not sure what we're looking for. CAM: A sharp implement. ANGELA: He has a pen in his pocket. BOOTH: Wait, how would he force a pen through her back with his foot? BRENNAN: Judge Ramos is 5 foot 9? ANGELA: Yeah. BRENNAN: Why is she the same height as her husband? (Computer screen zooms in on the Judge's feet.) ANGELA: Three-inch stiletto heels. BRENNAN: We assumed the k*ller was six feet tall and a he. But what if it was a 5-foot-9 woman wearing three-inch heels? I mean, could Judge Ramos have driven her heel into Lisa Winokur's back as she strangled her? (flashback to the possible scenario) BOOTH: The judge finds out that the waitress is having sex with both her husband and her son, trying to get pregnant (Hodgins enters the room). That's motive for m*rder. ANGELA: Also, before the f*re, she had a beautiful silk wrap on. Afterwards, it's gone. HODGINS: That's what she used to strangle Lisa Winokur. BOOTH: Great. It was Judge Ramos. She did it, very compelling evidence. Excellent, but you know what? Too bad, it's useless (frustrated, sits down in a chair). CAM: Unless we can find a way to make Judge Ramos waive her diplomatic immunity. BOOTH: How are we gonna do that? CAM: (leaning down and placing her hand at the beck of Booth's neck) Go grab a cup of coffee. (Hodgins and Angela notice the exchange) I'll figure it out (she leaves). BOOTH: Get some pie, Bones? Let's get some pie. BRENNAN: Pie? Why are we having pie? BOOTH: Cherry pie. Not too tart, not too sweet (they leave). (Hodgins and Angela exchange looks.) HODGINS: Oh, yeah, baby. That's what I'm talking about. ANGELA: Wow. HODGINS: Hey, love is in the purified and ionized lab air. Why should we resist? ANGELA: (pointing to the door) Go. (Cut to the Diner, Brennan and Booth are at their usual table.) BRENNAN: A woman like Judge Ramos, who stood up to the drug cartels, who always did the right thing-it's hard to imagine her k*lling another human being. BOOTH: Bones, she's a strong woman. That's why she stood up to the cartels and lived on after her daughter was k*lled. Hey, look, her point of view...Lisa Winokur was thr*at her family, so she snapped. BRENNAN: Will she get away with it? BOOTH: Yeah, I think she will. (Cam approaches their table and sits down next to Brennan.) CAM: Ok, we all got together-well, Zack wouldn't help until I thr*at him. But the rest of us...(opens the file with her) The blowback patterns shows that Lisa Winokur's k*ller was six feet tall. Antonio Ramos is six feet tall. Lisa Winokur had sex immediately before her demise, DNA tests show it was with Antonio Ramos. (holds up a photo of Antonio in the elevator) Lisa Winokur was strangled with a silk ligature, Antonio Ramos favours silk ties. BRENNAN: Why are you manipulating the facts to make it sound like Antonio was the k*ller? BOOTH: No, it's ok, Bones. Let her-let her continue. CAM: Because of his broken arm, Antonio Ramos was forced to place his foot on Lisa Winokur's back, damaging her vertebrae. BRENNAN: You are fabricating a scenario by misrepresenting the evidence and omitting key facts. CAM: It's a bluff. Cops do it all the time. BOOTH: So you think if we frame Antonio, Judge Ramos will confess to save her own son. CAM: What mother wouldn't? BOOTH: Bones? BRENNAN: No, no. CAM: It's no different than lying to a criminal to get a confession. BOOTH: Or having Hodgins call the FAA with a fake terrorism tip. CAM: He did what? BOOTH: Oh, what? Now suddenly there's a line here? BRENNAN: You can't allow this. BOOTH: I'm a hundred percent against it. CAM: Seeley, you hate diplomatic immunity. BOOTH: Well, I'm against it when it's interfering with my m*rder investigation but the world's bigger than that. CAM: What are you talking about? BOOTH: We cheat diplomatic immunity here in DC, we catch a m*rder. That's great. They do it in "Upper Kamikazestan" and our boys end up on a red-hot spit over a slow f*re. BRENNAN: There's no such place as "Kamikazestan." BOOTH: Ok, bottom line is, we ignore diplomatic immunity and the rest of the world finds out, it's open season on Americans. So you know what? Thanks for the effort and the fake file. (takes file and rips it) But let's just remember, all right? We're the good guys. Oh, I'm gonna need that real evidence file too. CAM: Ok (gets up and leaves). (Cut to FBI building. Booth, Brennan, Radswell and Dolores Ramos are sitting around a table. You can see her husband and son sitting outside the room.) DOLORES: Even if this were true- BRENNAN: It's true. DOLORES: My family and I have diplomatic immunity. BOOTH: That's politics. A woman like you-a judge, a prosecutor who's given up their whole life for justice-you can't live for what you did to Lisa Winokur. What next? RADSWELL: The FBI formally hands this evidence over to me, I present it to the ambassador. He presents it to the attorney general of Colombia. BRENNAN: And the State Department gets what it wants, what you've been working for all along. BOOTH: This mess in another country (not amused). RADSWELL: All parties played by the rules, that's diplomacy. (frustration from Brennan and Booth) Still, speaking outside of my role as a member of the State Department, (to Dolores) the attorney general of Colombia is not a friend to you. DOLORES: No, he is not. RADSWELL: This evidence is political amm*nit*on. I mean, there'll almost certainly be a trial and he would certainly want you in jail, which would mean- DOLORES: The cartels have been trying to k*ll me for years. In prison, they would succeed on the first day. BRENNAN: They would t*rture and k*ll you. RADSWELL: Might I make a suggestion? Waive your diplomatic immunity and be tried fairly here in the United States. (Dolores weighs over her situation, looking around the room and to her family outside.) BOOTH: What's it gonna be, Judge? I turn this evidence over to an American prosecutor or to Mr. Radswell? (After a few more moments of thought, she pushes the file across the table to Booth.) DOLORES: I waive diplomatic immunity. (Cut to Lab. Brennan is standing against the railing up in the catwalk/lounge watching as the rest of her team and Cam work on the platform below.) BOOTH: (approaching Brennan and standing next to her against the railing) Well, look at 'em down there, huh? Heh! Probably falsifying evidence. BRENNAN: I'm not sure I can totally trust Dr. Saroyan after that. BOOTH: You know, Bones, Cam's a cop at heart. She, uh-she just wants to catch the bad guys. There are a lot of gray areas. BRENNAN: Not for you, you did the right thing. BOOTH: Yeah, it worked out is all. BRENNAN: You did the right thing. (A couple of men it suits approach the platform below.) BOOTH: Uh oh. (The two men in suits approach Hodgins.) MAN #1: (holding out a badge) Sir? BRENNAN: (watching from above) Well, shouldn't we do something? BOOTH: (scoffs) Are you kidding? (Men lead Hodgins away) Hodgins being abducted by men in black? That's a dream come true. (Hodgins smiles up towards them as he's being led away.) END.

{"type": "series", "show": "Bones", "episode": "02x06 - The Girl in Suite 2103"}

foreverdreaming

"The Girl with the Curl" Episode 2x07 Written By: Karine Rosenthal Directed by: Thomas J. Wright Transcribed by: Sinkwriter Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Exterior - Washington, D.C., Municipal Water Treatment Plant, Daytime. Pan across the wide area of catwalks that crisscross over the water and its filtration systems. FBI agents and plant workers are milling about the area, conversing and working together. DR. TEMPERANCE BRENNAN and SPECIAL AGENT SEELEY BOOTH walk along the bright orange metal walkway toward the site where a body has been found.) DISPATCH: (over radio) Coroner Van Three, what's your E.T.A.? (Radio chatter) BOOTH: They found the victim in the filtration system. Just, you know, some bones, and nobody knows what to make of 'em. BRENNAN: (pulling on bright blue exam gloves) I mean, look at this. Millions of tax dollars are spent to clean and treat tap water and yet people spend billions on bottled water. BOOTH: (holds up the commercial bottle of water he's been carrying) Well, it's cleaner. Look, it comes from a clean mountain stream. BRENNAN: Yeah, which contains fecal matter from animals. BOOTH: (peers at the contents of his water bottle) There's no ... bones in it, though, is there? Don't want that in your water. (tosses it into a nearby garbage can) PLANT SUPERVISOR: Excuse me. Um, do you know how long this is gonna take? Department wants to know when I can get back on line. (Cut to a sh*t of the decomposed human remains, mostly skeletal, as laid out on a bright blue plastic sheet) MAN: (voice heard in the distance) Bag that and mark it. BRENNAN: Any way to determine where the body originated? PLANT SUPERVISOR: Water comes here through pipelines that travel through five different states. That's ... why I -- I called the feds in. BOOTH: Great. How many miles of pipe? PLANT SUPERVISOR: (hesitates) About ... eighteen hundred. BOOTH: (not deterred) 'Kay, I'm gonna need a schematic of the entire system ... as soon as you can. PLANT SUPERVISOR: Sure. BOOTH: Yeah. (turns back to Brennan as the supervisor exits) Bones? BRENNAN: (examining the skeleton) Well, swirl treatment sped the rate of decomp. Death was most likely less than three months ago. (she pauses to look up at Booth with a grave expression) The sacrum is small, still developing. BOOTH: (solemn, realizing) A kid. BRENNAN: A little girl ... about ... eight to ten years old. (Booth looks out over the expanse of the treatment plant, troubled -- how the hell did a little girl end up here?) (Cut to: Interior - Jeffersonian - Medico Legal Lab - Platform. Brennan and her assistant ZACK ADDY are hunched over a metal table, examining the remains. DR. JACK HODGINS stands on the other side of the table, while Booth stands at the foot of the table, both men watching and waiting.) BOOTH: Hey, any luck with the cause of death? ZACK: Eh ... Postmortem trauma makes assignation of cause difficult. BOOTH: (makes a face) Great. "No" would have been just fine. (Close-up of the skeleton, as Brennan studies it) BRENNAN: There are bands of discoloration on the ribs. Cam might find out why with a tox screen. HODGINS: I'd like those clothes as soon as I can get 'em. Lots of crusty bugs and slime. BRENNAN: (smiles slightly at his terminology) All yours. (Hodgins smiles back, as the sound of an I.D. badge is heard being swiped in the background) Zack, spend some time with the teeth. They should be more discolored. (DR. CAMILLE SAROYAN enters the area, coming up to the table to stand in between Hodgins and Booth) CAM: Everything okay here? BOOTH: (takes an immediate step away from Cam, his voice overly casual) Yeah. Sure. Hey. (Brennan frowns slightly, glancing up from her work to peer at Booth curiously) You know? How's things? CAM: (calmly, just as casual, with a mild smile) You know, m*rder and stuff. Just another day at the office. How 'bout you? (Booth folds his arms across his chest, avoiding eye contact) BOOTH: Same old, same old. (Cam glances at Hodgins, who is watching both Booth and Cam with mild amusement; Booth keeps talking, his gaze firmly planted on the remains) Listen, the bureau's, ah, running location checks for registered pedophiles in the area, but we can't do much until we, uh, you know, I.D. the girl. CAM: (glances at Booth before turning her attention to Hodgins) I'm running DNA on the hairs I pulled from the skull. (As forensic artist ANGELA MONTENEGRO joins everyone at the table, Cam shakes her head) There's something funky about it. The roots confirm brown hair -- the blonde is from oxidized thiols evident in the hair shaft. (Brennan straightens from where she was hunched over, examining the body, and Hodgins looks to Cam, his expression turning serious) HODGINS: Her hair was bleached? BOOTH: (incredulous) Wait. Come on, what nine-year-old dyes her hair? ANGELA: Well, that might explain why my sketch isn't getting any hits from the missing children's database. (she gazes sorrowfully at her sketch pad, which holds the drawing of a fresh-faced, smiling, brown-haired girl) BRENNAN: Zack, look at the remains again with a focus on any physical anomalies that could hamper identification. (Zack nods at her) CAM: (gestures in the direction of her office) I've got results cooking, so -- BOOTH: (still avoiding eye contact with Cam, as she walks away) Sure. Yeah, see you later. (Hodgins and Angela exchange amused, knowing glances until Booth glares at Hodgins) Don't you have ... work to do? HODGINS: (not intimidated) Don't you? (Booth mock-laughs) BOOTH: Right. (nodding, as the unamused smile leaves his face) Right. (Hodgins watches with a grin, and Angela tries not to laugh, as Booth walks away) (Cut to: Cam's office and exam area. Cam and Hodgins are standing at a metal table, going over evidence.) CAM: (handling a tweezers, placing bits of tissue on a tray) I should be able to run a tox screen with the tissue left on her clavicle. HODGINS: The scrapings that I took from the cheek and eye socket contain propylene glycol, fragrance, dyes, and lanolin. (he holds a test tube containing tiny bits of the material) CAM: (surprised) She was wearing makeup? BRENNAN: (enters the room with a small metal tray and sets it down on a rolling cart, bringing it over for the other two scientists to see) I was going to use dentition to narrow down the age range, but look ... (Close-up on the jawbone of the skeleton. Cam and Hodgins lean in to watch as Brennan pushes against one of the teeth; an artificial tooth pops off, exposing a smaller, natural tooth underneath.) CAM: (frowning) She has false teeth? HODGINS: (shaking his head, disgusted) What the hell happened to this kid? BRENNAN: The false teeth replace the missing deciduous teeth. CAM: (nods) Baby teeth. BRENNAN: And the other teeth ... were veneered. HODGINS: (stunned) What is she, a midget stripper? (Hodgins and Cam exchange a baffled look) (Cut to: Angela's office. She sits at her computer, entering variables into her program, as the rest of the team watches her work.) ANGELA: Okay, this is the color she would've had from the bleaching. HODGINS: (leans in closer, checking out the girl's image on the screen) I think the alkaloids would make the color brighter. (Angela makes the appropriate modifications, and the girl's hair turns to a lighter, brighter blonde shade) BOOTH: Okay, so some twisted psycho k*ller gives this little girl a makeover before he kills her? (He looks to Brennan, who shakes her head. Everyone in the room is grim.) ANGELA: I hate working with kids. (pauses) Childhood should be all about swings. (She smiles at the thought, as she continues to make adjustments to the picture on the monitor. Still crouched down near Angela, Hodgins leans back a moment and considers her curiously.) ZACK: (dubious) Swings? ANGELA: Yeah. (A wistful expression crosses her face) You know, how high can I go? (turns to face Hodgins now, grinning, as he leans in a little closer to listen with interest) If I twist the chains, how fast will I spin? (Amused, Hodgins smiles at Angela momentarily before looking down, his voice gentle) HODGINS: What if I try to jump off before the swing stops? (He meets her eyes again, giving her a large, genuine smile, which she reflects back delightedly, nodding) ANGELA: Exactly. HODGINS: I miss that feeling. ANGELA: Yeah, me too. (At this, Brennan glances up at Booth. Seemingly on the verge of either rolling his eyes or joining in on the nostalgia, he studies her but says nothing, a slight smirk playing at the corner of his mouth.) BRENNAN: I miss organic chemistry class. (A fond look crosses her face, as Cam glances sideways at her) Those were good times. ZACK: (nodding, perfectly serious) I miss my first microscope. BOOTH: (shaking his head at all of them) Great. Yeah. And I miss normal people. (he raises his eyebrows) Can we go on? (he looks to Brennan, who's back to analyzing the portrait) BRENNAN: Factor in the teeth. (The illustration on Angela's monitor changes, as she makes the revision, elongating the teeth and brightening them) BOOTH: (mildly sarcastic) Yeah, you know? 'Cause, uh, this isn't weird enough. (gives Brennan more grimace than smile) ANGELA: Hodgins supplied the types of makeup. (Angela adds color to the girl's face -- lipstick, blush and some eye shadow -- and changes her hairstyle from a girlish-looking straight cut to a dramatic up-do) And that's what we've got. BOOTH: (studying the new sketch, brows furrowed) She looks thirty. BRENNAN: Okay, run the image against the database now. (Angela clicks a few buttons, and the image on screen is immediately compared to a rapid scan of various children's pictures, until at last it comes to a stop, finding its match) CAM: (staring at the photo on the monitor) Oh, my god. That's Brianna Swanson. BRENNAN: Who? BOOTH: (quietly, to Brennan) The little beauty queen who disappeared a few months ago. ANGELA: In the middle of a Little Miss Junior Patriot Pageant. BRENNAN: (murmuring almost to herself, as she studies the girl on screen) Just nine years old. (Cut to Booth as he scrutinizes the picture, then to a close-up of Brianna as the scene fades out in bright white) ACT ONE (Exterior sh*t of the brilliant greenery surrounding the Lincoln Memorial, with the Washington Monument in the distance behind it, Washington, D.C. - Daytime - Cut to Booth's office in the F.B.I. building. Booth sits at his desk, talking with Brianna's mother, JACKIE SWANSON, as Brennan leans against the front of the desk.) JACKIE SWANSON: (tear running down her cheek) What do you mean ... there isn't even enough of her for me to see? BRENNAN: The body traveled through miles of piping. And then after three months -- (Pained, Jackie takes a moment to digest this information, looking down at a photograph of her daughter before holding it up for Booth to see) JACKIE: She was so beautiful, wasn't she? I always thought someday she'd come back. (shrugs) I even filled out her application to the Junior Miss Starlite competition. (cradles the picture lovingly) She would've won her division. (Brennan gives Booth a look -- it's unclear if she wants Booth to speak up because the moment has grown awkward, or if she's incredulous at Jackie's seemingly singular focus on Brianna's beauty and the competitions) BOOTH: (jumps in) We're very sorry for your loss. (Jackie nods at him, and returns to look at the picture) BRENNAN: Ms. Swanson, I discovered dental work on Brianna one doesn't ... usually see on a child. JACKIE: The veneers and the caps? Yeah. A lot of the girls had them. BRENNAN: (carefully) Statistically, that's -- that's not true. JACKIE: (calmly) Well, Brianna took some antibiotics when she was a baby that stained her teeth. She was very self-conscious about that, so -- (she looks to Booth and then back to Brennan) -- I wanted her to feel good about herself. BRENNAN: (shaking her head) A nine-year-old is hardly mature enough to make an informed decision about -- BOOTH: (jumps in again) You were at the competition in Delaware when Brianna went missing, correct? (he gets up from his desk and comes around to sit on the edge of it, directly in front of Jackie) JACKIE: Yeah. (sits up straighter in her chair) I never missed a pageant. I never would. BOOTH: But you weren't -- you weren't with her when, ah, she disappeared? JACKIE: No, I left her alone in our room for a minute. When I came back, she was gone. (Cut to Booth's stern face, studying her) There's ... not a day that goes by that I don't hate myself for that. BOOTH: According to initial reports, you suspected your ex-husband of kidnapping Brianna? JACKIE: Well, he was trying to get custody of her for over a year. Yeah. David was not fit to be a father. He wanted Brianna out of spite. And he tried to drown me in lawyer fees. BOOTH: (glancing at Brennan, who returns the look) Was your ex-husband violent with you or Brianna? JACKIE: Not physically, no. But ... once when we were fighting he said that he would rather have Brianna end up in a ditch somewhere than ... turn out like me. (Booth and Brennan share another quiet glance) (Cut to: Interior - Jeffersonian - Medico Legal Lab - Platform. Cam and Zack are working on the skeletal remains.) CAM: It's the "evening wear" category that gets me. My evening wear's a ratty T-shirt and a mud mask. (she holds out a piece of jawbone and bottom teeth, gesturing to the chin area) There's bleeding evident under the mental foramen. ZACK: There was complete disruption of all ventral ligaments between the victim's skull and the first and second vertebrae. CAM: (nods, understanding) Her neck was broken. ZACK: Dislocated fracture of the mandible suggests her death was caused by a strong blow to the chin by an object heavy enough to leave markings on her -- (points to the exact spot, as Cam nods again) -- mental foramen. (Sound of an I.D. badge being swiped. Hodgins strides up the stairs, carrying a metal tray. He sets the tray on his desk and scans an image of its contents into his computer.) HODGINS: I found fragments of steel in the victim's jacket. There was also an excessive amount of polycyclic aromatic hydrocarbons. CAM: (mild smile) I assume that means something. HODGINS: (brings up the specific image on his monitor) Polycyclic aromatic hydrocarbons are found in soot, pesticides, creosotes -- (he turns to face her in order to emphasize his point) -- roofing tar. (Cam registers the connection) CAM: The original police report said Brianna's father was a roofer. (Zack frowns) HODGINS: Yeah. Interesting coincidence, huh? CAM: I'll call Booth. HODGINS: (conceals a smile) About this? (Cam doesn't respond to or acknowledge any recognition of his teasing, except to give a very slight reflexive double take before turning her attention to Zack instead) (Cut to: FBI Interrogation room. Booth sits on the edge of the table, questioning Brianna's father, DAVE SWANSON. Brennan sits at the table, while Dave leans against the wall by the window.) BOOTH: (casually) You have a roofing business? DAVE SWANSON: Uh, yeah. I -- I -- I went out on my own when Brianna was born. (runs his hand over his forehead) Thought I could make some more money, you know? BRENNAN: Do you use mastic asphalt in your work? DAVE: Uh, yeah, for waterproofing. Why? BOOTH: (shrugs, voice still casual) Were you working the day your daughter disappeared? DAVE: No, it was the weekend. (getting irritated) What are you guys getting at? BOOTH: We're just trying to piece things together. That's all. (Dave interrupts Booth, angry now, as he steps up and presses his fingers against the tabletop for emphasis) DAVE: Damn it! I answered all these questions when Brianna first went missing. (to Brennan) This is Jackie's doing, right? BOOTH: (keeping his voice low and level) You wanted your daughter back. Sometimes, in a divorce, the emotions -- they get a little high, you don't know what you're doing ... DAVE: No. I know exactly what happened. Jackie wasted so much time having the cops check me out, the case went cold. This is all Jackie's fault. (sits down as he pulls out his wallet, opening it up to a picture of a happy Brianna sitting behind her father, her hands on his shoulders, obviously from pre-pageant days) Look. This was my little girl. Not what Jackie turned her into. (holds up the photo for Booth to see more clearly) This is who I wanted back. (Brennan and Booth are quiet as Dave calms down, looking mournfully at his daughter's photograph) You, uh -- you didn't give her the remains, did you? BRENNAN: (shakes her head) No. We can't release them. Not before the investigation is completed. DAVE: I want her buried right. (looks to Booth, who seems to understand) I don't want her funeral to be some disgusting show Jackie puts on. (studies his daughter's picture again, upset) I-I-I -- I wanna bury her with some love, you know? (Booth respectfully considers this information, then exchanges a quizzical "okay, now what?" look with Brennan -- if Brianna's father didn't do it, who did?) (Cut to: Imaging program on Angela's computer monitor. She's capturing and scanning sh*ts of various people from a recording of the pageant. Hodgins strolls into her office, carrying a tray of material scraps. He pauses to look at the pictures on her screen.) HODGINS: How's it going? ANGELA: (sighs) FBI sent over the security tapes from the hotel where Brianna's pageant was held. I'm running them through the body mass recognition program. Maybe we'll find a sh*t of her leaving with somebody. HODGINS: (sickened) Could you ever do this to your kid? ANGELA: You know me. (smiles as she keeps working, her eyes glued to the monitor) I'm all about the swings. (Hodgins pauses at this, his eyes delightedly following her movements -- he is amused and definitely entranced) ANGELA: (pulling him from his reverie) You bring me something? HODGINS: Uh, yeah, yeah. (sets the tray in front of her on the desk, back to business) This was in the zippered pocket of what was left of Brianna's jacket. It's treated cellulose. Can you get any details from it? (She frowns, checking out the items on the tray) ANGELA: I'll give it a sh*t. (Hodgins observes her for a moment, considering. His face turns resolute.) HODGINS: Listen ... Angela. (He reaches down and moves the tray to the side, so that he can sit down next to her and face her. As he does this, Angela looks to him with a mixture of surprise, good humor, and curiosity. She shifts in her chair so that she is facing him, too. Focused, he searches for the appropriate words.) HODGINS: We've been ... dancing around this for months now ... (the corner of his mouth curves up) ... like two pieces of neodymium caught in a magnetic field. ANGELA: (laughs lightly) Is that good? HODGINS: Yeah. But if the field weakens, they fly apart. (Angela nods, smiling at him) Which is why I thought they should go on a date. (He smiles at her and blinks, his eyes bright and eager. The amusement slowly slides off Angela's face, leaving her eyes. She hesitates, taking a breath, trying to find the right words to say to him. She attempts a smile.) ANGELA: (carefully) Hodgins -- (He immediately leans in a little bit closer, still trying, still smiling ... certain this is right.) HODGINS: You can't say that you don't feel it. (Angela seems to consider this for a moment, doesn't deny it, but her head drops and she looks down, her eyes avoiding his steady gaze.) HODGINS: Come on, we owe it to ourselves to give it a try. (She's really struggling now, her eyes filling with sorrow as she looks upon his hopeful face. Clearly it hurts her to hurt him.) ANGELA: I -- I just don't think it -- (she stands up quickly, so he stands to join her) -- would be a good idea. (She looks him in the eye as she says this, trying to be honest. He opens his mouth as if he has more he wants to say, but elects to remain quiet for the moment. Instead, he studies her face. Perhaps hoping to see a wavering glimpse of a chance still there, in her eyes.) ANGELA: I mean, we work together, Jack. (He speaks gently, unconvinced by her feeble argument) HODGINS: Angela ... ANGELA: (genuinely, compassionately) I'm sorry. (A light smile is still on Jack's lips, but the joy has left his eyes. He speaks good-naturedly, but his voice trails off with a hint of disappointment underneath.) HODGINS: You're making a mistake ... (He stands there, but she can't meet his eyes any longer. She stiffens, awkwardly turning away from him to sit down at her desk. As Jack watches her, she starts up her work with the security tapes again.) ANGELA: (slowly) I'll examine the paper after I go through the videos. (Hodgins regards her for a long moment, silent, but finally nods) HODGINS: (quietly) Sure. (Angela keeps her focus on the monitor, but glances out of the corner of her eye, waiting to see if he's left the room.) (Cut to: Interior - Jeffersonian - Medico Legal Lab. Zack points to a chest X-ray on a monitor as Cam, Brennan and Booth look on.) ZACK: This is the rib cage of a healthy ten-year-old girl. BRENNAN: And this -- (Zack switches the image for her so that there are two chest X-rays on the screen, side-by-side) -- is our victim's rib cage. (The victim's rib cage is compacted, squished into the shape of an hourglass) BOOTH: Ouch. BRENNAN: This -- (she switches the picture to another film of a rib cage, this one with a warped spine) -- is an X-ray of a teenage girl who died in 1872. CAM: What caused the deformity? Was it genetic? BRENNAN: It was a corset ... tightened a little more each day. (Booth takes a deep breath, revolted, as Brennan keeps going) Based on the degree of misshaping, I'd say Brianna slept in one every night. BOOTH: That's t*rture. (Zack nods in agreement, then turns his attention to his boss as she continues) BRENNAN: I imagine it was to give her an hourglass figure, which wouldn't be possible naturally until well into puberty. BOOTH: (cringing) You gotta be -- you're telling me her mom did this to her? BRENNAN: People have done much worse for beauty -- neck stretching, foot binding ... BOOTH: Okay. (incredulous) And you're saying that makes it okay. BRENNAN: Well, of course not. Any major alteration of our underlying architecture demeans us. (Cam listens intently, taking an uncomfortable breath) You know, we all have aspects of ourselves we might wish were different. ZACK: (nodding emphatically) Yes. I wanted larger biceps before I became comfortable with my mental acuity. (At this declaration, Booth tilts his head and clears his throat, but says nothing) BRENNAN: (going back to the X-rays, zooming in on an affected section of bone) Here, you can see ... cribra orbitalia, suggesting Brianna suffered from long-term malnourishment. ZACK: There's no enamel erosion to indicate bulimia, so it's more likely she's been on a calorie-controlled diet for at least two years. CAM: (smiles at Booth) Oh, it gets better. BOOTH: (sardonically) Oh, how can it not? CAM: Her tox screen came back with traces of somatropin, tetracycline, and glycopyrronium bromide. (Brennan's mouth drops open slightly as she realizes what those chemicals are. As Zack explains, Booth grows more and more disgusted.) ZACK: Human growth hormone, broad-spectrum antibiotic used to treat acne, and a chemical mixture that controls perspiration. All with serious side effects. CAM: No prescriptions were ever issued. BOOTH: So Mom bound, starved and drugged her. (pauses to take it in) That's heartwarming. BRENNAN: Our society puts a premium on beauty. Common in declining cultures. (Angela hurries into the room) ANGELA: Hey, guys, you should take a look at this. (Everyone turns to stare at her for a moment, then follows her out of the lab, one by one, disillusioned by what they've just uncovered.) (Cut to: Angela's office. She cues up a security tape on her computer.) ANGELA: This was time-stamped a half-hour before Jackie Swanson reported Brianna missing. (she fast-forwards through the images until she reaches what she needs them to see) There. (A close-up of Jackie Swanson and her daughter Brianna in a carpeted stairwell at the hotel where the event was held: Jackie is trying to pull her daughter down the stairs. Brianna is struggling, pulling back from her mother.) JACKIE: (on video tape) Brianna, come on! Right now! BRIANNA: (on video tape) Let go of me! (Shouting on the tape continues, as Jackie struggles with her daughter, pulling her by the arm, arguing with her. Stunned, Brennan peeks around Angela to get a better look. Angela shakes her head, dismayed, as the fight persists. Booth watches intently.) BOOTH: She said not a day goes by that she doesn't hate herself. I can see why. CAM: (shaking her head) If Jackie's willing to risk her child's life to win these pageants -- BRENNAN: What would happen if her daughter refused to compete? (The security camera video freezes on Brianna's grimace as her mother holds her firmly by the wrists, and the screen whites out) END OF ACT ONE ACT TWO (Pan across several pageant pictures of Brianna Swanson, laid out on a table in the interrogation room at the F.B.I. Jackie Swanson sits at one side of the table; Booth and Brennan sit together, opposite her.) JACKIE: What you have to understand is that this was Brianna's dream, not mine. BRENNAN: (leans forward, speaking bluntly) You put your nine-year-old daughter in a corset, Ms. Swanson. BOOTH: A corset. JACKIE: (slightly defensive) Yeah. Brianna ordered that off the Internet herself. And I didn't tighten it up very much. BRENNAN: Did you ever think to tell Brianna that she didn't need to alter her physical appearance in order to be loved? BOOTH: (carefully) Did Brianna disappoint you somehow? JACKIE: (immediately) No. She was a perfect angel. She won every competition, even her first one. And after that, it was music and dance classes. (shakes her head, impressed) She was a real competitor. BRENNAN: And when she won, it reflected well on you. That way you wouldn't have to deal with your own physical identity. (Jackie looks at Brennan for one hard moment, then turns to Booth, who raises his eyebrows, curious for her response to Brennan's accusation) JACKIE: I don't like her. BOOTH: Whoa. (Brennan doesn't look like she cares what Jackie thinks, so Booth moves on, picking up a folder and tapping it on the table) BOOTH: Let's ... play a little show-and-tell, shall we? (he pulls out a few of the surveillance photographs, displaying them for Jackie to see) How about this? Can you explain these? This there. And then that one -- my favorite one. (sets down the final photo of Jackie and Brianna grappling with each other) JACKIE: Okay, these -- (she pauses to take a long look at the pictures, her voice turning gravelly with grief) -- these are right before she disappeared. We had an ... disagreement. BRENNAN: (easing up her tone a bit) About the pageant? JACKIE: No, about her piano piece. I suggested she use her elbow to h*t the last note with her head in her hands, give the audience a little smile. (she demonstrates the move) It's called dazzle. BOOTH: And she didn't want to do that. JACKIE: (nodding in agreement) No. She didn't want dazzle. She wanted to finish it perfectly. (pauses, looking down at the photographs of their fight again) But it seems very silly now. BRENNAN: (tiniest hint of sarcasm in her voice) Only now? (Jackie looks up at Brennan, saying nothing at this rebuke, gratefully turning her attention back to Booth when he changes the subject) BOOTH: What happened immediately following this? JACKIE: (lifting her chin a bit) I sent her up to our room, and I sent myself to the hotel bar for a very large glass of rosé. (looks to Brennan defiantly) And believe me, I was not the only mother doing the exact same thing. BOOTH: Great. (pulls out a pad of paper and a pen, pushing it toward Jackie) I'm sure you can, uh, provide me with a list of the other mothers. Hmm? (Brennan scrutinizes Jackie as if she's trying to understand her) (Cut to: Interior - Jeffersonian - Medico Legal Lab. Cam and Zack are studying the bones on two X-rays.) ZACK: Blood would've rushed to the injured areas that are evident on her X-rays, but there's no evidence of blood flow -- (points to the areas on the screen) -- here or here or here. CAM: (engrossed in examining the films) So she was beaten after she died. ZACK: The blows appear to be consistent with kicking but the dispersal pattern is abnormal. (they turn back to the exam table where the victim's bones rest) CAM: Can you tell anything about the shoes? Size? Make? ZACK: Only that they are quite rigid, possibly steel-toed. CAM: (nodding, as another piece of the puzzle comes together) And Hodgins said he found fragments of steel in the jacket. (Cut to: Angela sitting on the couch in Brennan's office. She is fiddling absently with a necklace and appears upset. Brennan enters, heading straight for her desk, picking up some binders.) ANGELA: Hodgins asked me out. (Brennan whirls around, startled to find Angela sitting there. She gives her a look before bending back down to retrieve her paperwork.) BRENNAN: Is that why you're hiding in here? (she straightens and turns to face Angela) ANGELA: I'm not hiding. (desperate, troubled face) I need advice. BRENNAN: What -- on a personal matter? ANGELA: (smiles slightly) Yes. BRENNAN: (surprised) From me? ANGELA: (nodding, insistent) Yes. BRENNAN: But romance is sort of -- (holds up her hands, trying to find the right words, as she walks over to sit in a chair across from Angela) -- This is like me asking you advice on phylogenetic systematics. ANGELA: Phylogenetic systematics. (she pauses) I have no idea what that is. BRENNAN: (smiles) Exactly. ANGELA: Well, I can't ask Cam. (Cam pops in the doorway of Brennan's office) CAM: Can't ask Cam what? BRENNAN: (casually) Oh, Hodgins asked Angela out on a date. ANGELA: (eyes widening) Brennan! BRENNAN: What? Was it a secret? (looks to Cam) It was a secret. (Angela gives Brennan a disapproving, "thanks a lot, big mouth pal o' mine" kind of glance) CAM: (ignoring them both, taking a businesslike step forward) I just came to ask if you'd made any progress on the cellulose. (She raises her eyebrows at Angela, who groans. Seems she's been a little distracted to start that project.) ANGELA: No. CAM: Okay. (starts to leave) ANGELA: Wait. (Cam stops short in the doorway) You can't pretend you didn't hear about this. CAM: Fine. (comes back into the room and sits down eagerly, getting comfortable) What'd you tell him? ANGELA: "No." CAM: (surprised) Why? BRENNAN: (looking at Cam as if she is ludicrous) Because it would be a disaster. ANGELA: (to Brennan) All of a sudden, you have an opinion on this? BRENNAN: You should never indulge in a romantic relationship with someone you work with. CAM: (mildly amused smile crossing her face) Why not? BRENNAN: Well, anthropologically? ANGELA: (looking pained) There's an anthropological answer? BRENNAN: An efficient workplace is predicated upon a simple hierarchy. (Angela nods slowly, absorbing the message) Romance undermines that hierarchy. (Brennan ponders a moment) This is like when I had an affair with my thesis supervisor in college. CAM: Don't think we have time for that. (turns to Angela) I say go. ANGELA: What about this hierarchical-sexual ... ? CAM: (waves her hand nonchalantly) Won't be an issue. (Angela looks worried, so Cam explains) It's always fun to flirt in the workplace. But out there, when fantasy becomes a reality, it's a drag. BRENNAN: (confused) What? The date will be bad? CAM: (certain) It will be awful. You'll both realize it's not meant to be. (Angela starts nodding again) There'll be a couple of days of awkwardness, and then everything goes back to normal. BRENNAN: If I were you, I'd go with Cam on this one. CAM: (looks pleased yet surprised by Brennan's admission) Why? ANGELA: (rolling her eyes, smiling) Phylogenetic systematics. (Cam looks bewildered) BRENNAN: (standing up) I have to go to dance class. (As Brennan exits the office, mystified Cam looks to Angela for an explanation. Angela looks away, rubbing her forehead and sighing heavily.) (Cut to: Pageant dance class going on in a magnificent hotel ballroom. A class of young girls dances to KC & the Sunshine Band's "(Shake Shake Shake) Shake Your Booty." Brennan and Booth walk-and-talk past several groups of students and a grand piano, stopping to stand and watch all the activity from the side of the room.) BOOTH: Jackie Swanson's alibi checks out. She was in the bar when Brianna disappeared. (lowers his voice, his jaw setting) Can't we just prosecute her for being horrible? (Brennan looks to a woman in a white button-down shirt, black leotard and dance skirt. The woman is slowly weaving her way through the class, directing each of the dancing girls.) BRENNAN: That the dance teacher? BOOTH: Yeah. That's, uh, Charlotte Craft. She owns the studio. She also runs the -- (voice turning sarcastic now) -- Junior Miss Patriot Pageant. I mean, she's gotta be able to give us something, right? (Booth and Brennan make their way over to the side of the room where the teacher is) BRENNAN: I always wanted to take dance, but I was so ... gawky and uncoordinated. BOOTH: (chuckles) What? You? (He puts his hand on her shoulder as he gently steers her to a row of chairs against the wall, some occupied by parents watching their kids dance. Brennan keeps talking and follows where he guides her, the whole time Booth looking out for her and putting his hand on her arm to make sure she doesn't get knocked down or disrupt the students' dancing.) BRENNAN: Later I understood that the gawkiness was caused by an asymmetrical development of the iliac crest. BOOTH: (rolls his eyes) Oh, yeah. Because you know what? That's what I would've guessed. (they sit) The old, uh, iliac ... crest. (smirks slightly) (A woman sitting two chairs away from them turns to introduce herself with a wide, proud smile) KRISTEN MITCHELL: Hi. Which one's yours? (Both Brennan and Booth stare blankly at the woman) BOOTH: Hmm? BRENNAN: Which what is what? What? Mine? (glances at Booth) Ours? BOOTH: (gesturing to Brennan, stunned) Ours? (immediately) Oh, no, no. Whoa. (gets up from his seat and moves away from Brennan, putting one empty chair between them) We're not -- No. (Brennan gives Booth an insulted glare) That's not -- (glances at Brennan, then quickly looks away as he pulls out his badge, whispering) F.B.I. KRISTEN: (impressed) Oh, wow. Really? BOOTH: (proudly) Mm-hmm. (He glances at Brennan, who gives him another look, her mouth tight) KRISTEN: Oh, are you here about ... (lowers her voice) ... Brianna Swanson? BOOTH: (doesn't answer the question, his voice cordial but his face impassive) Did you know Brianna? KRISTEN: Yeah. Very well. I'm Kristen Mitchell. (leans in, pointing) That's my daughter Ariel ... by the barre, with the gray leg warmers. (Close-up on a young blonde girl as she leans into a stretch) They -- they took classes together, were in the same pageants. (Brennan's listening in on the conversation from her place a few chairs away, so she looks over to Ariel too) Sometimes I can't help but wonder, what if it had been Ariel who got kidnapped? BRENNAN: (moves over to sit next to Booth and Kristen) Why do you assume she was kidnapped? KRISTEN: Well, I can't imagine Brianna just ... running away. (she chuckles) BOOTH: Well, these pageants are very competitive. There was a lot of pressure probably on her. KRISTEN: (scoffs) To Brianna? Uh, no. No way. I mean, she had the face of an angel, but underneath -- (she smirks) -- let's just say she had her sights set on winning that pageant. BRENNAN: Why? KRISTEN: I don't understand the question. BOOTH: (leans in, speaking carefully) What's the draw here? KRISTEN: (excited) Oh, my God. The girls, they love it. They get to dress up all glamorous, all the attention, the lights, and the music. (Brennan gets a confused, disturbed expression on her face like she's studying some odd counterculture; meanwhile, Booth nods at Kristen, giving her a very fake "sure, yeah, this is interesting" smile that looks more like he's in pain. The music stops, and the teacher claps for everyone's attention.) CHARLOTTE: All right, girls. That's enough for today. Thank you very much. BRENNAN: (annoyed) There's enough pressure on young females without making them prematurely sexualized. KRISTEN: (half-laughs, then gives Brennan a look dripping with disdain) I'm sorry, but that is just narrow-minded prejudice. I was in pageants my entire childhood. I loved 'em. And -- (she smiles, very pleased) -- they sent me to college on a full scholarship. (As Brennan looks horrified at the very thought of going to school on scholarships stemming from beauty pageants, Kristen's daughter scurries over, done with class.) ARIEL: Hey, Mommy, I'm finished. KRISTEN: (hugs her daughter proudly) Hey, hon. Nice job. (looks her in the eye) And good focus. ARIEL: (delighted) Thanks. (Kristen stands up, and turns to Booth) KRISTEN: Well, I hope you find the man responsible. (she and her daughter exit as the teacher CHARLOTTE CRAFT walks up) CHARLOTTE: Agent Booth? I've got about twenty minutes till my next class. BOOTH: Okay. BRENNAN: Okay. (she gets up at the same time as Booth) Okay. (He stops her with one hand as she tries to follow him) BOOTH: Oh, you know, why don't, uh, why don't you go mingle? BRENNAN: What? Why me? BOOTH: Because you're a girl. (he starts to walk away but Brennan stops him) BRENNAN: (offended) What? BOOTH: (lowering his voice) Listen, because it's illegal for me to question any of these kids without their parents, okay? (glances around the room) Look, you're a civilian. Okay? So take your pick. BRENNAN: Good point. (Booth walks away as Brennan scans the room for someone to "interrogate") (Cut to: Close-up of Hodgins' gloved hand as he places a Petrie dish below the microscope lens.) HODGINS: Behold the keepers of mystery - the Sphecius speciosus and his trusty sidekick, the Tibicen lyricen. CAM: (sarcastic) Ooh. Ahh. (Hodgins smirks, unaffected, so Cam leans in to peer at the "bugs" now magnified on the computer screen) What mystery? HODGINS: If Brianna Swanson was kidnapped, they didn't take her far. The presence of these two species together suggests that she died within a one-mile radius of the hotel where she disappeared. CAM: (shaking her head) That whole area was thoroughly searched within hours of her disappearance. HODGINS: (considers this, looking disappointedly at his findings) Yeah. (He is quiet for a moment, pondering until a new possibility at last occurs to him) HODGINS: I think her body was jammed into a storm culvert for over a month, until those thunderstorms two weeks ago -- CAM: (eyes widening as she connects with what he's saying) Washed the remains down to the treatment plant. HODGINS: (nodding, excited again) FBI forensics should check out the culverts and drains large enough for a nine-year-old girl around the hotel. CAM: I'll tell Booth. (she smiles at him, impressed, as she walks away) (As Hodgins proudly turns back to his work, he glances over and sees Angela walking up the aisle toward him. He laughs when she smiles at him.) HODGINS: Hey. (he sits at his desk, his tone light but his eyes on his work) Don't come around again looking for a second chance. That was a one-time offer, baby. ANGELA: (leans in, smirking) Really. (she teasingly considers this) Hmm. HODGINS: (looks up at her in astonishment) No. (confused) What? (As Angela saunters away, looking back at him with a grin on her face, Hodgins gets up and follows her, stammering along the way) HODGINS: No. N-no, no. Not -- not really. I mean, it never occurred to me that y-you would -- (Angela stops walking and faces him head-on, her expression turning serious now; Hodgins is completely flustered) -- Okay, now you talk. ANGELA: (pauses a moment, looking him in the eyes, confidently this time) I accept -- (she's got his full attention now) -- going on a date -- (Hodgins starts to smile) -- with you. (she nods at him encouragingly, her smile sincere) Soon. (Hodgins turns away momentarily, clearly pleased, then turns back to Angela, grinning) HODGINS: Tonight? ANGELA: (exhales a breathy laugh, surprised) Wow. That is soon. HODGINS: (serious now) I don't wanna give you time to change your mind. (Angela smiles at him, so he continues) What do you wanna do? ANGELA: You asked me. (she smirks at him) Figure it out. (Hodgins nods at her, clearly accepting the challenge. His eyes follow her as she walks away; then he exhales a relieved breath.) HODGINS: (looks heavenward, whispering gratefully) Thank you. (He gets an excited yet determined look on his face -- he's got some date prep to do and he wants it to be great) (Cut to: An image taken with a camera cell phone. In the photo, a teenaged boy dressed all in black appears to be lurking near a doorway. Charlotte Craft holds out the cell phone so Booth can see.) CHARLOTTE: I took this at the pageant about a half an hour before Brianna disappeared. (Booth takes the phone and studies the face in the picture) BOOTH: Did you show it to the police? CHARLOTTE: No. BOOTH: (puzzled) Why not? CHARLOTTE: (sincerely) Because ... he's not some m*rder pedophile. He's the seventeen-year-old brother of one of the contestants. BOOTH: Then why'd you take his picture? CHARLOTTE: Well, to show his parents how creepy he seems hanging around. He could be such a good-looking boy. BOOTH: What's his name? CHARLOTTE: Jeremy Ferrell. (pauses) Look, I know he dresses in black and mopes around, but ... he's totally harmless. BOOTH: (smiles at that) Hmm. (drops the smile) I'm gonna need a copy of this picture. CHARLOTTE: (takes her phone back) Certainly. (Cut to: Brennan holding up a photograph of a skeleton she unearthed at a dig. She's sitting on the floor, chatting with a small group of young girls.) MEGAN: Is that a real skeleton? BRENNAN: Yes, of a twelve-year-old from the Bronze Age. These bones show she'd already had children. MEGAN: What k*lled her? BRENNAN: Having the children. LIZA: (authoritatively) She should've waited to be married before she had sex. MEGAN: (looks to her friend, whispering) You said "sex." (Liza shrugs, grinning shyly) BRENNAN: Were you girls in the Junior Miss Patriot Pageant? MEGAN: (smiling proudly) I came in fourth. LIZA: (snottily) If Brianna was there, you'd have been fifth. BRENNAN: It must have been hard to lose your friend like that. MEGAN: Brianna was kind of mean. She said Liza had cankles. (Liza makes a face) BRENNAN: What are cankles? MEGAN: Where your calves and your ankles are the same thing. (All the girls nod knowingly) LIZA: (crossing her arms) She took my birthday watch too. She'd take anything she liked. BRENNAN: So you weren't friends. MEGAN: You had to be friends with her. BRENNAN: (curious) Why? LIZA: (as if it's obvious) Because Brianna was the queen. BRENNAN: (considers this thoughtfully) So yours was a cultural structure predicated on the equation of beauty with power. (the girls start looking at each other, confused) You instinctively align yourselves with someone who holds the greatest potential for societal supremacy. (Liza's eyes are wide) It's ... a Darwinian pressure you're too young to bear. (Booth comes up behind Brennan) BOOTH: Okay. Come on, Bones. (he reaches under her arms and helps her up from where she sits) Up you go. There you go. MEGAN: (speaks breathlessly, staring at Booth) You have huge muscles. BOOTH: (gives her an appreciative grin) Thanks. (looks to Brennan seriously) Learn anything? (Liza looks up at Booth with a big smile) BRENNAN: Yeah, I learned about cankles. How about you? BOOTH: (whispers) I found a possible suspect. (he gestures to where Jeremy Ferrell waits for his little sister) BRENNAN: Well, Cam and Zack said that Brianna was kicked with a steel-toed boot. (Pan down to Jeremy's footwear -- he's sporting what appears to be shiny, steel-toed black boots) BOOTH: Looks like my possible suspect just became our primary suspect. (Jeremy smiles at his sister and takes her backpack, carrying it for her and holding the door as they both exit. Brennan and Booth watch them go.) END OF ACT TWO ACT THREE (Cut to: FBI Interrogation room. JEREMY FERRELL sits slouched with his arms folded defensively across his chest. His mother DONNA FERRELL sits next to him. Booth sits across from them at the table.) JEREMY: Of course I'm at every pageant. (to his mother) Okay, you see what happens? DONNA: (to Booth) Look, I make him come -- to -- to carry Haley's changes and the props for her talent competition. BOOTH: Well, you know a lot of kids his age ... they'd -- they'd just refuse. JEREMY: Okay, so what? So then I'm a -- I'm a bad kid because I'm a good kid? BOOTH: (indulgent half-smile) Hmm. (gestures at him) What do you call this look? JEREMY: It's not a look. DONNA: (weary) Emo. It's called emo. JEREMY: (getting annoyed) No, it's not. DONNA: It's short for overly emotive. JEREMY: (glares at her, his arms still crossed) No, Mom, no, it's not. Okay? I like these clothes, I like this hair. It's not emo. It's not anything. (his mother rubs her neck in frustration) BOOTH: (studying Jeremy for a moment) You have a girlfriend? DONNA: He does. She looks exactly like him. BOOTH: Are you guys, like, real boyfriend and girlfriend? JEREMY: (sneers) What do you mean? What do we -- what -- do we have sex? BOOTH: I don't know. You tell me. JEREMY: (glowering at Booth now) Why? Because if we don't, then I'm just -- I'm some pervert who's got a thing for little girls? (Booth holds up a copy of the picture that Charlotte Craft took) BOOTH: The day that this, uh, picture was taken, did you speak with Brianna Swanson? JEREMY: (nods) Yeah. DONNA: (seems surprised) Jeremy. JEREMY: She was pickin' on my little sister. BOOTH: Oh. (carefully) And did you argue? JEREMY: (with a touch of sarcasm) You don't argue with a nine-year-old. You call each other names. (Booth glances under the table) BOOTH: Are you wearing the same shoes that you wore that day? JEREMY: (immediately) No. DONNA: (just as quickly) Yes. He's worn the same thing every day for a year. (Jeremy looks irritated at that comment) BOOTH: (directly to Jeremy) Would you be willing to give us those shoes? JEREMY: (again, immediately) No. DONNA: (again, just as quickly) Yes. JEREMY: (indignant) Mom! (His mom turns to him and yells) DONNA: Just this once, Jeremy, do what I tell you, okay?! (Booth winces in mild amusement at the sight of this 'punk kid' getting yelled at by his mom) DONNA: (pleading now) I -- I know you didn't do this, honey. (Jeremy rolls his eyes) I know who you are under all this. Give the F.B.I. your shoes. (Jeremy looks at his mother for a moment, then turns to Booth) (Cut to: Jeremy's boots being plopped down on Brennan's desk at the Jeffersonian.) HODGINS: Not the shoes. BRENNAN: (looks up from her work) How do you know? HODGINS: First, the caps are plasticized chrome, not stainless steel. ZACK: (standing next to Hodgins) And they're too broad and rounded to have caused the damage to Brianna Swanson's bones. BRENNAN: (considers this a moment) Tell Cam and Booth. (Hodgins and Zack turn to leave Brennan's office. Hodgins strips off his lab coat as he and Zack walk.) HODGINS: (to Zack) You do it. ZACK: (stopping in the doorway of Brennan's office to object) Why? HODGINS: Because I ... have a date. (he tosses his lab coat at Zack and leaves) (Zack turns to Brennan, confused, but Brennan seems to be putting it all together as she cranes her neck to watch Hodgins walk away.) (Cut to: Hodgins and Angela strolling side-by-side across a grassy yard, in a park.) HODGINS: Here's the thing, Angela. I know you've been out with a lot of guys. ANGELA: (protesting with a grin) Hey, you have a different girlfriend twice a month. HODGINS: (grins back) Yeah. So imagine the pressure to come up with a date that neither one of us has ever been on before. ANGELA: (looking at him, amused and curious) So what's up? We here to walk a dog or something? (Hodgins stops walking and turns to face her) HODGINS: I remember what you said ... about how you used to feel on a swing. (He turns his head; Angela's eyes follow. There in the distance is a swing set with two swings. Angela's eyes light up in surprise. She looks back to Hodgins, marveling at his creativity, clearly impressed. Hodgins smiles widely.) (Cut to: Close-up of the treated cellulose. Brennan and Cam are examining the material versus the magnified image on their monitor.) BRENNAN: It looks like colored dots, but it's so faded. CAM: Could this be a candy bar wrapper? BRENNAN: (shaking her head) I don't think Brianna was supposed to eat candy. CAM: (looks up at Brennan with a slight smirk) Well, there were a lot of things I wasn't supposed to do as a kid. I still did them. (pauses a moment, looking back down at the wrapper and over at the monitor) I haven't changed much. (Brennan gives Cam a look, as Booth comes up the stairs to join the women on the platform) BOOTH: Bones, anything on the emo shoes? CAM: (answering for Brennan, she glances over her shoulder at Booth as he steps up to the table) Not a match. Sorry. (Booth spies the cellulose on the table) BOOTH: What's with the, uh, Milk Blast Bar wrapper? CAM: (scrutinizes the wrapper more carefully, finally recognizing) Milk Blast Bar. BOOTH: Yeah. BRENNAN: What's a Milk Blast Bar? CAM: It's about the cheapest, worst ice cream bar you can get. (switching her voice to sound like an announcer in a commercial) Available only at ... Red Shed convenience stores. CAM and BOOTH: (singing the jingle) "Red Shed. What you need now ... and how!" BOOTH: Yeah! (Brennan stares at the two of them) CAM: (laughs) I thought they stopped making them. BOOTH: (laughing too) Yeah, I thought I just ate 'em all. BRENNAN: Well, maybe we should determine how Brianna Swanson got ahold of one. (At this grave reminder of a deceased little girl, Cam and Booth sober immediately) BOOTH: (reaching into his pocket for a cell phone) Brianna Swanson? (He dials a number) CAM: Hodgins found the wrapper ... with her remains. BOOTH: (into his phone) Yeah, it's Booth. Listen, I need a search for any, uh, Red Shed convenience store within a one-mile radius of the Hyperion Hotel off 171. Thanks. (hangs up and turns to Brennan, contrite) Look, I wouldn't have laughed so hard if I knew it was Brianna Swanson. (Cam looks from Booth to Brennan and then back down at her work, but says nothing. Brennan looks uncomfortable.) (Cut to: A completely opposite mood, the joyous sound of Angela laughing. Close-up on the tangled chains of a swing.) ANGELA: Oh, my God. HODGINS: (quickly) Put your head back. Put your head back. (Hodgins stands behind Angela as she sits on the swing; his hands guide her shoulders, as he carefully spins her around and around. The chains of the swing begin to untwist.) ANGELA: (clinging to the chains, laughing hard) I'm gonna puke. HODGINS: (laughing too) Head back! Head back! (He turns her one last time; the chains finally open up and straighten, rocking Angela back and forth on her swing) ANGELA: (still laughing) Ohhh! I'm gonna puke, I'm gonna puke. (Jack grins widely, chuckling) HODGINS: No, don't. (he steadies her swing) You all right? ANGELA: (giggling) Yes. HODGINS: Yeah? (His hands come to rest on her waist and start to pull her back again) ANGELA: (grinning) Not -- don't do it again. HODGINS: (protests with another laugh) It was fun. (He gives her a soft push on the swing instead, leaving room for her to move back and forth as he walks over to his own swing and hops on) ANGELA: I never thought I'd be doing this again. (Hodgins reaches to grasp the chain on her swing, his hand close to hers, so he can swing back and forth in rhythm with her) HODGINS: (surprised) Really? (Angela takes hold of the chain on Jack's swing so they're both connected. They look at each other, smiling, as they continue to sway and talk.) ANGELA: (delighted) Really. HODGINS: (casually) You know, I had a little dream about it last night. (A hint of a wicked grin crosses his face. Angela rolls her eyes, still smiling.) ANGELA: Did you? HODGINS: Yeah. (smirks at her confidently) It ended well, too. ANGELA: (indulges him) I'm sure it did. (She grins and lets go of his chain. As he jumps up to stand on the seat of his swing, his face turns serious.) HODGINS: But you know what? (sincerely) You look much better here. ANGELA: Better than a dream, huh? (she shakes her head at him, smiling) You're shameless. (She watches him for a moment as he swings back and forth precariously from a standing position, reaching higher and higher) ANGELA: All right, you better get -- get -- you are gonna k*ll yourself. (He grins, but finally jumps off the swing) HODGINS: I wouldn't do that. (Angela smiles and keeps swinging) ANGELA: No? HODGINS: Not yet. (She looks up at Jack expectantly as he steps in front of her swing and takes hold of its chains, bringing it to a gradual stop. Angela pushes a lock of hair away from her face, looking up at him, then glancing down shyly. Her eyes trail up his body to rest upon his face as he nudges her swing back, bit by bit, each cautious step bringing him closer to her, until at last she is standing and he is inches from her face. He smiles.) ANGELA: (softly, as she looks into his eyes) What now? (Jack blinks, saying nothing. Angela smiles at him and waits. His eyes drop down momentarily to her mouth, then return to look into her eyes. After a quiet moment, he tilts his head, leaning in to kiss her, his eyes falling closed. Angela kisses him back, exploring gently. In this lovely romantic moment, the park is theirs, all moonlight and shadow, and as they deepen the kiss, Jack's swing moves next to them, swaying lightly in the night breeze.) (Cut to: Large silver and black sign that reads "RED SHED." Brennan and Booth are walking along the sidewalk, eating ice cream.) BRENNAN: Well, they carry Milk Blast Bars. That's a start. (takes another bite) These are good. BOOTH: Are you kidding me? (gestures with his ice cream bar to the empty wrapper in his other hand) These are God's food, right here. (casually) So the F.B.I., uh, forensic units are ... sweeping the culverts near the hotel. So I figured, you know, while we were waiting, we'd just, uh, go ... have a look around. (Cut to: Booth and Brennan holding flashlights, poking around the neighborhood beyond the convenience store. Close-up on a bubbly stream, its path briefly illuminated by Brennan's flashlight as she scans the area. Cut to a darkened industrial section of town as Booth and Brennan move through shadows, passing a stack of pallets, still searching. Cut again to Booth as he shines his light back and forth over a grassy hill, until the beam comes to a stop on a storm drain partially obscured by weeds.) BOOTH: Right there. There it is. (Brennan shines her light in his direction) BRENNAN: Well hidden. BOOTH: Yeah. (They both head toward the culvert, their feet crunching noisily through the dry grass. At one point, there is a close-up of Brennan's boot as it steps over a cement parking stop. Booth crouches down and peers into the tube.) BOOTH: Well ... big enough to, uh, stuff a child's body into. (As Brennan squats down to join him, pulling on her latex gloves, Booth spots something shiny in the murky water at the base of the drain) Oh, what do we got there? (Brennan swirls a gloved hand in the water until she is able to grasp the object and pull it out. She holds it up and shines her flashlight on it.) BRENNAN: It's a pageant medal. BOOTH: Looks like we got our crime scene, huh? (She exchanges a meaningful glance with Booth as she turns the muddy medal over in her hand) (Cut to: A sh*t from the within the storm drain, as Brennan and Zack peek inside.) BRENNAN: Crushing and scraping injuries to the scapula are congruent with Brianna Swanson being forced into a culvert this size in a prone position. ZACK: The kicks to the back were the attacker's attempt to force the body farther into the culvert where it couldn't be seen. (As the camera pulls back, we see they have brought a section of the tube to the Jeffersonian in order to test theories. Cam and Hodgins stand at a nearby table, checking out the medal, which is now shiny and readable.) CAM: "Little Miss Raspberry Blossom, Culpepper, Virginia." HODGINS: There were remnants of blood on the medal before I cleaned it. I'm waiting to see if it belongs to Brianna Swanson. CAM: It's dated 1976. (Medal reads "LITTLE MISS RASPBERRY BLOSSOM - CULPEPPER, VIRGINIA, 1976" and has a white and royal purple ribbon. Angela enters the lab in a hurry.) ANGELA: I got something. (she heads straight for a computer and types in some variables) Okay. I don't know if this helps you. (On screen, an old newspaper article pops up, and Angela reads from the caption underneath a sepia-tinged photograph) "Lisa Fisher, 1976 Raspberry Queen. Holly Walters, Raspberry Princess. Kristen Madigan, Little Miss Raspberry Blossom." (Brennan leans forward, recognizing) BRENNAN: That face. Kristen Madigan. (speaks carefully, giving Angela a grave look) The mother ... that I spoke with at the dance school was named Kristen. Kristen Mitchell. CAM: (eyes widening) Oh, my God. It's like that Texas cheerleading thing, where the mother took out her daughter's main competitor. (Angela cringes, looking to Brennan, as the camera closes in on the picture of young Kristen, smiling brightly as she holds a basket of raspberries and wears the very medal they found) (Fade to FBI Interrogation room. Booth leans back casually in his chair at the table, as Kristen Mitchell paces while she talks.) KRISTEN: Yes. My daughter did win the pageant after Brianna disappeared. That's not a secret. The winner, Ariel, went on to a national competition. BOOTH: And how did Ariel do in the nationals? KRISTEN: (stops pacing to face him confidently) Very well. Finished in the top ten. BOOTH: Top ten? Wow. (he squints at her, searching for the right button to push) That probably wouldn't have happened if, uh, Brianna Swanson hadn't gone missing, right? KRISTEN: (indignant) You don't know that. Nobody knows that. (Booth remains silent, keeping his eyes on Kristen as he bends forward, reaching across the table, moving his hand aside to reveal Kristen's medal) KRISTEN: (picking it up immediately) Where'd you get this? BOOTH: Oh, we found it ... at Brianna Swanson's crime scene. Can you explain that? (Kristen opens her mouth but doesn't immediately answer, choosing instead to look at Booth, then at the medal, and back to Booth again, shrugging) KRISTEN: Brianna Swanson was a thief, Agent Booth. (Booth says nothing, but raises both eyebrows) I mean, ask anybody. She probably took it out of my bag. BOOTH: Did you report it missing? (She closes her mouth firmly, her eyes narrowing at Booth as he patiently waits for an answer. Finally, she takes a breath and speaks up.) KRISTEN: I'm not saying another word until I get a lawyer. (Booth studies her thoughtfully) (Cut to: Zack hunched over the lab table, positioning yellow, numbered markers over each section of bone where Brianna was kicked. Brennan stands at the head of the table, watching and pondering the evidence.) ZACK: (counting as he places each marker) One, two ... three, four. And she was kicked twice in the same place here, twice as deep. So five, six. BRENNAN: (nodding) There's an asymmetry both of force and distance to these kicks. ZACK: The fracture pattern suggests a slight rotation to the blows. BRENNAN: (thinking this over) How slight? ZACK: About thirty degrees. BRENNAN: (immediately) Left side only? ZACK: (nodding solemnly) Yes. (Brennan smiles at Zack as she pulls her cell phone out of her pocket and hits speed dial. After a moment, she speaks into the phone.) BRENNAN: Hey, it's me. Are you with Kristen Mitchell? (Cut to Booth still sitting in the interrogation room with Kristen, who has joined him at the table) BOOTH: (switches his phone from one hand to the other) Yeah. Ah, we're just, uh, sitting here, you know ... (mildly sarcastic, as he looks over at Kristen) ... waitin' for a lawyer. (Kristen rolls her eyes and folds her arms across her chest) Why? (Cut to Brennan in her lab) BRENNAN: Okay, I need to know if her hips are even. (Cut back to Booth in the interrogation room) BOOTH: (lowering his voice) Is that slang, or do you really mean "even"? BRENNAN: (voice heard over Booth's phone) Just stand behind her; place your hands on her hips. (Booth glances over at Kristen Mitchell, who gives him an inquisitive stare; he shifts uncomfortably in his seat as Brennan continues her directions) Then, move your hands up to her ribcage, gauging if it's an equal distance on each side. (Cut to Brennan in her lab, looking to Zack, who nods in agreement that this is the right course of action in order to tell them what they need to know) (Cut back to Booth) BOOTH: (slouching in his chair, shaking his head) That's ... so not gonna happen. (he frowns) (Cut to Brennan) BRENNAN: Well, you're videotaping the interview, right? (Cut back to Booth) BOOTH: Of course. We have to. (he glances over at Kristen, whose eyes are narrowing at him suspiciously) BRENNAN: Okay, ah ... then beam me some footage of her walking. BOOTH: Okay. All right. (he sits up straighter in his chair) Comin' at you, Bones. (He hangs up his cell phone) KRISTEN: What was that about? (Instead of answering her, Booth gets up, walks over to the intercom on the wall by the door and pushes a button) BOOTH: Yeah, do me a favor and, uh, beam those images of Ms. Mitchell pacing to the Jeffersonian. Thanks. (he releases the 'talk' button and turns back to Kristen) KRISTEN: (irritated) What's going on here? Where's my attorney? (Booth exhales a deep breath but says nothing -- he's got to give Brennan more time) (Cut to: Interior - Jeffersonian - Medico Legal Lab. Zack is cueing up the video footage that Booth had forwarded.) BRENNAN: Okay, try and get a sh*t of her buttocks and freeze it. ZACK: Okay. (The recording begins with Kristen walking toward the camera. Zack pauses the image of Kristen as she turns around to pace in the opposite direction. He zooms in so the focus is on her butt.) ZACK: I'm applying a ... biometric graph ... right here. (He taps some parameters into his handheld device and a graph appears, covering the screen. He keys in more code, and the graph markers conform to the shape of Kristen's buttocks. A bar at the top and bottom of the graph shows that the measurements are balanced.) ZACK: No. (Brennan shakes her head as she shares a discouraged look with him) BRENNAN: You might as well let her go, Booth. (Cut to Booth on his cell phone, back in the interrogation room) BOOTH: (quietly into his phone) Why? (Cut to Zack in the lab, as he leans over to speak into the phone) ZACK: (enunciating carefully) She has very nice symmetrical buttocks. (Cut to Booth in the interrogation room. At hearing Zack's statement, his mouth drops open. Speechless, Booth snaps his mouth shut and glances sideways at Kristen, who is attentively watching Booth, waiting to hear just what the hell is going on.) BOOTH: (shifting guiltily, trying to avoid looking directly at Kristen, he mumbles out of one side of his mouth) Well, yeah. I know that. But, um -- (he glances at Kristen again) -- what's that gotta do with anything? (Cut to Brennan and Zack double-checking the symmetry of Kristen's butt) ZACK: (speaking into the phone again) Brianna Swanson's attacker has a thoracolumbar curve. Scoliosis. (Cut back to Booth, shaking his head) BOOTH: Sure. Meaning ... what? (Cut to Brennan, speaking unequivocally as she and Zack share a knowing look) BRENNAN: Kristen Mitchell is definitely not the k*ller. (Cut back one final time to Booth in his interrogation room, on his cell phone) BOOTH: Thanks. (He hangs up his cell and stares off into the distance, thinking) (Cut to: Booth and Brennan as they walk across the lower level of the Jeffersonian lab. Brennan swipes her I.D. badge through the security scanner; she and Booth head up the stairs to the platform where Zack and Cam are waiting.) BOOTH: Ariel Mitchell says that she showed Brianna her mom's medal the day of the pageant. Now, Brianna -- she must've stolen it. All right? (frustrated) We're -- we're nowhere. BRENNAN: Well, we might have found the m*rder w*apon. BOOTH: The m*rder w*apon. Okay, well, what is it? ZACK: (speaking up from where he sits at a desk) A fore-stop trammel. BOOTH: A what? CAM: (gesturing to the cement parking stop) Hello. (Booth and Brennan walk around either side of the lab table, checking out the trammel) ZACK: It's from the parking lot at the Red Shed convenience store. BRENNAN: The F.B.I. forensics team found minute traces of blood on it. We brought it in here to compare the edging with the marks on the victim's chin. (she returns to Zack's desk, as he cues up a magnified view of the markings from the trammel versus the markings on Brianna's chin) And we can see here -- ZACK: It's a match. (Booth listens to them intently as he stares at the monitor, perplexed) BRENNAN: (walking back over to the trammel, demonstrating) The angle and force of the blow suggest Brianna fell forward, was unable to break her fall, and caught her chin here. (The screen whites out and flashes briefly to a dark image of a parking stop as an X-ray skeletal version of Brianna falls forward, hitting her chin roughly against the cement, the bones of her neck snapping apart, before flashing back to Brennan in the present moment) BRENNAN: Broke her neck instantly. HODGINS: (calling out as he hurries over) Wanna hear about the steel? BOOTH: (holds up a hand, not even looking at Hodgins) In a minute. (to Brennan) So she was carried from the curb to the culvert? HODGINS: Dragged. (holds up a folder) Wanna hear about the steel? (Irritated, Booth looks over his shoulder at Hodgins) BOOTH: How do you know she was dragged? HODGINS: (looks to everyone on the platform) Remember the polycyclic aromatic hydrocarbons I talked about? BOOTH: Absolutely not. HODGINS: Turns out that they weren't from roofing tar. They were from asphalt. (Booth squints, considering this information, trying to connect the dots) CAM: So what you found on her jacket was from her being dragged? HODGINS: (nodding vigorously) Exactly. (excited, raising his eyebrows) Wanna hear about the steel? (This time no one interrupts him -- they all exchange glances as he explains) HODGINS: It wasn't from work boots. It is the exact same steel used in tap shoes. (Booth looks weary) BOOTH: It's from another contestant. (Cam frowns, facing Hodgins in alarm as she absorbs this news. A kid may have k*lled another kid. Brennan's mouth forms a grim line as she looks to Booth.) END OF ACT THREE ACT FOUR (Cut to: Close-up of Kristen Mitchell as she helps her daughter Ariel get dressed and made up for the latest pageant. Booth and Brennan wander through the dressing room where all the parents and young contestants are getting ready.) BRENNAN: Okay, Booth, you're looking for a tap-dancing beauty queen with scoliosis. BOOTH: Right. Gotcha. (stops in his tracks) Wait. Half these kids have tap shoes. BRENNAN: Well, we just need to examine the symmetry of their hips. BOOTH: (uncomfortable, gesturing away from her) I'll go with the shoes. You do your thing. (Close-up of a contestant's feet as she buckles up her tap shoes. Brennan steps up to a girl in a red dress, takes her by the shoulders and bends her forward, running her hands down her back, feeling her sides for asymmetry.) PAGEANT CONTESTANT #1: (startled) Oh! CONTESTANT'S MOTHER: Can I help you? What are you doing there? (Not finding what she needs, Brennan walks over to the next vanity where a girl sits on a stool. She again bends the child forward, running her hands down to the girl's hips.) BRENNAN: Excuse me. It's okay. I'm a scientist. PAGEANT CONTESTANT #2: (screaming) Molester! Molester! (Startled, Booth swivels around from where he was looking at tap shoes.) BRENNAN: (alarmed) What? BOOTH: Bones! (Brennan pulls her hands away immediately, shaking her head.) BRENNAN: No! BOOTH: What are you doing? (The offended young girl gapes at Brennan as if she's a disgusting monster. Parents and other contestants run over, staring at Brennan accusingly.) BRENNAN: (holding her hands up in defense) I'm -- I'm not a molester. I'm a forensic anthropologist. BOOTH: Okay. (holds up his badge in one hand and a tap shoe in the other) FBI business. Everybody just simmer down. PAGEANT CONTESTANT #2: (adamantly, to Booth) She touched me on my rear! BRENNAN: (to the little girl) No, back and rear have totally different connotations. (to Booth and the rest of the people surrounding her) Point of clarification. I touched her back. (A security guard marches up to Booth) (Cut to: Security guard's office at the hotel where the pageant is being held. The guard sits at his desk in front of the monitors; Booth and Brennan sit opposite him.) SECURITY GUARD: Look, scientist or not, FBI or not, she can't just ... go around feeling little girls. BRENNAN: (defensive) What? I wasn't feeling like that. That makes me sound like a pervert. BOOTH: Look, she was just -- she was just touching. That's all. (turns to Brennan for more of an explanation) BRENNAN: I was just ... well, examining, really. BOOTH: Examining, see? (the security guard cocks his head at both Booth and Brennan, undecided) Okay, listen, bud, we're after a m*rder here, okay? Doctor Brennan just got a little overly excited ... SECURITY GUARD: How does feeling little girls solve a m*rder? BRENNAN: One of them is the m*rder. BOOTH: Okay, look, I know that's hard to believe. SECURITY GUARD: (holds up a hand) You know what? It's really not. (Brennan and Booth exchange a surprised, disturbed look) SECURITY GUARD: So, what do you need? I mean, aside from the touching. BRENNAN: If I could just ... watch them? (The guard looks to Booth, who shrugs, parroting Brennan) BOOTH: Just watch. (Cut to: A montage playing to the tune of "I've Got Rhythm," as each of the pageant contestants takes her turn on stage. The performances are interspersed with sh*ts of Booth and Brennan watching from the audience. Girls dancing, singing, twirling batons, playing instruments, even spinning hula hoops. At first they're merely studying the girls on the stage, but after a while, Brennan looks over and sees Booth dancing in his chair, enjoying the show. He stops and gives a sheepish grin when he notices her staring at him. He watches quietly for a while until a girl in a pink dress impresses him with her dancing and spinning around.) BOOTH: (clapping) That was good. (points her out to Brennan) That was good. (Brennan nods, as though she empirically cannot argue with him on that. As the montage continues, Brennan looks around the room and spies Jeremy Ferrell, hunched in his chair, watching the show. She nudges Booth who takes note of Jeremy's sullen presence. Brennan and Booth turn back to view the tap-dancing girl on stage, Jeremy's sister HALEY FERRELL. As she wraps up her dance, she momentarily turns away from the audience, allowing Brennan to see that her hips are not in exact alignment.) BRENNAN: That's her. (The smile drops off Booth's face as he watches Haley spin back toward the audience and hold her final pose. The audience claps appreciatively, and Haley runs down from the stage into the arms of her proud mother. Booth and Brennan watch in stunned silence and dismay.) (Cut to: FBI Conference room. Donna sits at a long table with Haley at her side, while Jeremy stands near the window, rummaging through his backpack. He turns to see Brennan and Booth walking through the door.) JEREMY: Oh, dude. Not again. DONNA: I thought you said Jeremy was cleared. (Booth closes the door to the conference room and takes his place next to Brennan, standing with his hands folded in front of him.) BOOTH: We know it's not Jeremy. We'd like to talk to Haley for a moment. (Haley stands and grabs her mother's arm, looking up at her with frightened, pleading eyes) HALEY: No, I don't want to. DONNA: (speaking gently, as she takes a stand next to her daughter) This is a special day, Agent Booth. You're upsetting her. (Brennan makes her way around the table to stand near Haley) BRENNAN: Don't be afraid. BOOTH: (grave expression) No. You know, she should be afraid. (As Brennan kneels to the child's level, Haley sinks to her seat at the table, visibly upset) HALEY: (facing Brennan) I didn't do anything. I promise. BRENNAN: (compassionately) We know you didn't mean to, Haley. (Haley's mother sits down, stunned) DONNA: Honey, what did you do? (Haley looks to her brother, then to her mother, desperate. Booth leans forward over the back of the chair, positioning himself eye level with Haley.) BOOTH: (serious yet cautious tone) Yeah. What did you do? (Haley stares at Booth for a moment, then at Brennan, before turning to her mother) HALEY: (taking a sharp breath) Brianna said she was gonna buy me an ice cream. (her eyes fill with tears as she turns back to Brennan) But she just made fun of me. She said I was ugly. (Brennan nods sympathetically) She said I'd never win anything. BRENNAN: That must've hurt your feelings. HALEY: (crying) I didn't mean to push her so hard. Honest! (Booth straightens, exhausted and saddened by this admission. Haley's mother covers her mouth in disbelief, as Jeremy cringes, looking so stunned he might cry.) DONNA: Oh, God. Why didn't you tell me? HALEY: (barely able to get out the words) The pageant was starting. I wanted to win. (Haley wraps her arms around her mother, sobbing uncontrollably. Jeremy stares, horrified and upset for his little sister.) DONNA: (clinging to her daughter in alarm) Oh ... Oh, God. (Brennan watches with great empathy as Donna tries to hug and console her daughter. From where she kneels, Brennan looks up to Booth as if she wishes there were something he could do. Booth is silent, looking back at Brennan for a significant moment before glancing down regretfully at Donna and Haley. Stars of bright white light slowly obscure the scene.) (The white light fades away to reveal Angela carrying a book, striding down the hallway to her office. As she enters the room, her pace falters at the sight of something in front of her. She turns away, mouth tight, and heads for her desk. At the far end of the room, Hodgins sits on Angela's couch. He's been waiting for her. He stands up and stuffs his hands into the front pockets of his jeans.) HODGINS: Hi. ANGELA: (not looking at him, her voice flat) Hi. HODGINS: We didn't really get a chance to talk today. ANGELA: Yeah. (she pauses) I was avoiding you. HODGINS: (shifts awkwardly where he stands) That whole ... swing thing -- wasn't -- good enough, right? 'Cause I can do better. (Angela looks over her shoulder at him in surprise. Turning to face him, she leans against her desk.) ANGELA: It was perfect. HODGINS: It was? ANGELA: Maybe the best date I've ever had. (He smiles) HODGINS: Really. (As she nods, he looks down, pleased) Great. That's great. (breathes out, relieved) Thanks. ANGELA: (quietly) Yeah. (She looks down at the carpet, her expression sad. Hodgins notices this immediately, his smile fading.) HODGINS: That's not great. (As he steps forward, Angela shifts uncomfortably) How can a great date be not great? ANGELA: (looking him squarely in the eye) Because it was supposed to fall flat. That way, we'd both know that this wasn't meant to be ... (There is a great space between them, as they stand, facing each other) ANGELA: ... and we'd go back to the way we were before. HODGINS: (taking another step forward) I don't like the way it was before. ANGELA: Look ... (she pauses, searching for words) ... Brennan is my best friend, and -- (she exhales) -- Zack is -- (half-laughs, shaking her head) -- whatever the hell he is, and -- (Hodgins is silent, listening) -- when this goes wrong, it -- it pulls everybody else into it. (anguished pause, as she struggles to express herself) And ... what the great ... date ... tells us is ... (she takes a deep breath) ... that when it goes wrong -- HODGINS: (his voice even, his expression like stone) It'll go really, really wrong. (Angela nods slowly, sadly, her voice coming out in a whisper) ANGELA: Yeah. (Hodgins studies her, but says nothing, his mouth almost -- but not quite -- forming a smile.) ANGELA: So ... (she shakes her head and takes a breath, looking away, looking down -- she can't seem to meet his eyes as she says these words) ... we go back, right? (Hodgins blinks. Angela takes another deep breath, and looks into his eyes, exhaling the word.) ANGELA: Friends. (She nods, almost to herself, her expression seemingly miserable but relatively certain. Hodgins pauses, understanding. He nods his assent.) HODGINS: Sure, friends. (Angela nods again, her gaze shifting from him to the floor and back to his face. She seems anxious, and melancholy, yet a little relieved.) HODGINS: Just one question. (he takes one final tentative step forward) What if it doesn't end that way? (smiling a little, his eyes bright and hopeful) What if it doesn't go wrong? (Angela looks at him a long moment, considering this. She swallows hard. Inhaling a pained breath, she glances down, gathering strength, before looking him in the eyes again, her voice rough with regret.) ANGELA: Friends. (Hodgins looks at her, defeated, and when he blinks this time, it's as if a shade has been drawn, the light leaving his eyes. He nods once, acknowledging, respecting her wishes. He realizes there is nothing he can do or say to change her mind, even as she avoids his eyes, biting the corner of her mouth, already looking like she wishes she could take it all back. Hodgins drops his gaze from her face, his mouth slightly open like he can't believe this is happening, like he had her and lost her in the blink of an eye. He turns away slowly, as if hoping she'll stop him, and for a moment she watches him, her mouth opening as if she might. But she says nothing, so he reaches down and gathers up his messenger bag. When he turns around this time, he avoids her eyes and slips past her without another word. She turns her head in his direction, but he's gone.) (Fade to a heartbreakingly gorgeous sunset, the sky glowing orange, the sun's dwindling light framing the United States Capitol. Cut to a bright orange and yellow striped plate, with one glazed doughnut being cut in pieces. Brennan, wielding a plastic Kn*fe, sits with Booth at the table in the lounge area of the Jeffersonian.) BRENNAN: This is what happened when Rome fell. BOOTH: (spearing a doughnut from the nearby box and holding it up with one finger) What? Uh, people ate stale doughnuts? BRENNAN: Objectification of women, beauty as self-esteem. (Booth returns the pastry to the box and licks the icing off his fingers) BOOTH: Well, I think, um, you know, some of those kids actually had a good time. BRENNAN: (nodding) The girl in the pink could really dance. (ponders some more, as she eats a piece of her snack) But then again, Nero could really play the fiddle. BOOTH: (his voice contemplative) You know, Bones, I like to think that, um, someplace deep inside, people really know what's important. (He looks at her seriously) BRENNAN: It's hard to believe when you see women trying to disguise or change themselves. BOOTH: Mmm. BRENNAN: (popping another piece of doughnut into her mouth) I never understood that. BOOTH: (smiling) Well, I mean, no, of course you wouldn't. (he ducks his head) (Brennan's brow furrows) BRENNAN: Why? (He lifts his head, staring forward, formulating his words, not quite looking at her, not immediately) BOOTH: Well, it's just, you know -- (he finally meets her eyes) -- someone who looks like ... you ... (Brennan pauses, looking at him attentively as he searches for words) -- well, wouldn't -- (long pause as he looks into her eyes and nods) -- Just because of the way you look. BRENNAN: (shakes her head) I don't understand. What -- way do I look? (Her face is a baffled, curious expression) BOOTH: (faint smile) Well, you know, you're -- you're structured -- (he pauses, his voice low and his eyes soft) -- very well. (Brennan looks down, considering this. She smiles back at him.) BRENNAN: As are you. (Booth smiles, enjoying himself, but the expression fades when he looks to the level below and sees Cam, briefcase in hand, on her way out. She lifts her head toward the platform and sees him sitting with Brennan. Booth gets an odd look on his face, his eyes shifting from Cam, down to the table, then back to beam at Brennan for a flash of a moment, before he casts his eyes down at the table again. Brennan is still smiling. Booth sits back suddenly, letting out a tired groan.) BRENNAN: You okay? BOOTH: (studies her a moment, the hint of a happy smile on his face) Yeah. (However, just as quickly, the smile fades, and his body language shifts awkwardly) BOOTH: It's just -- (he looks away) -- whew. I just -- I remembered that I had an appointment. (He gets up to leave, pulling his coat off the back of the chair) BRENNAN: Oh. (nodding) So, um, I'll see you tomorrow? (she looks up at him expectantly) (Booth tenses his shoulders and sh**t a look to where Cam has been standing in the doorway, watching him. She smiles. Booth looks to Cam for a long guilty moment, uncertain, then glances down and away. Cam says nothing; still smiling, she turns and gracefully exits the building. Booth turns back to Brennan.) BOOTH: (deciding) No. You know, you have all the paperwork for the case, right? (he puts his coat back on the chair) BRENNAN: No, I was -- I was gonna stay ... (she reaches for the folder next to her) ... do it anyway, so -- BOOTH: (nonchalant) No. No, I would -- you know, it's our case. I wanna help. BRENNAN: (chuckles) You don't have to, Booth. BOOTH: (lightly) Bones, just drop it, okay? (smiling, he lowers his voice, superhero-like) I'm here to help. BRENNAN: Well... what about your appointment? BOOTH: (shrugs) Uh, it's -- you know, it's no big deal. I'll tell you what. (he braces himself against the edge of the table, leaning in, smirking flirtatiously) How about I, ah, order some takeout and I ditch these doughnuts? (Brennan smiles, her eyes shining) BRENNAN: Sure. (Booth doesn't move, his face still close to hers. She smiles up at him, and he tilts his head, smiling back, as they seem to read each other's minds.) BOOTH and BRENNAN: (at the same time) Thai food? (They both grin widely, close to laughing. Booth takes a breath, and Brennan mirrors him, as they look into each other's eyes intently. Neither moves for the longest moment, until finally Booth points a finger at her, grinning.) BOOTH: This time, I'm ordering extra mee krob because you ate it last time. All of it. BRENNAN: (laughs) What? I thought you were done. BOOTH: Oh, right. (laughing, incredulous) I was done? BRENNAN: (nods emphatically) Yeah. BOOTH: You finished all of it. (He straightens, pulling his cell phone out of the back pocket of his jeans) BRENNAN: I did not. (grinning adamantly)You were pretty focused on the fried rice. (Booth sits back down at the table, phone poised in his hand) BOOTH: Can we just order? Okay? BRENNAN: Fine. (She pops another piece of doughnut into her mouth, watching him as he dials the number of the restaurant. They continue to talk and joke as the scene fades to black.) END OF SHOW.

{"type": "series", "show": "Bones", "episode": "02x07 - The Girl with the Curl"}

foreverdreaming

"The Woman in the Sand" Episode 2x08 Written By: Elizabeth Benjamin Directed by: Kate Woods Transcribed by: 206Bones2break & tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Las Vegas Desert. Tents are set up and Agents are scouring the area. Booth and Brennan arrive at the crime scene) BRENNAN: So who do they think the body is? BOOTH: Federal prosecutor who disappeared five years ago, a day before he was starred at a mob trial. BRENNAN: Five years? So there's not much left of him. BOOTH: Yup, that's why they flew you to Sin City, Bones. (Brennan looks around) BRENNAN: They call this, America's playground? BOOTH: We're fifteen miles outside Vegas, Bones. This is America's frying pan. BRENNAN: No kidding. A person can melt before finding a body anywhere near here. BOOTH: Once the mob makes a federal prosecutor disappear, they kind off want him staying that way. AGENT ERIC ZHANG: Agent Booth BOOTH: Agent Zhang AGENT ERIC ZHANG: Dr. Brennan, Thanks for coming. Okay, May 20, 2001. Mason Roberts was supposed to deliver a keynote address at UNLV but he never showed. Found his car 3 blocks from his office, engine still running. Right this way. BOOTH: Wait. No leads until now? AGENT ERIC ZHANG: The police don't mean much without a body. Then yesterday, we get this tip from this call girl working at the Tangiers Hotel. BOOTH: Woah. So, I dragged out one of the top Forensic Anthropologists across the country on the word of a prost*tute? BRENNAN: What difference does her profession make? BOOTH: I'm backing you up. BRENNAN: What? You're judging. BOOTH: I wasn't judging. I had your back. BRENNAN: Yes, your voice was judging. BOOTH: I had your back. AGENT ERIC ZHANG: Anyway, the body was right where she said it would be, mile marker 15. (The show the skeleton buried in the sand) BRENNAN: Confirmed victim is male, late thirties. No clothing, no personal artifacts. BOOTH: Hey, this informant of yours. Any chance I can talk to her? AGENT ERIC ZHANG: As long as you don't expect her to talk back. She died this morning. Cancer. It was a d*ad bed confession, she was still scared as hell. BRENNAN: Multiple fractures to the skull and upper extremities, caused by something cylindrical, like a pipe or a bat. BOOTH: Straight out of Capone's play book. BRENNAN: I'll know more once I compare dental records but- (Brennan sees something and stops talking.) BOOTH: What? Bones- (Agent Zhang and Booth look behind them and see vultures flying in circles overhead.) BOOTH: Yeah. It's a vulture. d*ad body here. Kinda how it works. BRENNAN: They don't circle skeletal remains. Get my bag. (Booth gets Brennan's bag while she walks over to the place where the vultures were circling. They find another skeleton) BOOTH: Oooooh, Right. It's the sun baked, rotting corpses they're into. BRENNAN: Female, mid twenties. Similar injuries to the male victim but this is a fresh k*ll. A week to ten days. BOOTH: Popular dumping ground for these guys. AGENT ERIC ZHANG: You don't mean the same guys, five years later? BOOTH: Well, you know, if they're not connected it would be one hell of a coincidence. BRENNAN: Well, I'd have to compare them side by side, but from what I see here whoever buried that victim buried this one too. AGENT ERIC ZHANG: So, two deaths for the price of one? BOOTH: Viva Las Vegas. (Cut to: Desert. Make shift lab in a tent) BRENNAN: Yup, dental records confirm, the male victim is Mason Roberts., bludgeoned to death, presumably with a baseball bat.Booth (Pointing at a picture): This guy here looks like a long ball hitter. AGENT ERIC ZHANG: That's Sweet Pete Arno, he is a gaming exec at the Tangiers. He and the other two there - They were Roberts immediate 'to do' list when he disappeared.Cam (on Brennan's laptop screen): Any specs on the female victim yet? BRENNAN: Umm, Only preliminary. Blows to the cranium, torso and upper extremities. CAM: All similar injuries to Roberts. BRENNAN: But the likely result of domestic abuse. BOOTH: Likely Result? Bones there is nothing domestic about a mob h*t. BRENNAN: But the shape of her injuries, the pattern of healing and re-breaking..There's a long history of as*ault here, Booth, and not from any baseball bat. Plus I found this embedded in her skull. BOOTH: Is that a hearing aid? BRENNAN: They're common with abuse victims. Repeated blows to the head can damage the bones of the inner ear. Angela joins cam behind the webcam. ANGELA: Ah, sorry to butt in, Brennan, but I got a name off the serial number. The hearing aid is registered to a Wilhelmina Morgan, out of Mount Charleston, Nevada. BOOTH: Oh, that's not too far from here. AGENT ERIC ZHANG: And she goes by the name Billie, List here's Billie Morgan, 26 reported missing 2 weeks ago by her husband, Donald. BRENNAN: Her abusive husband, covering his tracks? BOOTH: Possible. Okay, he might know how his wife and Roberts ended up here. (to Zhang) He may even know your friends here .(taps photograph) Brennan (to Booth) You get on that, I'll fly these remains back to the Jeffersonian. BOOTH: Whoa. Okay, whoa. We can't leave. BRENNAN: We can't? BOOTH: No I mean we came for one body and suddenly there's two. Hey look, what if there's more? CAM: Just ship both sets of remains here. Along with bugs, dirt, the works. If there's a forensic link to those m*rder we'll find it. BRENNAN: As long as you keep me in the loop. CAM: As if we could actually keep you out. (Booth closes the laptop) BOOTH: Okay. Alright. Fine. So that's the deal. Box them up and we'll go break the news to Big Don. (Cut to: Trailer Park. Home of Donald Morgan) DON: And here I thought she left me. BOOTH: Now why would she do that, Don? DON: I - I got laid off a couple of months ago, poor Billie. She hated seeing me sitting around the house all day, depressed. BRENNAN: Drinking? BOOTH: Punching Walls? DON: No. I..I just fell of a ladder. BRENNAN: Breaking a fall like that would fracture distal radius, not proximal phalanges. BOOTH: Alright, listen. So I got a police record that says that your neighbours heard you screaming at your wife three weeks ago. DON: Screaming? No. Just arguing. See Billie wanted to help out, she thought she could bring in some money, you know, the exotic kind. I kind of flipped out. BRENNAN: And broke your thumb against your wife's face? DON: No! Look, I could never hurt Billie. Okay? BRENNAN: Than how did she lose her hearing? DON: I don't know, she was a kid playing sports. One to many soccer balls against the head. BRENNAN: Oh, Please. BOOTH: Listen Don, you're my number one suspect so it would be wise if you're straight with us. DON: Implants. BRENNAN: Breast Implants? DON: She thought they'd help her chances of landing a job as a dancer. As much as I hated the idea I borrowed eight grand from a loan shark. I gave the money to Billie. That's the last time I ever saw her. BOOTH: So that's how you broke your thumb? BRENNAN: Huh? BOOTH: The loan shark comes to collect his eight gran, Don here can't pay him so- DON: Yeah, and now I owe him ten. BOOTH: I need the loan sharks name. Just give me a name.(Don exhales and looks at the picture of Billie) (Cut to Booth's Car.) BOOTH: (on the phone) Mackey. Yeah, that's right. Louis Mackey. Send his information to my cell as soon as you can. Thanks. (to Brennan) We got the shark in our system. BRENNAN: Well, proving at least that he exists. BOOTH: Ya know, Don's story might seem a little, you know, hinky, but just try to keep an open mind. BRENNAN: An open mind to what? All those soccer balls to the head? BOOTH: I'm just not sold on the whole domestic abuse thing, alright. A scrawny guy like that- BRENNAN: Rage has nothing to do with size. BOOTH: I know that Bones, alright, you know that I know that. It's just - I look into the guys eyes and I just didn't see it. BRENNAN: What about the breast implants? You know, if she'd gotten them they would have been a part of her remains. BOOTH: yeah well, than the money had to be for something elseand hopefully this guy (shows his cell phone with a picture of the loan shark to Brennan) will be able to tell us what it was. (Cut to: Casino. Booth and Brennan are walking through) BRENNAN: Hey. There's our loan shark, let's go! BOOTH: Okay, just uh..give me a moment. BRENNAN: Oh my god! I completely forgot! You can't be here Booth. You're a degenerate gambler. BOOTH: Former gambler, okay? Not degenerate, I been through the program, okay, and you know what? He's on the move. BRENNAN: Okay but what if you got a sudden urge to gamble while you're here? I mean it's like sending an alcoholic to a distillery. Do you need to sit down? BOOTH: No. I'm fine it's just, you know, the sound of the winning. It'll...it'll pass. BRENNAN: What? The sound or the winning? BOOTH: This kind off reminds me of the first time. I walked in the Desert Inn with 35 bucks in my pocket and I walked out with a cool 10 grand. The next night, I lost everything. Tapped out my ATM trying to get it back. BRENNAN: Wha-What's that game called again? BOOTH: Craps. BRENNAN: What? What's the matter now? BOOTH: No, it's the game. It's called Craps. You know, hey, this used to be my game, Bones. Roll them bones, chuck the dice, you know. (Turns around to the craps table guy) Seven Eleven. (Booth watches as the Craps dealer clears the table, then to Brennan) And he's going for the bar. Okay, you stay here. I know how to talk to these guys. BRENNAN: Whoa. Talk? You can barely breathe. BOOTH: I'm fine just trust me alright. Wait here. BRENNAN: And do what, exactly? BOOTH: You're an anthropologist, observe the culture. (Brennan looks around to see what she can do) (Cut to: Casino Bar. Booth sits down next to Lou Mackey) BOOTH: Lou Mackey. Don't I owe you money? LOU MACKEY: I'm afraid you had me confused with someone else. BOOTH: I don't think I do. My buddy, Don Morgan, he introduced us. 30. Scrawny guy. Broken thumb. LOU MACKEY: Do I need to call security? BOOTH: Yeah, you know that's a great idea. (he takes his badge out and places it on the bar.) Maybe you can tell all of us what you did to Don and just maybe how his wife ended up d*ad. LOU MACKEY: I don't know anything about any wife. BOOTH: Come on Lou, Don't make me work so hard here. LOU MACKEY: Look, The guy owed me money. He neglected to pay and he fell of a ladder. It's instant karma BOOTH: Instant karma. That's going to get you every time, isn't it? What about Billie Morgan. (Booth puts Billie's picture in front of them on the bar) She have instant karma too? LOU MACKEY: She's attractive. I didn't even know he was married. BOOTH: How about the name Mason Roberts? I'm sure that rings a bell. LOU MACKEY: Whispers on the strip is that you finally found him. Congratulations, now leave me alone. BOOTH: If you know more than what you're saying, I'm gonna find out eventually. LOU MACKEY: Do I look worried? I'm a businessman. What are you harassing me for? BOOTH: Ah, ya know. It's just something I have about bullies. Thanks for the drink. (Cut to Casino. Brennan is playing Black Jack)Black Jack Dealer: Nineteen's a winner. BRENNAN: Yes! Yes. BOOTH: Uh, hey, Bones! BRENNAN: Oh, Booth! Have you ever played this game before? It's basic math. You just count the cards and then you know what the dealer has left. BOOTH: Yeah, uh, ixnay. Ixnay. BRENNAN: And the most common card is a ten, because of the face card, so if you just always assume the down card's a ten- (The Pit Boss approaches) PIT Boss: I'm sorry. I'm afraid you're gonna have to-BOOTH: We were just about to leave. Thanks. (to Brennan) Come on. BRENNAN: But I was just getting good. BOOTH: ..at cheating, Bones. That's what counting cards is. BRENNAN: It's not cheating! It's strategy. BOOTH: Not to them, it's not. BRENNAN: Well, What is the fun in that? I mean, the odds are completely skewed in the dealers favor. BOOTH: Now did you see the attraction? BRENNAN: The man on my right is going to win if he doesn't h*t on it. (Cut to: Medico Legal Lab - Forensics Platform) HODGINS: Aegialia concinna. CAM: Gesundheit! HODGINS: Also known as Scarab Beatles. They came from the soil around Billie Morgan. These adults, feed on putrefied organic matter. Or in this case, Billie. As a result they suffered unusually short life spasms. CAM: From ingesting Billie's flesh? HODGINS: More likely the powerful glucocorticoid in her system. I've yet to isolate which one specifically. CAM: Be sure to notify Doctor Brennan when you do. Any specifics on the bat used to k*ll Roberts yet, Zack? ZACK: Here's a replica. Cincinnati slugger with a 3 inch diameter weighing about 27 ounces. HODGINS: You think the mob would come up with less clichéd ways to whack people. ZACK: But there's something else. Staining on Roberts cranium indicates seepage to the cervical spine. So somehow blood from his head, got down to his neck. CAM: Vertebra c7. Are those cut marks? ZACK: So his throat was cut. HODGINS: Did you find a specific cause of death on Billie Morgan yet? CAM: She displays a hemathorax in her left lung. ZACK: Caused by a left-sided rib fracture. HODGINS: A broken rib punctures a lung, causing massive internal bleeding. CAM: And between her pre-existing injuries and the new ones, the poor girl never had a chance to heal. HODGINS: Oh, won't Dr. Brennan will love the hear that. (Hodgins takes a swing with the bat)(Cut to: Booth's car - night. Brennan is on the speaker phone with everyone back at the lab) BRENNAN: Take a closer look at the stress markers to her sternum, Zack. They strike you as unusual? ZACK: Well, they do seem more the result over repetitive medium impact manual blows than the single high impact from a bat. HODGINS: This husband could really dish it out. ZACK: Maybe she dished it back. These hairline fractures on her knuckles-BRENNAN: Defensive wounds. Wait a minute. Let me zoom in? Repetitive manual blows. Fractured knuckles. The glucocorticoid that k*lled your bugs, Hodgins. Could it have been simple cortisone to treat an injury? HODGINS: Yeah. That's certainly possible. CAM: What are you thinking Dr. Brennan? BRENNAN: I am thinking Billie Morgan could have been a boxer. BOOTH: You mean like a real boxer? In a ring? CAM: But wouldn't boxing gloves prevent injuries like these? HODGINS: Unless she wasn't wearing gloves. ANGELA: Well, what boxer does that? HODGINS: Ultimate fighters. BOOTH: Ultimate fighters. Ah, you're into that crap too, huh, hodgins? HODGINS: Dude, it's barbaric, When it shows up on cable I can't turn it off. ANGELA: And it's actually legal? HODGINS: Completely sanctioned. They do wear some protective gear, which would fly in the face of our girl's injuries, though. BOOTH: That is, unless it was underground. BRENNAN: Underground where? BOOTH: Come on. Haven't you guys ever seen Fight Club? HODGINS: Illegal, no hold barred, slug fast. Modern day Panem et Circensus. But generally there's no free bread. (to Cam) What? BRENNAN: So Don Morgan didn't b*at his wife. BOOTH: Got to say, I told you so. (Cut to: Don Morgan's Trailer. Booth and Brennan are inside, talking with Don) BOOTH: Why didn't you tell us, Don? DON: Because I didn't know, alright? She never told me. BRENNAN: Your own wife didn't tell you that she was fighting? DON: Because I'd never let her. Billie hadn't boxed in a year. Commission took her license away when they found out about her hearing. Alright, it about broke her heart, but she was done. BRENNAN: Well, apparently not. BOOTH: You know what I think? I think someone offered Billie an illegal fight you jumped at the chance for a, uh, pay day. DON: Are you out of your mind? BOOTH: You borrowed money from Mackey and you put it all on Billie and she ended up paying the price. DON: No. No, that's not true. BRENNAN: Who are you protecting, Don? DON: Nobody. Look I swear, I didn't know. BOOTH: Don, we can protect you, if you let us. DON: If I knew who k*lled Billie, I'd tell you. Believe me, please. (Cut to: A hotel food court. Booth & Brennan are sitting at a table) BRENNAN: Why would anyone fight illegally in the first place? BOOTH: You know, there's limited options. Not everybody can be Oscar de la Hoya. BRENNAN: Who? BOOTH: Injuries, criminal pasts, failed drug test- alright, it leaves them with no other skills, so they take on a fight wherever they can find one. BRENNAN: Even if it kills them? (phone rings) Brennan. HODGINS: I found something in the particulates from Billie's shoes. Traces of hexavalent chromium. It's a chemical used in high end automotive shops, specializing in chroming. Mechanics who use them have to file reports for the EPA.(Brennan slaps booth hand.) BOOTH: Ow! What? BRENNAN: (to Booth) Hey! No gambling! HODGINS: Am I interrupting something? BOOTH: It's just Keno, alright? I'm sorry if Hodgins lost me at, uh, hexifalium chromo. BRENNAN: Hexavalent chromium and we need to find some. How can we contact the Environmental Protecting Agency? HODGINS: Yeah, I'm on it. (Cut to: Abandoned auto shop. Booth & Brennan enter.) BRENNAN: This was an auto shop? BOOTH: Yeah. EPA, they shut it down months ago for a hazardous waste material. It was the only shop authorized to use that chromium stuff. See it anywhere? BRENNAN: Could be absorbed into the dust particles on the floor. BOOTH: Heh, along with flash paper. BRENNAN: What's that? BOOTH: Betting slips. Uh, burn fast in case there's raid. BRENNAN: Well, look at this. (she shines her flash light on a red line on the floor) BOOTH: They painted a ring for the fights. BRENNAN: So this was the fight club. BOOTH: If there's blood, I'd say it is. Where's your, uh, light thingy? (Brennan takes out the ultraviolet light and shines on the floor) BRENNAN: Blood. The whole place is covered in blood. (Cut to: Medico Legal Lab - Forensics Platform.) CAM: Of the thirty blood samples found at the body shops, 6 were A positive. Same as Billie Morgan. Still waiting on DNA. ZACK: Thirty fighters translates to five two person fights per hour over a three hour period or three fights over five hours, six fights over- CAM: We get the idea, Zack. Lots of fights. ANGELA: I ran thermal imaging on Billie's remaining soft tissue to reconstruct her injuries. This is what she might have looked like after the fight. HODGINS: Ah, the sweet science. ANGELA: Just when I get to a place where I can almost stomach seeing maggots eating intestines. This. How could anybody do this to themselves? HODGINS: Ya know. 900 B.C.- the Greek ruler, Theseus, entertained himself watching two men sit in chairs b*at each other to death. Just saying. It's nothing new. ANGELA: I can work up force and velocity reading for each blow - Zack can help me ID her opponent from the circumference and diameter of the fist. CAM: I'd rather Zack focus on our second w*apon for Roberts. ZACK: None of these blades are narrow enough. It's as if his vertebra was cut with a razor blade. HODGINS: Or a razor wire. Luca Brasi. The Godfather? Please, someone buy a DVD player. CAM: You mean a garrotte? HODGINS: Yes. A garrotte pulled so tightly around Luca's- or rather Robert's neck-CAM: -that it sliced through his throat and severed his corroded artery. ANGELA: Okay. The whole 'maggots eating intestines thing' is not nearly as gross to me now. (Cut to: Casio.) BOOTH: Yeah, Yeah, Okay. Thanks a lot. Agent Zhang said he found the old owner of the body shop. He said some guy paid him three thousand dollars cash just to use the place for one night. No names, no questions asked. BRENNAN: Seems like a theme in this town. Hey, why is he hitting on a 16! I mean, look at him, he's completely distracted. BOOTH: You know what? Actually, Bones, you can if the face card is showing-alright- (Booth spots Lou Mackey near a slot machine talking to another man.) There he is. (they head over to him) Hey look at this! It's my buddy, Lou Mackey. LOU MACKEY: Oh great. So we're friends now? BOOTH: I need you to tell me where a fight fan can get a little uh- FRANKIE DANIELS: Seeley? BOOTH: Frankie? FRANKIE DANIELS: What are you doing back in Vegas huh? (Booth & Frankie 'guy hug') LOU MACKEY: (to Brennan) Your man's got a lot of friends. BRENNAN: So it would seem. LOU MACKEY: I'll catch up with you later, Frankie. BOOTH: Hey, Lou- LOU MACKEY: See ya, friend. (he walks off) BOOTH: Is he a problem? FRANKIE DANIELS: No, no. It's all good, huh. Hey, look at you, huh? BOOTH: Yeah, Frankie Daniels, hey. Temperance Brennan, Frank Daniels. We served in The Gulf together. FRANKIE DANIELS: That's right. h*t the strip the minute we got back. BRENNAN: And you never left? FRANKIE DANIELS: I bounce around, you know. Here, Chicago, L.A. You know me, huh Seel? Always chasing rainbows. BOOTH: Good old Frankie boy huh? How's Karen? FRANKIE DANIELS: Nah...nah. It's over, ya know. She ran off with some loser stockbroker. Ya know, it's just as well. I don't need that. BOOTH: Oh, come on, Frankie. You alright? I mean, you don't need any- FRANKIE DANIELS: Don't start with that, huh? It's been too many years. I'm getting by alright? BOOTH: Yeah. Guys like Lou Mackey? FRANKIE DANIELS: Yeah, well ya know, minor, uh, minor occupational hazard. BRENNAN: Have you considered medication? BOOTH: Oh, Bones... BRENNAN: An anti-depressant might raise your norepinephrine level. It could help control the impulsivity.FRANKIE DANIELS (to booth): What are you, a drug rep now or something? BOOTH: It's - excuse us, Bones, Okay? (he moves Frankie away from Brennan - then to Frankie) Wondering if you know anything of these, uh, underground fight clubs? FRANKIE DANIELS: Yeah, actually I do know one. Bare knuckles. No rules. BOOTH: Great. I need to know where. FRANKIE DANIELS: It moves around. This guy, uh, this guy, Joe Nolan. He sells 800 numbers. You call, you find out the time, the place, code to get in. BOOTH: The old boxer, Joe Nolan? FRANKIE DANIELS: The heavy weight champ in '92. He owns a gym here on, uh, on Federal. BOOTH: Thanks. FRANKIE DANIELS: Hey, uh, think you can spot me a couple of bucks? I think I forgot my wallet at the house today, you know? BOOTH: Yeah. FRANKIE DANIELS: Just something you know, I'll get you back. BOOTH: Yeah. (Cut to: Outside hotel. Brennan and Booth are walking next to a swimming pool.) BOOTH: Frankie's a better guy than he seems. BRENNAN: And yet he knows this Nolan guy. BOOTH: Anybody who knows the fight game, knows Joe Nolan. I mean, the guy was set to be the next Sugar Ray, but he was accused of, uh, ya know, throwing a couple of fights. BRENNAN: What? You mean, losing on purpose? Why would anyone do that? BOOTH: Maybe I should just talk to Joe alone. BRENNAN: What's with the sudden impulse to leave me behind. BOOTH: I'll tell ya, Bones, alright, the usual rules? They don't apply here. Okay? The deeper we get I don't want anyone knowing that we're FBI. BRENNAN: Well, that's easy for me. I'm not. BOOTH: Okay, Fine. (Cut to: Hotel room. Booth is getting ready while Brennan is dressing in the bathroom) BRENNAN: (Comes out in a black dress) Hey, what do you think? BOOTH: I have enough Bibles, thank you, but try next door. BRENNAN: You said I could be a school teacher. BOOTH: Not the spinster kind who lives with his sister but ya know - the hot one who makes the boys crazy. Here, put on the one - that I picked out. (He hands her a dress) Alright? BRENNAN: Ok, but don't be so bossy. (she goes back into the bathroom) BOOTH: We're newlyweds, I said. Takin' Sin City by storm. Ready for action. BRENNAN: (from the bathroom) But you know, marriage is such an archaic institution- BOOTH: (exhales in frustration) Listen Bones, I know what I'm doing. Okay? I've done this before. Just stop arguing. BRENNAN: I'm not. It's just, you know, I don't need a piece of paper to prove my committent. BOOTH: Fine. We're engaged. BRENNAN: Why would I be okay with engagement? BOOTH: Whatever, Bones, alright? We're a loosely committed couple of hot high rollers. See, with money to burn. Cause that is what's gonna get us in the door. BRENNAN: (comes out of the bathroom in a stunning little black dress) Like this? BOOTH: (staring at Brennan) Yeah. Yeah, like that. (Brennan's phone rings and she goes over to answer it.) BRENNAN: (into phone) Hey, Cam. CAM: (at the Jeffersonian) Dr. Brennan. Judging by the angle of the blows, Billie's last opponent was 5'6" and left handed. ANGELA: (at Jeffersonian) With a fist size of approximately 90mm. Zack measured. (Camera cuts back to the room. Booth zips up Brennan's dress) BOOTH: That's hot. ANGELA: Hot? Wait a minute, what's hot? BRENNAN: Ah, nothing. Vegas. Vegas -is hot. It's - very hot here. (Cam & Angela give each other looks) (Cut to: Gym. Booth and Brennan enter, dressed to impress) Brennan (about her shoes): How does anybody actually walk in these things? BOOTH: Well, ya know. Them boots? They ain't made for walking sweetheart.(Booth slaps Brennan's butt) BRENNAN: Okay, That was completely over the top. BOOTH: Alright, you know, you play your part and I'll play mine. (They notice a girl boxing in the ring and stop walking to watch her) BRENNAN: Hey Booth. The girl. BOOTH: Yeah I see. 5'6", south paw. BRENNAN: And left handed. JOE: Can I help you folks? BOOTH: I can't believe it, ah, "Sloppy Joe" Nolan. BRENNAN: Sloppy Joe? BOOTH: Yeah! That's how he left his opponents. JOE: These days, it's just Joe. NICK: I busted a lace, Joe. BOOTH: Sorry to bother you, Joe, but you know you had a huge impact on my, uh, style back in the army. Ya know a juke to the body, followed by a right hook? Worked for me every time. NICK: Another Army fighter, Joe? How many of these 'has beens' you get in here a week? JOE: At least this one still looks like he's in shape. BRENNAN: Oh, yeah! My man's in great shape. Believe me. BOOTH: Easy there, honey. NICK: Let's see it, Army. Show us those moves that made you so famous. BRENNAN: Yeah, go ahead tiger! (Brennan slaps Booth's butt) Show these clowns. BOOTH: Yeah, maybe I will, okay? Jus- just a little. (He heads over to the punching bag and takes his jacket and hands it to Brennan to hold) JOE: Yeah, come on, tiger. BOOTH: Alright, let's see Joe. A little, you know tap, you know, juke to the body, with a hard right, followed by a whole bunch of these- (Booth keeps punching the bag. Brennan watches, impressed.) BRENNAN: So much for my 'has been' army fighter. JOE: Not bad. BOOTH: You know, I still got it-BRENNAN: Yeah, maybe a little too much. JOE: What's your name? BOOTH: Tony Scallion, here's my fianceé, uh, Roxanne. BRENNAN: We're more "engaged to be engaged"JOE: So you looking to train or what? BOOTH: Ah, ya know, I don't fight no more, but they say you can direct me and Roxie to a little you know, uh, 'underground action'. JOE: They say a lot don't they? BOOTH: Yeah, well, some guy at the Rio - one of them 'you didn't hear it from me' types? JOE: Sorry, can't help you.(Joe exchange looks with Nick, Nick nods.) BRENNAN: Ah, what did I tell you, Tony? That guy was just trying to h*t on me. JOE: Well, I do know a number you can call. Not that I'd give it to just anybody. NICK: Oh, come on, Joe. They seem like such nice people. BRENNAN: Yeah, we're nice people. JOE: Thousand Bucks. Each. BOOTH: Whoa. That's a little steep- BRENNAN: No, Tony, come on! We only live once and I want to see a fight. (Brennan pulls a wad of cash from her cleavage and hands it to Joe. Nick laughs.) NICK: Nothing like being a kept man, huh? BOOTH: Yeah, I don't know what I'd do without her. (Cut to: Booth's Car.) BOOTH: That was amazing! What got into you? BRENNAN: It's from when I used to watch old movies with my dad. He really liked Clara Bow. BOOTH: Clara Bow was a silent film star, Bones. BRENNAN: Yeah, but - but I guess that's how I always imagined she sounded. BOOTH: Just like you imagined she carried around a wad of cash? BRENNAN: Oh, that. Well, I couldn't sleep last night, so I snuck off to play a little crap. BOOTH: Craps, Bones. Plural. And I can't believe your beginners luck. BRENNAN: Don't say that! You'll jinx it. BOOTH: Since when do you believe in jinx's? BRENNAN: I don't. But after hearing the craps dealer say it- BOOTH: Craps dealer's right. No jinx's. We got a big night ahead of us. (Cut to: Medico Legal Lab.) HODGINS: Alright, with the federal prosecutor here and Billie here. Both show evidence of topical chemicals. Now this will extract the elements I need to cross reference with the d*ad beatles, safely. ZACK: Not that she was safe, letting herself get drawn into a fight like that. HODGINS: We've all been in a fight or two which we wish we hadn't. ZACK: Not me. HODGINS: You've never fought? Never thrown a punch? ZACK: Never saw the logic of it. HODGINS: It's not about logic, it's.-it's emotional. It's anger. ZACK: I don't get angry, it's not rational. HODGINS: What if you're sitting on the beach and someone kicks sand in your face? ZACK: I don't go to the beach. HODGINS: Alright, work with me here Zack. There has to be something that would piss you off. What if I call you a scrawny twit who can't hold a normal conversation with a ten year old. ZACK: I don't have much in common with a ten year old and although I don't know what a twit is, objectively I am thin and lack muscular definition. HODGINS: Dude, you're a Vulcan. And a dull Vulcan at that. ZACK: Can we please work? HODGINS: Alright, now you're pissing me off. You're a freak man. Anger is a part of being human. Grow a set. ZACK: I would really like to work Hodgins. HODGINS: You know, it is not enough to be some robotic second rate grad student. ZACK: I am the most valuable and accomplished grad student who's ever been installed at the Jeffersonian. HODGINS: Yeah and you're going to be a grad student the rest of your life because you have no f*re. ZACK: I'm working on my dissertation. HODGINS: Ah, please. You've been saying that for years. You're a poser. You don't have your doctorate because you have no drive, no passion for what you love. (Zack punches Hodgins) HODGINS: Dude. ZACK: It's not what you think. HODGINS: You got pissed. ZACK: No striking you merely seemed to be the most practical way to get you to be quiet and focus on work, but I didn't realize how much it would hurt. HODGINS: Nice punch, though. ZACK: Thank you. And my dissertation will be finished by the end of the month. Have the chemicals been extracted yet? HODGINS: That's good. ZACK: Dr. Brennan wanted the results as soon as possible. HODGINS: I'm moving. You're not going to h*t me again are you? (Cut to: Underground fight club. The crowd is going wild as Booth and Brennan make their way through the crowd.) BRENNAN: I suppose, from an anthropological standpoint, this taps into the nihilistic part of the human psyche fascinated by blood and gore. BOOTH: It's human cock-fighting. BRENNAN: More like lesser surrogates engaged in battles on behalf of the elite lords who don't have the courage to fight themselves. BOOTH: Alright, you know what? (snaps his fingers) Come back to me Roxie, huh? BRENNAN: Ewww, look at all the sweat! (Booth and Brennan watch as two men fight in the ring. After the fight, one of the men approaches Booth.) AGENT WALT SUGARMAN: What in the hell are you looking at? BOOTH: Not much.(Walt punches Booths face and Booth falls to the ground, unconscious. Brennan kneels to the ground.) BRENNAN: Hey Tony? Tony! (Cut to: Hotel Room. Brennan is holding an ice pack to Booth's head) AGENT WALT SUGARMAN: Sorry, Booth. I just couldn't have you bl*wing my cover. BOOTH: Ahhhh, yeah. And as they taught us in Quantico, Walt, I wasn't about to. BRENNAN: Do you know everyone in this town? AGENT ERIC ZHANG: I had no idea we had an agent in there. AGENT WALT SUGARMAN: Yeah, I'm on a special RICO assignment, under deep cover about a month and I still can't crack who's running the show. BOOTH: What do you know about Joe Nolan? AGENT WALT SUGARMAN: Ah, low level guy, one of many buffers. That 800 number he sells changes with every event, so trying to track is like playing whack-a-mole. BRENNAN: Have you ever seen her (she shows a picture of Billie to Walt) fight at the club? AGENT WALT SUGARMAN: Uh, yeah. It's, uh, Billie something right? (Brennan nods) Yeah. 4-to-1 underdog. Oh, she whooped this hot Latina pretty good. BRENNAN: Latina? About 5'6", left-handed? BOOTH: She works out at Nolan's club? AGENT WALT SUGARMAN: Yeah Marisol. Tough as nails and undefeated before your girl came along. BRENNAN: Well, what if Billie bet on herself? BOOTH: Well you know what? With the money that Don borrowed - $8,000 - ya know, 4-to-1odds? That had to get them to their feet in a hurry. BRENNAN: Maybe that's what got her k*lled. BOOTH: Well, we gotta talk to this Marisol person. AGENT ERIC ZHANG: We'll go find her. (to Walt) So, what's next for you? AGENT WALT SUGARMAN: Well, I sprained my wrist to fights ago with no chance to heal. If I lose another bout, I'm off the rotation. BRENNAN: Booth's a boxer. BOOTH: Excuse me? BRENNAN: I'm just saying, if we can find a way to get you into the rotation, you can fight Walt and lose, and then he can stay and maybe have a chance to heal. BOOTH: You're volunteering me to fight? (Brennan's cell phone rings) BRENNAN: I'm volunteering you to throw one. You can lose with your hands tied behind your back. (Brennan picks up her phone) Hey, Hodgins. HODGINS: How's this for coincidence? Scarab beetles from Robert's body had the same short life spam as Billie's - but not from cortisone His bugs died from ingesting pinus elliottii. BRENNAN: Pine? In the dessert? HODGINS: Yeah, pine oil resin is often used to treat the same skin conditions as the cortisone that k*lled the other beetles. BRENNAN: Okay. Confirm that and come back to me. (she hangs up then to Booth.) Pine oil... BOOTH: Okay, pine oil. What's that mean? BRENNAN: I don't know yet. Go pick your fight. (Cut to: Gym. Booth and Joe are talking with Joe.) JOE: What the hell is all this about anyway? AGENT WALT SUGARMAN: He insulted me, Joe. He needs the beating and I need the money. JOE: I thought you didn't fight anymore? BOOTH: Ah, you know, that was before I got blind-sided out of retirement. Will, ah, this do? (Booth throws Joe a wad of cash.) JOE: Glad to see your Sugar Mama taught you a thing or two. (Cut to: Casino. Brennan is sitting the craps table. Booth approaches her.) DEALER: Sir? BOOTH: Hey, Bones. Fight's on. BRENNAN: No trouble convincing Joe? BOOTH: Nah. Nothing that a stack of bills couldn't fix. (booth sees agent Zhang talking to Marisol) Did she gave us anything yet? BRENNAN: Nothing. We're going to need a warrant. BOOTH: For what? What's her evidence? BRENNAN: Agent Zhang's talking to it.. Marisol's bones, tissue and muscle are still healing. If we can match her injuries to Billie's, we can proof they fought. If the fight's what k*lled Billie, Marisol's guilty of manslaughter. BOOTH: Which would give us leverage to force her to give up whoever runs these fights. BRENNAN: Which she might do in exchange for protection. BOOTH: So what you want to do is, you want to get her DNA samples and send them back to the Jeffersonian. BRENNAN: Actually, I want to send Marisol. BOOTH: This girl. The whole girl? BRENNAN: Our squints can perform a live autopsy, while our thermal-imaging programs reconstruct a theoretical fight. BOOTH: Ya know, you're lucky I know a very understanding judge of Vegas. BRENNAN: Of course you do. (Booth winks at Brennan and laughs.) (Cut to: Medico Legal Lab. Marison is escorted in to have tests runs) CAM: Okay, Marisol. You're not under arrest. You're just here as evidence. So when this nice agent leaves you here- MARISOL: I'm going to kick your skinny ass. CAM: Honey, I'm from the Bronx. Don't, for a second, think you scare me. MARISOL: Look, I didn't k*ll nobody al right? I didn't even fight. CAM: Well, if that's true, let's go over the scanner and prove it. HODGINS: Or disprove it. CAM: Hodgins. Hodgins (to marisol): I'll take your robe. MARISOL: Is this going to hurt? ANGELA: You won't even know it's happening. Okay, Marisol? ZACK: (he places electrodes on her) Sorry if these are cold. (The machine turns on and a green lights appears) MARISOL: What just happened? CAM: Blood pools in recent injuries. Thermal imaging records that. Now, we're gonna match your injuries against Billie Morgan's. (Cut to: Underground Fight Club. Two women are fighting as the crowd cheers them on.) BRENNAN: You nervous? BOOTH: About what, huh? Throw a few to make it look good and let Walt take me down. (One woman knocks the other woman down.) REFEREE: It's over! Your winner, Diana the Destroyer. (crowd cheers.) Alright, ladies and gentleman. We got some fresh blood to shed for you tonight. The great Tony the Tiger! (Crowd booing.) BRENNAN: Why are they booing? BOOTH: They find it more fun than cheering. RANDOM WOMAN: (O.S.) What's up, Tony! (Nick walks over to the Referee) BRENNAN: That's the guy from Nolan's gym. BOOTH: Yeah. I had a feeling we'd see him again. AGENT WALT SUGARMAN: Hey, Tone. BOOTH: What are you doing over here? BRENNAN: Yeah. You're supposed to be over there? REFEREE: Hold on, folks. There's been a change in the card. AGENT WALT SUGARMAN: Sorry, man. They pulled me. BOOTH: They what? REFEREE: In this corner, a man who needs no introduction. MONROE!! AGENT WALT SUGARMAN: They said Monroe would be a bigger draw for the bettors. BOOTH: Yeah, ya know. He's sorta bigger everything. (Monroe grunts) REFEREE: Alright, ladies and gentleman, place your bets. Last call for wagers right now. Get your money down. (Monroe grunts again) BRENNAN: You can't fight him, Booth. He'll k*ll you. BOOTH: I really don't have a choice, Roxie. REFEREE: Tiger, center ring. Now. MAN: You're gonna get your ass kicked, Tiger! (Booth moves into the ring and stands in front of his opponent.) REFEREE: Okay, boys. On my signal. (he moves back) k*ll! (Immediately, Monroe throws the first punch.) (Cut to: Medico Legal Lab. The squints are re-enacting Billie & Marisol's fight using the machines.) ZACK: Damage to Billie's scapula and thoracic vertebrae. CAM: Force and velocity match patella damage to Marisol's left knee. ZACK: This contusion on Billie's fifth rib, the mark looks like it was delivered by a heel or a fist. (Cut to: Underground Fight Club. Booth & Monroe's actions mirror what the squints are talking about back in the lab.) ZACK: (V.O.) Now a right, followed by a grab to the throat and Billie's down again. CAM: (V.O) More damage to the scapula. (Cut to: Medico Legal Lab) HODGINS: Whoa, easy on Billie's chest there, Marisol. ZACK: Hairline fracture of Billie's sternum at the third costal cartilage is congruent with damage to Marisol's left hand. CAM: And we have another match. (Cut to: Underground Fight Club.) HODGINS: (V.O.) Billie ducks and than causes the maxillary fractures on Marisol's skull. (Cut to: Medico Legal Lab) ZACK: Marisol seems to favor the right-to-the-body left-to-the-head combo. MARISOL: I do not. CAM: You can deny it all you want. We've got the evidence right here. (Cut to: Underground Fight Club.) ZACK: (V.O.) The choke hold - BRENNAN: (she rushes to where Booth is) Excuse me! Tony! ZACK: (V.O.) matches the bruising on Billie's neck. BRENNAN: Tony, stay down. Monroe has calcium deposits on his left medial epicondyle. BOOTH: And that helps me how? (Monroe picks Booth up off the floor and goes after him again as Brennan tries to make her way though the crowd to get closer to him) BRENNAN: Excuse me, excuse me. He can't extend his arm and and he lacks a range of motion in his quadratus lumborum, h*t him there. BOOTH: h*t him where? BRENNAN: His lower back, above his right kidney (Booth breaks away from Monroe) (Cut to: Medico Legal Lab) HODGINS: The tide has turned my friend. MARISOL: I told ya she could fight. HODGINS: She doesn't fight. She dominates. (Cut to: Underground Fight Club.) (Booth starts hitting Monroe where Brennan told him to - and it works. He actually may win this.) BRENNAN: (shouting above the crowd) Give him your Nolan Move! (Booth does the Nolan move and knocks the guy to the ground. Everyone is shocked.) (Cut to: Medico Legal Lab) HODGINS: Wow. CAM: You can say that again? ZACK: How could I missed that? ANGELA: We all missed it, Zack. MARISOL: Missed what? What is it? (Cam walks off.) (Cut to: Underground Fight Club.) REFEREE: Your winner! The last man standing! (crowd is groaning and booing.) Tony the Man-eating Tiger! (Brennan runs over and hugs him) Tony the Tiger! BOOTH: I did it. (Brennan's phone rings) Referee (points to booth): Your winner. MAN: (O.S.) Are you kidding me! BRENNAN: (into phone) Hey Cam. CAM: We missed it. The fatal blow was obscured by all her other injuries. Marisol cracked Billie's ribs, but not hard enough to puncture the lung. It was a bat. The same baseball bat that k*lled the federal prosecutor. (Brennan hangs up the phone) BOOTH: What is it? BRENNAN: (whispering into his ear) It was a baseball bat that k*lled Billie, just like the one used on Roberts. (Cut to: Medico Legal Lab - Angela's Office.) ANGELA: So when you're dressed, the agent will take you back to the airport. Marisol...Why do you fight? MARISOL: Where else am I gonna make a thousand in one night, without selling myself? And I can make even more betting on myself, as long as I ain't greedy. ANGELA: What do you mean, greedy? MARISOL: Bookies don't mind us making a few bucks on the side. But just a few. ANGELA: Had you bet on your fight with Billie? MARISOL: Girl cost me two hundred dollars. ANGELA: Had Billie bet on herself? Marisol. MARISOL: From what I heard, some guys picked Billie up after the fight. They didn't look to happy. ANGELA: Why didn't you tell the police? Or tell us? MARISOL: Look, I might not have much but what I got I aim to keep. ANGELA: What could be so important to you that could let somebody get away with m*rder? MARISOL: My daughter. She's two. She lives with my mom, okay? And if they find out I was brought here- ANGELA: Who's they? MARISOL: Look, I don't know. And I don't want to know. I'm sorry. (Cut to: Underground Fight Club.) BRENNAN: (on the phone): Thanks Angela. (she hangs up, then to Booth.) So we were right. Billie bet on herself, which is why I bet on you. BOOTH: You bet on me? BRENNAN: Yeah, With Nick, the guy from Nolan's gym. It was one of two reasons, actually, but when I heard the odds I couldn't- BOOTH: My odds? BRENNAN: Yeah. BOOTH:What were they? BRENNAN: You were a 20-to-1 underdog, So I bet with Nick figuring that- BOOTH: Wait. 20-to-1 against? Really? Did I look that bad? BRENNAN: If Nick pays me, he's not our guy. But if he doesn't pay me, it may not prove he k*lled Billie, but it'll put him in a strong contention. BOOTH: At the very least. Very smart, Bones. What was the other reason? BRENNAN: (she smiles.) Come on. I have winnings to collect. (Cut to: Booth and Brennan walking over to Nick.) BRENNAN: Hey, Nick! Thought you ran out on us. NICK: Nick Arno don't run from anybody, Sweetheart. BOOTH: Arno? Sweet Pete's kid? NICK: That was quite a show you put on tonight, army boy. BOOTH: Yeah, well, you know. I had my lucky charm here. BRENNAN: And I believe you owe us some money. NICK: I suppose but see the gentleman I answer to? There's sort of have an unwritten rule about fighters getting greedy. Applies to their spouses too, I'm afraid. BRENNAN: No, we're not married. We're not even engaged BOOTH: Wait, what's the rule? NICK: Enjoy a taste, but never expect a meal. Least of all with a ringer involved. BOOTH: Wait, I ain't no ringer. BRENNAN: Well, what's a ringer? BOOTH: They think I cheated. NICK: She's good, army boy. Real good. But I seen Monroe take out whole biker gangs. BRENNAN: Then I want my thousand bucks back. NICK: Consider it a fine. BRENNAN: Fine? Are you serious? NICK: Maybe I'm not making myself clear here. As our new top seed, he works for us now. You don't just punch out our best guy and walk away. Not when there's more money to be made. BOOTH: You think you can make me fight for you? NICK: You only find out if you don't. BOOTH: Than you know what? I want to talk to this gentleman you answer to. NICK: And I want world peace. Look, take my advice. Let Joe here escort you safely back to your hotel. Let your beautiful - whatever-she-is - ice your wounds. In about a day or two, we'll come and get you for your next fight. Get 'em outta here, Joe. (Nick leaves) JOE: Let's go. (Cut to: Alleyway behind fight club.) JOE: I vouched for you, so it's my ass in the sling. You understand? BRENNAN: We didn't mean to get you in trouble. JOE: Yet, here I am. (to booth) So you're going to do exactly what Nick says. Now, the people that are running things, they don't play. I got enough strikes against me as it is. (Joe scratches his elbow.) BRENNAN: You got an itch, Joe? BOOTH: What? BRENNAN: (whispering to Booth) The cortisone. If it wasn't injected, it could've been topical, like the pine oil. They're both common ingredients in lotions used to treat skin ailments- JOE: What the hell is she talking about? BOOTH: She's talking about your rash. BRENNAN: Psoriasis? JOE: Eczema, which is none of your concern. Let's go. BOOTH: Whoa, whoa, hey, whoa. Where we gonna go, Joe? We going back to our hotel? Or mile marker 15? BRENNAN: Where we found Billie Morgan and Mason Roberts. You remember them. JOE: Who are you people? BOOTH: I'm with the FBI, Joe. Look, I don't have my badge, I don't have my g*n, but you'd be wise to believe me now. You have a choice. JOE: What kind of choice do I have? BOOTH: To be the man that you were before you threw your first fight. Or you wind up d*ad like the rest of these guys. You were the real deal. You were strong and fast. Everybody wanted to fight like you. JOE: There was so much money. Easy money. I thought I can handle it. He was gonna get me another sh*t at the title. BRENNAN: Who? JOE: Nick's father, Sweet Pete. And he's owned me ever since. Made me throw more fights. BOOTH: Made you k*ll Mason Roberts? JOE: I didn't k*ll anybody. I just buried him. BOOTH: For Pete? (Joe nods.) BRENNAN: And when Billie Morgan want her bet, you buried her too. JOE: She was a sweet kid, just looking for a way out. I begged Pete to let her be. BRENNAN: He k*lled her. JOE: Might as well done it myself. I brought her in here. I knew what kind of punks she'd be dealing with. BOOTH: Bad enough you're under Sweet Pete's thumb, but now you're under his son's too? JOE: That's what happens when you're luck turns in this town. You keep hoping it's going to turn around again. Hoping you're going to get back to even. But you never do. BOOTH: Write your own story now, Joe. You can make Nick, Sweet Pete, all his friends just disappear. The way they did to Billie and Roberts. (Cut to: Hotel Room. Brennan is packing while Booth is watching the news.) TV REPORTER: (V.O.) Vegas authorities have arrested Nick Arno- along with his father, Tangiers Casino gaming executive, Peter Arno, otherwise known as Sweet Pete, in connection with the m*rder five years ago of prosecutor Mason Roberts, among others. BRENNAN: "Among others?" Is that what Billie Morgan is to these people? Others? BOOTH: It's day one Bones, relax. You know what? Billie - Billie's gonna have her story told. It's just a matter of time. So what was the, uh, second reason? BRENNAN: What? BOOTH: Uh, you never told me the second reason why, uh, why you bet on me. BRENNAN: Yeah, it was...silly. BOOTH: Well, come on. Try me. BRENNAN: Beginner's Luck. I haven't lost at anything since I've been here. So, well, I - I figured if I bet on you, then- BOOTH: I couldn't lose. BRENNAN: Sounds silly, right? BOOTH: It sounds familiar. Thanks BRENNAN: You're welcome. (They hold their stare for a few moments) BRENNAN:You Ready? BOOTH: Yeah, let's go. (They grab the bags and leave.) END.

{"type": "series", "show": "Bones", "episode": "02x08 - The Woman in the Sand"}

foreverdreaming

"Aliens in a Spaceship" Episode 2x09 Written By: Janet Tamaro Directed by: Craig Ross, Jr. Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Interior of car, underground - radio playing) BRENNAN: Oh God. What - What happened? Where am I? (she turns the keys in the ignition -She frantically feels around to figure out where she is. The radio is on. She reaches behind her neck and feels something.) BRENNAN: Ugh. Oh god. (She reaches up and turns on the inside light and exhales. She sees her phone, smashed and lying on the passenger seat.) BRENNAN: (tries to open the car door) Oh, Come on! (She tries to open the door, to no avail. She tries to roll down the window, only to have dirt/rocks fall in the car on her. She quickly rolls up the window. Then turns off the radio. She stops to collect herself, and hears a moaning noise coming from the back seat. She's not alone. She turns around and sees Jack Hodgins, and he appears to be in worse shape then her) BRENNAN: Hodgins. (she climbs in the back seat) Hodgins. Are you all right? Can you talk? (she puts her hand on his leg...only to find to find blood and gashes on them) Your legs. What happened to your legs? HODGINS: (mumbles) Where are we? BRENNAN: We're buried alive. He must have got us. HODGINS: Who? BRENNAN: The Grave Digger. (she looks around the car and sees the dirt covering all the windows.) 48 Hours Earlier (Cut to: Crime scene in the woods.) SHERIFF: My superior says to let you look at the...flying saucer. BRENNAN: It's not a flying saucer. SHERIFF: It sure looks like one. Local kids dirt biking. Something shiny poking through dirt. They dig it out, look in the window and see aliens. BRENNAN: Did you look? SHERIFF: Yes, m'am. Then called for backup. BOOTH: Why? SHERIFF: On account of..well, they are aliens. (Booth looks at Brennan, then she heads over to the "spaceship") BRENNAN: All right. (she clears dirt of the window and looks in) You wanna take a look? BOOTH: (he moves behind her and peers over her shoulder into the window) Oh. Are those what I think they are? BRENNAN: Yes. As long as you think they're two adolescent human males. BOOTH: Hmm...How long? BRENNAN: The amount of dehydrated tissue suggest the t*nk is sealed and intact. Years. BOOTH: Man. Two kids, huh? I liked it better when they were aliens. (Cut to - Jeffersonian - Medico-Legal Lab - Platform) ZACK: The one set of remains shows trauma to the legs, compound fractures and his pelvis is broken in three places. The other is virtually untouched. BRENNAN: Cause of death? ZACK: The amount of blood suggests that at least one of them bled out. Probably the one with the injuries. I've also noted a constellation of identical non metric variants - extra foramina BOOTH: (approaches platform) Does that mean they were twins? BRENNAN: How did you know? BOOTH: (holds up a picture of two young boys) Matthew and Ryan Kent. Kidnapped. October 31, 2001 and no one has seen 'em since. (Opening Credits) ACT I (Open - Conference Room at the Jeffersonian) BRENNAN: The remains in the beer vat have been positively identified as Matthew and Ryan Kent. PETE SANDERS: Oh god. AUSA KIM KURLAND: Come on , Peter. It's better than never knowing. BRENNAN: Agent Sanders? You were assigned to the Kent kidnapping? SANDERS: Uh, Mr. Sanders. I, uh, retired from the FBI to pursue a career in general contracting - uh, when I'm sober - uh..Kim here was the Assistant United States Attorney attached to the case. KIM: Still attached. The file's still open. The boys were snatched after a drinking party. BRENNAN: Was the ransom paid? SANDERS: As the dually sworn representative of the FBI, I advised Mr. Kent, not to pay the ransom. Unfortunately, the Kent's listened to me and not the K&R guy...and uh, now their sons are d*ad. BRENNAN: K&R? BOOTH: It's the Kidnap and Ransom experts. KIM: The Kent boys were The Grave Diggers third victims. SANDERS: Third of the six we know of. Uh, all together, four paid the ransom and lived. BRENNAN: ..and the other one that didn't? KIM: Never found him. SANDERS: That's why they call him The Grave Digger. Uh, he takes people and he buries them. You pay the ransom and he tells them how to dig them up. You don't -- and uh -- you never see them again. You won't catch him. BOOTH: All due respect, uh -- Agent Sanders - uh, we have the beer vat and the human remains. KIM: What are two d*ad bodies gonna tell you that four live victims couldn't? BOOTH: Dr. Brennan. She's pretty good at uh, making d*ad people tell her things. SANDERS: Look, my advice. Talk to the K&R guy. KIM: Kidnap and ransom expert, Thomas Vega. Former FBI. He literally wrote the book on The Grave Digger. (she takes the book out of her bag and puts it on the table.) (Cut to - Conference Room at the Jeffersonian - Booth, Brennan, Thomas Vega & Janine O' Connell) THOMAS VEGA: I became a Kidnap and Ransom specialist after I realized that the bureau's policy on non payment to kidnappers is antiquated and dangerous. BOOTH: You've dealt with The Grave Digger how many times? JANINE O'CONNELL: In total? Five. VEGA: Janine is a journalist. She helped me write the book on The Grave Digger. Next to me, she's the ranking expert on that son of a bitch. BOOTH: Journalist, huh? JANINE: Aw, don't be like that, Agent Booth. The Grave Digger is totally consistent. No one ever sees the victim taken. The ransom demand is made using a digitally altered voice. A time limit is given. There's never a second call. As soon as the ransom is paid to a numbered, untraceable account in Bahrain, the Caribbean, etc. The GPS coordinates are provided, leading to the victim, BRENNAN: None of the surviving victims remembers anything before being taken? JANINE: Nothing. Burn marks on the back of the neck suggest the use of a stun g*n or cattle prod. VEGA: And that'll scramble your brains pretty good. Also, when you try to trace whatever container the boys were found in, you'll, well, you'll reach a d*ad end. He gets everything from landfills or cash auctions. BOOTH: No last chance to pay up? VEGA: Never. JANINE: You know. Most kidnappers are caught because they start negotiating the ransom. The Grave Digger, simply won't play. BOOTH: Really not looking to help you write another book, ya know. Capturing The Grave Digger. VEGA: Agent Booth. I have seen what this guy does to families. Upclose. Ya know what, dislike me as much as you want but I'm still gonna help ya because.. I want this bastard caught. (Vega & Janine leave the room) BRENNAN: (turns to Booth) You were kinda mean to them. BOOTH: Yeah. Thanks. (Cut to - Jeffersonian - Medico-Legal Lab - Platform) BRENNAN: Zack? Did you catalogue this anomaly between C1 and C2 on Matthew. ZACK: Yes. If you increase magnification on the atlanto-axail joint, you'll see calcining on articular process. (Brennan walks over to computer) BRENNAN: Bone burn. ZACK: Yes. Over 300 degrees. BRENNAN: Stun g*n. Does the same mark appear on Ryan? ZACK: No. BRENNAN: Okay. Get the FBI to send you photos and medical exam results of The Grave Diggers victims. See if he uses the same stun g*n every time. (Zack exits. Hodgins enters) HODGINS: Aluminum. BRENNAN: Aluminum? HODGINS: The Brits say "Al -yu - mini - um" but it sounds, well, British. Maganese alloy. Strained-hardened and s*ab. Traces on both sets of clothing. BRENNAN: From the vat? HODGINS: No. The inside of the vat is pure copper. Both boys clothing was stained with a sooty residue made up of lead and carbon, benzene and adlehydes. BRENNAN: Engine exhaust. HODGINS: Yeah. Particulates from lots of engines. Both gasoline and diesel. BRENNAN: Parking lot? HODGINS: Underground. Probably. That's where the Digger grabs his victims? BRENNAN: Compare your findings with the results found on the clothing of the surviving victims. See if they share anything in common. And measure oxygen volume in the vat. Find out how long the twins survived. HODGINS: I'll get right on it. (Cut to - Conference Room at the Jeffersonian - Booth, Brennan, James Kent, Thomas Vega & Kim Kurland) KIM: Mr. Kent, I'd like to start by expressing the Justice Department's sincere condolences for the death of your sons, Matthew and Ryan. JAMES KENT: If I'd ignored the Justice Department and listened to Mr. Vega, here - paid the 2 million - my boys would still be alive today. BOOTH: Sir, I understand your feelings towards the FBI... KENT: I doubt that. VEGA: Jim, Agent Booth here is investigating your sons' m*rder. You know my problem with the FBI's approach to kidnapping, but when it comes to finding K*llers, you want these people on your side. KENT: Ryan and Mattie were spoiled. I know. They uh, partied, they chased girls they um - (a chime sounds - cut to: Brennan's cell phone: There is a text message on Brennan's cell phone from Hodgins - "Victims did not have 24 hours of air. 12 hours max. Hodgins." Brennan shows the message to Booth) they got expelled from school but they weren't bad kids. God, there's no way that they deserved suffocation. Is it - painful? BRENNAN: Like falling asleep. Mr. Kent, The Grave Digger lied to you and the FBI. VEGA: That's unlikely. He doesn't play games. BRENNAN: Mr. Kent, is there any way you could have put together the ransom in 12 hours? KENT: No way in the world. VEGA: Which is exactly why The Grave Digger provided Mr. Kent with 24 hours. BOOTH: His sons only had enough air for 12 hours. KENT: Oh, my god... BOOTH: Even if you had ignored the FBI and listened to Mr. Vega, you still wouldn't have been able to save your sons. VEGA: You're backstopping for the bureau.. BRENNAN: There were two of them in that vat. They used up their oxygen twice as fast. The Grave Digger miscalculated. VEGA: No, he doesn't do that. BRENNAN: Then it was never his intention that these boys survive. BOOTH: He just didn't care, Mr. Kent. KENT: So my decision to listen to the FBI - to not pay the ransom... BRENNAN: If you'd paid the ransom, your sons would still have been d*ad by the time you got to them. BOOTH: There is nothing you could have done, Mr. Kent. You are in no way responsible for the death of your sons. ACT II (Cut to: Booth and Brennan in Booth's Car - Driving) BRENNAN: Had it occurred to you that God, is a lot like The Grave Digger? BOOTH: Wha...What? BRENNAN: He lays down the rules. Not way to question him or negotiate. Then it's almost as though he doesn't care how it works out. Either you do as he says - make some sacrifices and they're delivered or you don't and you end up in hell. BOOTH: You know what? I'd appreciate it if you didn't say things like that because I really don't want to get struck by lightning. BRENNAN: Do you go to church every Sunday? BOOTH: Yes, I do. BRENNEN: Can I come with you? BOOTH: No. You can't. BRENNAN: Why? It might help me to understand. BOOTH: I am not going to help you disrespect God in His own house. Okay, if you want to do some kind of , ya know, anthropological study - turn on the religious channel. (Cut to - Jeffersonian - Medico-Legal Lab - The containers used to hold the previous victims of The Grave Digger are lined up - side by side) KIM: Each of these contained one of The Grave Diggers victims. BOOTH: Cozy. KIM: We also provided your people with the clothes each victim was wearing. HODGINS: Regarding the clothing, every one of them shows traces of aluminum and sooty residue. BRENNAN: We know each victim was taken from an underground garage, beyond the reach of security cameras. KIM: They typical kidnap for ransom profile was middle aged, in a job that's beneath him.... BOOTH: Smart guy who's an underachiever and someone who enjoys control over somebody else's life. There's just one problem... KIM: What's that? BOOTH: See, there's nothing typical about this guy. Don't expect him to fit the profile. (Cut to - Jeffersonian - Angelator Room) ANGELA: Okay. The dimensions of the vat - six feet wide by eight feet tall - make it impossible for Mattthew Kent to have fractured his brother's pelvis. BOOTH: Even if Matthew knocked Ryan down and - you know - stomped on him? BRENNAN: Cam and I agree. The fracture was a result of one, hard blow. (They recreate the scenario thru the Angelator) A break like that would require a lot more force then Matthew could have generated. BOOTH: Alright, so you're saying the Ryan was injured before he went into that vat... BRENNAN: Yes. But the amount of blood on the floor, can't be explained by his injuries alone. (Brennan can see that Booth has an idea) What? BOOTH: It was a mistake. ANGELA: What was? BOOTH: Look. He intended to take one boy but he ended up with two. BRENNAN: Ah. That's why they died 12 hours ahead of schedule BOOTH: If he intended to take two boys, he would have put them in a container twice as big. Alright, The Grave Digger, he messed up. He snuck up on Matthew - knocked him unconscious, whatever and uh, Ryan was there - he shows up - and he fought the guy. BRENNAN: No, Booth. Not fight. ANGELA: The leg damage. The fractured pelvis.. BRENNAN: These injuries are classic human vs. car. BOOTH: Ryan interrupts the kidnapping of his brother... BRENNAN: ..and The Grave Digger runs him down. BOOTH: It was a mistake. The Grave Digger is not God, Bones, because God does not make mistakes. ANGELA: Hmm. I don't know. Putting testicles on the outside - didn't seem like such a good idea. (Cut to - Jeffersonian - Medico-Legal - Platform) ZACK: Commercial stun g*n. 625,000 volts - still not enough. ANGELA: Well, it sounds like a lot of volts. ZACK: Actually, it's the amperage that does the real damage. But still, I've checked every commercial stun g*n I can find and none of them generate the right amount of power to make those distinctive marks on the bone. ANGELA: Well, what about a cattle prod? ZACK: Stun g*n generate a lot more power than cattle prods. (Hodgins enters) HODGINS: You haven't figured out the stun g*n, then I am this weeks "King of the Lab", cause I found something huge. ANGELA: You compete - to be "King of the Lab"? HODGINS: No....Hey Angela. I, I didn't know - that you were - this sucks. I'm gonna go, catch Brennan then bolt for the night. ANGELA: She just left. (Hodgins turns to leave) ANGELA: Hey. (Hodgins turns back to face her) Could you stop being so weird? Please? It's making me very uncomfortable. (Hodgins leaves) ZACK: You should give him a chance. ANGELA: Excuse me? ZACK: I apologize. I didn't say anything. ANGELA: mmhmm. (Cut to - Jeffersonian -Underground Garage) (Brennan is walking to her car and then surprised and grabbed from behind. Hodgins sees what has happened and goes running towards her) HODGINS : Dr. Brennan. Dr. Brennan? (As he gets closer to her body, he stops - there's a car coming right at him - he's a deer in headlights) (Cut to - Royal Diner - Interior - Booth and Cam) CAM: What do you say we go to New York for the weekend? BOOTH: Yeah, I don't know.. CAM: Come on! We're two adults with no obligations. (Booth's phone rings) Let it go to voice mail. We're not cheating. We're not hurting anybody, Seeley. BOOTH: Then why are we keeping our relationship such a secret, Camille? CAM: Because we work together and we're professionals and it's nobody's business. That's all. So come to New York. We'll go to a musical BOOTH: (laughs) Talking and singing and talking and dancing and more singing (pulls out his phone to check his voicemail) Ya know, if you want to stop what we're doing - just say so. CAM: You can fantasize about pulling out your g*n and sh**ting everyone on stage. You know you like that.(Booth puts his phone to his ear to check his message - As Cam continues to talk you can tell something's wrong) Seriously, we'll do something you like. Like, Climbing the outside of the Empire State building or swimming the East River...or..(she sees panic in Booth's eyes) What? What happened? (Booth puts turns the speaker phone on and plays back the voice mail. It's from The Grave Digger) THE GRAVE DIGGER (voice): Temperance Brennan and Jack Hodgins have been buried alive.Wire transfer $8 million to the following Grand Cayman account or they will suffocate to death. ACT III (Cut to -Department of Justice - Conference Room - Booth is playing the message back for Thomas Vega, Janine O' Connell & Kim Kurland ) THE GRAVE DIGGER (voice): Upon receipt of the wire transfer, I will provide you Brennan and Hodgins GPS Coordinates. This will be my last communication. VEGA: It will be his last communication too. He's never varied. KIM: You learn from the Kent boys. He's got two of them, he cut the deadline in half. VEGA: Why is The Grave Digger demanding so much money? It's doesn't make any sense. JANINE: Well, he's always been reasonable at knowing how much people can raise within the time limit. VEGA: Has - uh - Dr. Brennan made that much money from her books? BOOTH: It's Hodgins. He's the soul heir to this thing called The Cantilever Group VEGA: What's that? JANINE: Just the third largest privately owned corporation in the country... BOOTH: Make sense now, Tom? (Interior of car, underground) BRENNAN: I was on my way to karate class, so we have lots of bottled water. HODGINS: What happened? Where are we? BRENNAN: Last thing I remember is being at the lab. HODGINS: I'm really confused, what happened to my legs? (he looks at Brennan) Where are we? BRENNAN: Underground. Buried. I have a burn (she pulls her hair back revealing 2 red marks - from what appears to be a stun g*n.) HODGINS: Zack was trying to figure out what kind of stun g*n... BRENNAN: It has to be "The Grave Digger". I think he ran you down with his car, and then pumped you full of drugs to ruin your short term memory - same as Ryan Kent. HODGINS: (obviously getting more worried) How long have we been down here? BRENNAN: Um. (she looks at her watch) It would be - 2 hours - I think? HODGINS: Okay, So this vehicle is 6...60 - 60 cubic feet of air, uh, it's just 20 percent oxygen - two people - my brain is not working.. BRENNAN: The Grave Digger is very consistent. If we started with 12 hours of air, we'll be unconscious in 10. After that if - if no one pays the ransom... HODGINS: We're d*ad. (Brennan nods) (Cut to - Jeffersonian - Medico-Legal - Platform) (Countdown has g*n: 10:43:04) CAM: How are we gonna get our hands on $8 Million? ZACK: Hodgins is rich. CAM: He is? ZACK: "Rich squared to the power of ten times four" is how he describes it. ANGELA: (to Booth) You're gonna pay the ransom, right? BOOTH: Yes. FBI standard ops, they won't work. Grave Digger operates outside statistics. CAM: They'll f*re you. BOOTH: Ah, that's cool. One less reason to wear a suit. CAM: How did The Grave Digger catch Brennan and Hodgins together? BOOTH: Bones was on her way to Karate. ANGELA: And Hodgins said he found something huge.. ZACK: ..and he tried to catch Dr. Brennan. (Cut to - Jeffersonian -Underground Garage) (The squints, Cam & Booth go to investigate the garage and find a blood stain) CAM: (over the blood stain) Here! ANGELA: Oh my god. Oooh, that's blood, isn't it? BOOTH: It'll turn out to be Hodgins. ZACK: Dr. Brennan doesn't like it when we jump to conclusions. CAM: I'm sure she'll appreciate - we're on a deadline. BOOTH: Look. Hodgins interrupted the kidnapping, just like Ryan and Matthew - The Grave Digger must have run him over. ANGELA: God, what are we gonna do? BOOTH: We'll, it's a crime scene, alright. They'll look for tire tracks. They'll check the security cameras..(points to Zack) I need you to be Dr. Brennan. ZACK: I don't know what that means. CAM: It means, keep working the case. BOOTH: Alright, I need to know why Hodgins was chasing after Bones. CAM: I'll look at his notes. ANGELA: Well, what about me? BOOTH: Call Bone's brother, Russ, and tell him what's going on. I'm gonna go talk to the chairman of The Cantilever Group. (Booths turns to leave the garage and Cam picks up her phone and dials) (Interior of car, underground) BRENNAN: We have water, towels, my mini kit, ibuprofen, two cell phones no batteries, a digital camera with a back up battery and uh, a handful of pens. HODGINS: That one's a laser pointer... BRENNAN: And uh, a copy of my novel. HODGINS: Hey. We can read it to each other if we get bored. BRENNAN: (pulls perfume out of a pouch) Deep Rhapsody? HODGINS: Careful. That's 3 grand a quarter ouce. (Hodgins makes a face of pain) BRENNAN: Yeah. I'd make that face too, if I spent $3,000 on perfume. HODGINS: Oh man. Something - something - my leg. BRENNAN: (opens up the ibuprofen) Here. Here. (opens up a bottle of water) I'm worried you have compartment syndrome (she hands Hodgins the water bottle and the pills) HODGINS: Is that terminal? I mean within the next few hours? BRENNAN: No. HODGINS: But... BRENNAN: It's gonna get painful. HODGINS: More painful than now? BRENNAN: Yeah. "Slip into shock and die" painful. HODGINS: Well, there's nothing we can do about that. BRENNAN: Actually, there is. HODGINS: Oh, I'm not gonna like this, am I. (Cut to - Jeffersonian - Medico-Legal Lab) (Time remaining on the clock: 08:22:14) CAM: What are you doing? ZACK: The Grave Digger modified a commercial stun g*n to knock out his victims. I've figured out the voltage and amperage, but not how he modified it to boost the current (he zaps a piece of meat with a stun g*n) - which will not help us find Dr. Brennan and Hodgins. I did figure out how Ryan Kent died. CAM: Let's hear it. ZACK: He k*lled himself. He punctured his own carotid artery, which explains the amount of blood we found in the vat. He used a pen. There's a nick on the inferior angle of the mandible. I don't know why he did it, I don't really do "Why", I just do "How". CAM: He did it to give his brother more air - so his twin would survive. That's why we found them holding each other. ZACK: How does that help? CAM: When we tell Mr. Kent that one of his son's gave his own life in an effort to save his brother, it'll mean something, Zack. Just keep searching, Okay. (Interior of car, underground) (Hodgins tears a page out of Brennan's Book - "Bred in the Bone" - he writes something, folds it up and sticks it in his jacket pocket.) HODGINS: Okay. I'm ready. BRENNAN: Was that a note to Angela? HODGINS: Yes. Just in case - That whatever you're gonna do to me sends me into shock - I might die. Upside? Me not breathing, doubles your survival time. BRENNAN: I'm not interested in surviving that way. (she touches his leg) What I'm going to do is make a long incision in the fascia to release the pressure inside. HODGINS: And..how long is a long incision? Wait, ya know what? Don't tell me. BRENNAN: It's best if I do it very fast and without empathy. (she hands him a gag for his mouth - her black belt) Here. Hang on to something and don't fight passing out (she hold the Kn*fe next to his leg, ready to make the incision - Hodgins places the gag in his mouth and holds on to the emergency handles in the back of the car) You ready? (He nods and she prepares to cut, but finds a piece of something stuck in his leg) Wait... HODGINS: What is that? BRENNAN: Evidence of what happened to you. Let's - let's worry about it later. HODGINS: Here - just (he hands her her book) put it in the pages of your book. I'll take a look at it later. (he puts the gag back in his mouth then mumbles something) BRENNAN: It's best if you don't talk right now. HODGINS: (he spits the gag out) I'm nuts about Angela. Over the moon. Stupid in love with her. That's why I bought her that - that crazy, expensive perfume. Man give you a bottle of perfume like that, it says - it says "I Love You". There. I said it out loud. (he puts the gag back in his mouth and gets back into position. He's ready. As Brennan makes the incision, he screams.) (Cut to - Jeffersonian - Medico-Legal Lab) (Time remaining on the clock: 05:09:34) CAM: Did you find Russ? ANGELA: He's on a fishing trip with friends in the White Mountains. No phone, no cell service. You? CAM: Hodgins seems to write everything in some kind of code. I'm gonna have to get Zack over here to break it. ANGELA: It says that the traces of aluminum found on the clothing were almost certainly from the kidnapper's vehicle. Like a box in the back of a trunk or a van. CAM: You can read that? ANGELA: Yeah, Hodgins sends me a lot of notes. Why bother? With all of this? We don't need evidence, we need millions of dollars. (Angela turns and walks away from Cam) (Cut to - Jeffersonian - Medico-Legal Lab - Catwalk) BOOTH: I can't get the ransom together -- not in the time. All right, The Cantilever Group has got this policy - no proof of life from the kidnapper, no ransom. CAM: Not ever for the boss? BOOTH: It's his rule. It's no exceptions. I'd say we need more time, but The Grave Digger doesn't give us that - or proof of life. CAM: Booth, I don't think it's a coincidence that he took Brennan when he did. BOOTH: Yeah, I was kinda thinking the same thing. (Cut to: Interior of car, underground - car honks - Brennan appears to be hotwiring something) (Hodgins wakes up, startled) BRENNAN: Thank god I didn't k*ll you. HODGINS: How long was I unconscious? BRENNAN: For a while. How's your leg? HODGINS: Better. Lots better. What are you doing? BRENNAN: Hotwiring the phone to the horn so we can send a message. HODGINS: From underground? BRENNAN: We get radio reception. HODGINS: Direct current 12 volt will burn out the circuits in a 4.2 volt cell phone in a microsecond. Better jury-rig a resistor. BRENNAN: Smart. HODGINS: Might work long enough to send a single burst transmission. BRENNAN: Very short text message. Booth can trace it to a cell phone relay tower. HODGINS: What message should we send? Goodbye? Nice to know ya? BRENNAN: What are we surrounded by? HODGINS: Pain. Despair - and a subsoil accumulation of agglutinate aridosols BRENNAN: Dirt. HODGINS: I don't like the term "dirt". BRENNAN: Alright (she picks up a handful of dirt from inside the car) Tell me something I don't know. (she puts it in his hand) HODGINS: (examines the dirt) Ash. Hints of nitrogen and sulfur (he spits on it) BRENNAN: So where are we? HODGINS: We're in Bituminous Coal country. Basically, Virginia. BRENNAN: We need more than that. HODGINS: The laser - and we need Benzophenone. BRENNAN: Benzophenone. Some soaps and plastic packaging, sunscreen - we don't have any sunscreen. Angela's perfume. HODGINS: Three. Grand. that cost. BRENNAN: Hodgins, I will split the cost when we get out of here. HODGINS: There's something you don't know about me. I'm rich. BRENNAN: Me too. HODGINS: No. No. You're - well off. My family owns The Cantilever Group and there's not many of us left alive. One to be exact. Me. BRENNAN: Okay. I won't split it with you. (she dumps the perfume into the dirt - Hodgins mixes it around with his finger.) It smells nice. HODGINS: I need the camera.(she picks up the camera and hands it to him. He then uses it to examine the dirt more closely) I know where we are. (Cut to: FBI Headquarters - Booth's Office) VEGA: There's not negotiating with The Grave Digger. BOOTH: You've been through this what - ah - five times with this guy.. VEGA: Exactly. So I know him, and he does not negotiate. BOOTH: Oh, what? What - no - chat room action with him? VEGA: Are you nuts? I hate the son of a bitch. BOOTH: Why? He's made you rich. VEGA: You know what? You just need to deal with the facts. That if you can't put the ransom together in the time he gave you, your partner is d*ad. (Booth grabs Vega and throws him down on the table) BOOTH: Here's the deal, all right. You have a relationship with this guy, what they call symbiotic - you benefit from each other - hmm. So know this. That deadline comes around, and my partner is still underground - I will end you. You understand? Yeah? (he picks him off off the table) Three hours to live. (He throws Vega out of his office) Better hurry. (Cut to: Interior of car, underground) (Hodgins is examining the thing Brennan found in his leg) HODGINS: This thing you found in my leg is anodized plastic film and coated metallic tape with dried out adhesive. I think it's a bumper sticker. BRENNAN: You mean like "If you can read this, you're too close."? HODGINS: No. Like a prepaid toll road pass. (he pauses) Someone ran me down with a car. BRENNAN: We knew that already. HODGINS: Yeah, but now we've proved it, and I find that I'm really annoyed. BRENNAN: 4 to 6 seconds to enter a message and h*t speed dial. HODGINS: I've figured out a text message using 8 key strikes. BRENNAN: How's your text messaging? HODGINS: Thumbs like lightning. I can do it. BRENNAN: Okay. (she hands him the phone) You ready? HODGINS: Yeah. (she presses on the horn and Hodgins enters the message, then the phone short circuits) Oh! BRENNAN: Oh! Did it go? HODGINS: I think it went... BRENNAN: Me too. (Cut to: FBI Headquarters - Booth's Office) (Booth is standing behind his chair, thinking, when he receives a message on his phone) (Cut to: Jeffersonian - Medico-Legal Lab - Platform) (On a computer screen, there are the numbers 6 7 16 M1.4 displayed) BOOTH: Does it mean anything to anybody? CAM: They're getting low on oxygen. ZACK: Hypoxia leads to mental confusion. BOOTH: It's Bones. It means something. ANGELA: Did you try just dialing the number? BOOTH: I tried all the dumb guy, normal stuff. Okay, that's why I'm here talking to the Brain Trust. All right. Think! Eggheads. Work it! CAM: Booth. They're not cops! BOOTH: We're running out of time. ZACK: Minor correction. Dr. Brennan and Hodgins run out of air in....4 seconds (the clock counts down to 0) We are out of time. ACT IV (Interior of car, underground) (Brennan has cut through the back seat into the trunk and punctures a tire to get more air for them. They lean up against the seat and breathe it in.) HODGINS: How much extra time? BRENNAN: A little. There are 4 extra tires, but we can't get to them. Is there anything else? HODGINS: If the ransom was paid, we'd be out by now. Why prolong the inevitable? BRENNAN: Booth will find us. HODGINS: You have a lot of Faith in Booth. BRENNAN: No. Faith is an irrational belief in something that is logically impossible. Overtime, I've seen what Booth can do. It's not Faith. HODGINS: No offense - and I'm not just saying this because you filleted me with a Kn*fe - We are out of air. We don't know if our message got out, much less if anyone understood it and we are buried underground. What you have is Faith, baby. Sorry. The baby thing is a reflex. BRENNAN: We shouldn't talk right now - to conserve air. HODGINS: I need the camera batteries and the preservative powder from your kit. BRENNAN: Soda ash and lithium? You're going to make a carbon dioxide scrubber? HODGINS: If you can perform surgery out of thin air, then I can pull a little thin air out of thin air. (they laugh - knowing that at least they'll be able to extend their time by a bit more) (Cut to: Jeffersonian - Medico-Legal Lab - Platform) CAM: Okay. Zack figured out what stun g*n The Grave Digger uses and how it's modified. Thanks to Angela, we know that The Grave Digger has a customized aluminum casing in the back of his vehicle... BOOTH: I got about a hundred agents working that angle. What does this mean, right here (he taps on the computer monitor forcefully) What does that mean? ZACK: You're forgetting something. Brennan and Hodgins are out of air. BOOTH: Great. You wanna give up, huh? This is Bones we're talking about and Hodgins. You really think they didn't find a way to extend their air supply! Hell, found away to send us a message to ask us for help (he hits the monitor again) and you want to give up because of math. (Cut to: Interior of car, underground) (Hodgins is scraping out the lithium from inside the battery into an ashtray) HODGINS: Soda ash. Lithium reacts high concentrations of carbon dioxide. (pours water in) Produces oxygen. (they see it start to foam and laugh out or relief) BRENNAN: (she moves to the front seat) That gives us just long enough. HODGINS: Long enough for what? BRENNAN: My next idea, which will k*ll us. Airbags. HODGINS: They aren't actually bags of air.. BRENNAN: I'm not looking to extend our survival underground. I'm looking to blow our way out of here. HODGINS: Using the expl*sives from the air bags? (she looks back and nods) That could definitely k*ll us. BRENNAN: So will doing nothing. (she goes to work on the airbags) HODGINS: (hands her a page from her book) Anyone you wanna say goodbye to? (Brennan takes it and begins to write) (Cut to: Jeffersonian - Medico-Legal Lab - Platform) ZACK: It's not a numerical alphabetical code or an equation. ANGELA: It's not GPS coordinates or indications of topography. BOOTH: Great. Then what is it? CAM: Can I make a suggestion? See, this is exactly why I was sent here. You guys are brilliant, but you won't make intuitive leaps. ZACK: You mean 'jump to conclusions" CAM: That's exactly what I mean. This is a message from one of them to one of us. Specific. Focused. Who was it meant to get to? BOOTH: Easy. Brennan's cell to mine, right? The message was for me. We have an understanding, we work together. ANGELA: We all work together. She's my best friend. And Hodgins - Hodgins - CAM: She's right. We should assume the message is from Hodgins not from Brennan. BOOTH: Why? CAM: Because they're buried alive... ANGELA: And Hodgins is all about dirt. BOOTH: Okay. Great. The message is about dirt, but who's it to? ZACK: Angela. Hodgins is all about dirt and Angela. ANGELA: But it's numbers, Zack. It's for you. Hodgins would have written me a line of poetry or something. (Vega & Janine O' Connell arrive outside the platform) VEGA: Agent Booth. Janine used all her contacts to get me on all the local news shows. Now, I explained that we needed more time. I asked him to call. I'm sorry, but he's completely consistent. ZACK: 6, 7, 16. Carbon, Nitrogen and Sulfur on the periodic table of elements. They are buried in coal rich soil. (he pulls up a map) BOOTH: Ya gotta narrow it down, Zack. ANGELA: Keep going, Zack. ZACK: Uh - mineral components of coal are all the same. It's the organic components that provide a unique fingerprint. (he starts to zone in on Brennan & Hodgins location) They are called, mascerals. They fluoresce at different levels. A reflectance of 1.4 is quite rare - suggesting a high concentration of inertinite. BOOTH: Zack, tell me what that means. ANGELA: It means he knows where they are. BOOTH: Zack... ZACK: (he pin points a spot on the map) I know where they are. (Cut to: Interior of car, underground) (Brennan has jumper cable set up across the dashboard of the car) HODGINS: Can this possibly work? BRENNAN: I'm not really an expl*sives expert...but the dash might shape the charge enough to blow out the windshield. If we're less than 4 feet beneath the surface, this charge could blow us to freedom. HODGINS: And if we're buried more than 4 feet deep? BRENNAN: Then the concussion will turn our brains into jelly. HODGINS: Well, then we can run for Congress, so it's a win-win. BRENNAN: We should get as far away from the expl*si*n as possible. HODGINS: I already am. (he extends his hand) Care to join me. (Cut to: What appears to be a quarry - The group arrives (with extra help from the FBI) and stand on the edge of a hill, looking over the area below in hopes that they'll see something that will lead them to Brennan and Hodgins) BOOTH: Come on , people. They gotta be here. Just look for anything - tire tracks, recent digging, mounds, depressions, anything. (Cut to: Interior of car, underground) BRENNAN: Ready? HODGINS: Yeah. Dr. Brennan. It's been a privilege. (He extends his hand to her, but instead she hugs him and holds him tightly. You can see the fear in both of them.) (Cut to: Booth looking out over the quarry.) (Cut to: Interior of car, underground) (Hodgins prepares to connect the two wires that will cause the airbags to explode..he slowly put them together...) (Cut to: Booth looking out over the quarry. He spots a puff of dust sh**ting through the ground; the expl*si*n from the airbags. He bolts over, starts digging. He digs through the dirt and finds a hand. Brennan's hand. He pulls her out - as he does that, everyone else arrives to help dig out Hodgins. BRENNAN: Get. Hodgins... (They all furiously dig and eventually, find Hodgins.) ANGELA: Jack. Come 'on (Hodgins coughs - then reaches up and touches Zack's head. Angela wipes the dirt off Hodgins's face, then leans down and kisses him. Everyone is alive and well. Angela, Zack and Hodgins are together, and Booth joins Brennan and they smile at one another.) (Cut to: Jeffersonian - Hodgins is sitting at a table looking through mircoscope - Angela enters) ANGELA: I went to visit you at the hospital. I brought you this (hold up a teddy bear with a red bow) HODGINS: They..they let me go home. ANGELA: No, they didn't. You left without being discharged. You stole crutches - which I had to pay for. HODGINS: They packed me - pumped me full of antibiotics - stitched me up and gave me painkillers, so I'm..I'm good to go. ANGELA: Could you please look at me? (he turns to face her) You were buried alive. You were operated on without an anesthetic. You were pumped full of drugs. You really should be lying down. HODGINS: (his voice breaking) He's out there, Angela. He buries people alive. I have to catch him. If I Can figure out the exact alloy of aluminum, then maybe I could - maybe we could. Plus the bit of -of - bumper sticker that Brennan found in my leg... ANGELA: We're gonna catch him, okay. I promise you. We're gonna start tomorrow. All of us, together. HODGINS: I can't sleep, Angela. ANGELA: I thought that they gave you something for that? HODGINS: No. I mean. I'm afraid. That when I close my eyes, when I open them, I'm gonna be back in that car. Buried. Running out of air. ANGELA: Okay. Then you should come home with me. HODGINS: What? ANGELA: When you open your eyes, I'll be there. HODGINS: Yeah? ANGELA: Yeah. HODGINS: Okay. You know I'm good for that crutch money. ( they laugh) (Cut to: Church - Interior - Booth and Brennan are sitting in the first pew - Booth is praying) BRENNAN: What did you ask for? BOOTH: That's between me and a certain Saint. Although, I did ask for a little help finding The Grave Digger. BRENNAN: Good move. (she sniffs the air) What's that smell? BOOTH: The candles. And I said Thanks. You should try it sometime. BRENNAN: If I were going to pray, I would have done it just before we set off the expl*si*n. BOOTH: And you didn't? BRENNAN: No. See, if there was a God - which there isn't- BOOTH: Shhhh. (whispers) Do you see where we are? BRENNAN: And if I were someone who believed he had a plan... BOOTH: ..which I do... BRENNAN: Then I'd be tempted to think He wanted me to go through something like I went through because it might make me more open to the whole....concept. BOOTH: Mhmm. It obviously hasn't. BRENNAN: I'm okay with you thanking God for saving me and Hodgins. BOOTH: That's not what I thanked Him for. I thanked Him for saving...all of us. It was all of us. Every. Single. One. You take one of us away, and you and Hodgins are in that hole forever. And I'm thankful for that. BRENNAN: (voice breaking a bit) I knew you wouldn't give up. BOOTH: I knew you wouldn't give up. End.

{"type": "series", "show": "Bones", "episode": "02x09 - Aliens in a Spaceship"}

foreverdreaming

"The Headless Witch in the Woods" Episode 2x10 Written By: Karine Rosenthal & Stephen Nathan Directed by: Tony Wharmby Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: George Washington National Forest. Brennan and Booth trek through the forest with a forest ranger that has roped off a crime scene) BRENNAN: It's getting thicker and thicker in here. RANGER EDISON: That's why a forensic team got lost. I've sent somebody back to find them. BOOTH: Look, you sure you know where you're going? RANGER EDISON: I still have trouble and I've been here for three years. That's why we advise hikers to stay away. BOOTH: I know, I'm pining for concrete. You just, uh, you stay close, alright Bones? (Brennan walks away from Booth and finds some kind of talisman in a tree) I don't want you to get caught out here when it gets dark. Okay? (he looks around for her, but doesn't see her anywhere) Bones? Bones? Where the hell are you? Bones? BRENNAN: I'm right here, Booth. BOOTH: Don't do that, alright? BRENNAN: What? BOOTH: Take off like that, okay. You heard the guy. BRENNAN: I saw this, some sort of talisman. These are bones from a bird and the coloring on that ornament looks like dried blood. There are more of them, too. BOOTH: Geez, they look like eyes. Okay, this is weird. You see a lot of these? RANGER EDISON: Not me, but I've heard some other folks have come across some pretty strange stuff in here. Word is, it's Maggie Cinders. BRENNAN: There's a woman who lives out here? RANGER EDISON: Did. Died in 1780. Folks around here thought she was a witch and beheaded her. Legend is, she still haunts the woods, looking for her severed head. BRENNAN: And you believe this, Ranger Edison? RANGER EDISON: Look, I'm just telling you what I heard. BOOTH: Yeah, I'd prefer we keep moving, okay? RANGER EDISON: This is one of the only clearings around here. The pit was covered with sticks and leaves. One of the hikers fell in on the body, freaked and ran. Maggie Cinders did say she'd k*ll anybody who dared to look for her. BRENNAN: So you talked to Ms. Cinders? That must have been difficult since she doesn't have a head. Bag the eyes. Give me a hand. BOOTH: You want me to go down there with you? BRENNAN: No. I don't want the remains compromised. BOOTH: Alright? BRENNAN: Yeah. BOOTH: So, uh, how'd she k*ll them? You know in the legend? RANGER EDISON: Like she was k*lled. She cuts off their heads. BRENNAN: Iliac crest and pubis show it's a male. Epiphyseal fusion puts him between 18 and 25 years old. He's on a - a video camera. BOOTH: Okay, cause of death? BRENNAN: Well, since I can't find a skull, I'd say - his head got cut off. (Cut to: Medico-Legal-Lab - Forensics Platform. Brennan, Zack and Cam are examining the body)CAM: Since we don't have a head, do we have enough for an identification? ZACK: We'll look for older injuries that might be found in medical records. BRENNAN: More wood splinters. CAM: Could have been the handle of whatever lopped off his head. ZACK: If a ghost isn't comprised of matter, but is merely ectoplasm, which is actually the clear outer layer of cytoplasm on amoeboid cells, how can the victim have suffered bruising and multiple fractures? BRENNAN: Because there are no such things as ghosts. CAM: I thought you never jump to conclusions. BRENNAN: Well, it's safe to dismiss fantasy and deluded perceptions. CAM: My mother came to me the day after she died. I wasn't some kid, I was 23. She came to me- She came to me and told me to look in her dresser, third drawer, behind her pink blouse. There was something there for me. (She shows the necklace she is wearing to Brennan and Zack - Zack looks a bit unnerved as Hodgins enters) HODGINS: The European hornet queen I found on the remains puts time of death at November of last year. ZACK: We have more splinters. HODGINS: The wood is from a Betula Uber, a sub-species of round leaf birch tree that's been extinct since 1800. The legend says that Maggie Cinders kills her victims with the same old axe used to decapitate her - in 1783. Anyone else feeling tingly, or is it just me? (Booth enters) BOOTH: I checked missing persons. A film student from UVA went missing in the woods last year. He was making a documentary on the Maggie Cinders legend. Graham Hastings, 21, 5'10", 176 pounds. CAM: That explains the video camera. ANGELA: I, um, I got something from the videotape. (Cut to: Medico Legal Lab - Angela's Office. The g*ng is gathered around Angela's computer) ANGELA: I cleaned the section of the tape with an isopropyl alcohol solution and fed whatever digital information I could salvage into a restoration program. I didn't get much-maybe I got too much. (Cut to the video: A girl is in the woods at night, screaming) LORI: Where's Brian?! Where's Brian! GRAHAM: Lori, wait where are you going? Lori, stop! Stop, Lori! LORI: Brian! Bri-! (she screams) (Cut to: Brennan watches as Cam grabs for Booth's hand. She looks a bit surprised or hurt.) (Cut back to the video: Graham looks into the camera. He's scared.) GRAHAM: Oh, God. The noises are getting closer. I've lost Lori and Brian disappeared. Oh God. It's her. I can hear her. She's here. She's here! Oh God, she's here! Lori, where the hell are you?! Lori! (there's a chopping sound - possibly from an axe?) Oh my God. Help! Help me, oh God! Oh God, somebody help me! (his face gets splattered with blood) Somebody help me, please! (he screams) ACT ONE (Cut to: Medico-Legal-Lab - Forensics Platform)ZACK: I just keep hearing the screams. I never heard screams like that, Dr. Brennan. BRENNAN: Neither have I. Narrow focus trauma on the left humerus, posterior side. ZACK: Indicates an attempt by the victim to shield his head. HODGINS: From the axe att*ck. What? It's always an axe, isn't it? Remember The Shining"? ZACK: My palms perspired profusely during that film. BRENNAN: Until we complete a series of blade comparison tests, there's no way to know what type of w*apon was used. (Cam enters) CAM: Forensic team found this near the pit. (she shows Hodgins a bag of what appears to be dirt) HODGINS: Looks organic. Definitely decomposing. CAM: Victim's preliminary tox screen came back negative. No drugs. HODGINS: That's too bad. CAM: Why? HODGINS: Because drugs would explain the writings I found inside Graham's backpack. I'm cleaning them and taking mud samples, but I think Booth should show them to a profiler. They're handwritten, scrawled. So far all I can make out is: "Maggie came to me again, calling me". And last but not least, "They will scream for air, but their lungs will fill with blood." CAM: I'll - redo the tox screen. BRENNAN: I may be alone in this, but I think one of us should remain a rational human being during this investigation. (goes back to examining the remains) Got it. Comminuted fracture to the ulna, professionally set. ZACK: From the degree of callous formation, that's a childhood injury. BRENNAN: One that could give us the ID we want. I'll call Booth. Tell him to contact next of kin. Zack, place some garlic around the remains and chant the Hmong ritual for preservation of souls. ZACK: Really? BRENNAN: (shakes her head in disbelief) This is going to be a long case. (Cut to: FBI - Booth's Office. Booth and Brennan are meeting with Will Hastings - Graham's brother. Brennan is looking at xrays) WILL: Graham broke his arm - sliding into second base. Um, he was - 8. BRENNAN: It's a match. I'm very sorry. WILL: Thanks. I - can't say that I'm surprised. He, um - he was missing for a year, but still, when you hear....It was just us, you know. My parents died in a car accident, I was 18, he was 13 and, uh- When something like that happen, when you lose your parents at that age, it's just people don't understand how close you become. BRENNAN: I lost mine when I was 15. It was just - me and my brother, too. He was 19. WILL: Sorry. BRENNAN: Did Graham live with relatives or did he go into foster care? WILL: God no, I would never let him go into the system. I, uh - I dropped out of college, I joined the f*re department to support him. Your brother didn't- BRENNAN: It was a difficult situation for him. WILL: I understand. I mean, you know, seems like you turned out okay, though. BOOTH: Do you know who Graham was with the night he disappeared? WILL: Yeah. A couple of film students from school. There was a guy and a girl. I tried to get the guy, Brian, his name was, to help with the search, but he-he was too freaked to go back into the woods. I mean, I've never seen someone so scared. BRENNAN: So you were involved with the search? WILL: I've led a lot of Search and Rescue operations as a firefighter. Um, I should have found him. BRENNAN: It's not your fault. WILL: I should have locked him in his damn room. I mean, everyone knows weird things happen in those woods. (Cut to: Medico Legal Lab - Zack's Office)ZACK: The chatter marks mean the vertebrae weren't split in one blow. CAM: Makes sense. Hacking off someone's head is more like cutting down a small tree than splitting a log. ZACK: I find your imagery both colorful and accurate. CAM: Thank you. Let me know when you've narrowed down the w*apon category. ZACK: Dr. Saroyan? When you say your mother visited you? CAM: She appeared. In my room. It was early evening. ZACK: And you were frightened? CAM: No, I felt - loved. ZACK: Dr. Brennan says that's impossible. CAM: What do you think? ZACK: I think it would be wonderful if it were possible. (Hodgins enters) HODGINS: I found rust flakes on the neck that were from hand forged iron. CAM: 18th century. HODGINS: You got it. (Zack chops into a wood block using a machete) CAM: My God. A little warning, Zack. ZACK: I don't usually announce each phase of my experiments. CAM: Yeah. Maybe you should start. HODGINS: Nice follow-through, dude. ZACK: It doesn't look like it was a machete. (Zack chops into a wood block using an axe. Hodgins picks up a long sword.) HODGINS: Dibs on the next w*apon. CAM: Looks like you have this under control. (she leaves) (Cut to: Booths' Car - Brennan is looking out the window while Booth is talking.)BOOTH: Graham had a fellowship with the school. It was a free ride worth about 30 grand a year. Brian, the other kid - you know, from the woods? He applied for it and lost out to Graham. After Graham disappeared, the fellowship went to Brian. Hm. Did you hear me? BRENNAN: Yeah. Doesn't look good for Brian Andrews. BOOTH: You okay? BRENNAN: I - I wonder what my life would have been like if Russ had raised me. BOOTH: Well, you know, since he was a petty thief - you know, in and out of jail all the time - I'd - I'd imagine it wouldn't have been very good. BRENNAN: If he'd accepted responsibility for raising me - I'm romanticizing. It's foolish. BOOTH: Everyone does it, Bones, okay? It's normal. BRENNAN: It's a useless fantasy, no different than the childish legend about the headless woman. I mean, look at Will. He sacrificed everything for his brother and still couldn't save him. By walking out, maybe Russ gave me my life. BOOTH: But you know what Will said, he was right. You turned out okay. BRENNAN: I'm going to have coffee with him. BOOTH: Mmm. That was quick. BRENNAN: He understands something no one else I know does. People need connection, Booth. Even me. Obviously, you have one with Cam. So- BOOTH: What? BRENNAN: I thought you'd mention it. I mean, isn't that what partners do? Tell each other about their lives? BOOTH: Wait a second. Look, Bones, I- BRENNAN: Sorry. I'm sorry. I forgot how self-conscious you are talking about sex. BOOTH: I am not- I'm- (Booth is speechless) (Cut to: University Campus - Editing Room. Booth is Questioning Brian)BRIAN: Graham was kind of the star at school so we all wanted to work with him. BOOTH: And he thought the legend was true. BRIAN: Said that Maggie Cinders was talking to him in his dreams. She told him where her head was buried. BOOTH: And you believed him, too? BRIAN: Not at first. When we were out there in the woods- stuff like that doesn't happen. BOOTH: What kind of stuff? BRIAN: Chopping sounds. There were these eyes hanging on all of the trees. Something was moving out there that wasn't us. Look, I know what you're thinking, but you weren't out there. Okay, Lori, she freaked. She took off into nowhere. And that's when we all got separated. BOOTH: Okay look, the police report said that you brought Lori out of the woods. BRIAN: When I found Lori, she was just curled up on the ground, shaking. BOOTH: So you took her out of the woods, but you left Graham? BRIAN: I thought he had left us. Okay, you don't get it what it was like out there. BOOTH: His brother asked you to go on the search with him but you didn't go. Why didn't you go? BRIAN: I'm not proud of myself, okay? But I just couldn't go back out there. I couldn't. BOOTH: Uh, Lori seemed to have disappeared from school. You wouldn't happen to know where we could find her? BRIAN: I haven't seen her since that night. The last I heard, she checked back into the psych ward. (Cut to: Psychiatric Hospital - Courtyard. Booth is sitting with Lori Mueller)LORI: I checked back in because I couldn't sleep. I haven't slept for days. BOOTH: Thanks for meeting with me, Lori. LORI: Sure. There's not much else to do in here. BOOTH: Hey, do you mind if I ask you what happened that night in the woods? LORI: I've told the police everything. But Graham is the only one that can make things right. He just got a little lost in there but when he gets back, he's going to make sure that I'm safe again. BOOTH: Graham. He promised to take care of you? LORI: Well, sure. He's my boyfriend. He doesn't want anything to happen to me. BOOTH: Your boyfriend? LORI: (whispering) We keep it a secret. Other girls get jealous. Everyone loves Graham. Did - did you go into the woods? Is that why you're here? BOOTH: Yeah. LORI: You found Graham? He said he was going to talk to Maggie. Is that where you found him? BOOTH: He wasn't with Maggie. LORI: Oh, no. No, no, no, no, no....(she starts to get upset) BOOTH: Lori? Lori, calm down. LORI: She k*lled him! BOOTH: Sorry, Lori. We need to know what happened. LORI: That's what happened. BOOTH: We need to know what happened to him. LORI: Did she take his head? Oh God, no! The blood! I- I called for help, but Brian wasn't there! (Orderly arrives to restrain Lori) ORDERLY: Alright, relax. Relax, Lori. You're safe. LORI: (hysterical)There was so. Much. blood! I tried to run! Graham! Graham, she's coming! Run, Graham! Graham! ACT TWO (Cut to: Medico Legal Lab - Booth & Brennan are walking down a hallway) BOOTH: She freaked, Bones. It was like she was out there in the woods with that witch. BRENNAN: Don't let anyone else hear you talking like that, Booth. BOOTH: I'm just saying. You know, I've seen a lot of weird things. It was, like, you know Exorcist weird or Elm Street weird. BRENNAN: What are you talking about now? ( they start up the stairs to enter the platform) BOOTH: They're movies. Okay, Bones? Movies so scary that you know, pee in your pants. BRENNAN: Good to know. ZACK: I - I noticed some damage to the subdeltoid bursa. Looks like the subscapularis was torn away. BRENNAN: They're fracture lines. This was a postmortem trauma. BOOTH: Meaning what? BRENNAN: The victim's shoulder was dislocated just after his death. ZACK: The injury doesn't fit into our established scenario of the struggle. BRENNAN: These marks, near the vertebrocostal junction, there's massive hinge fracturing. Zack, lie down on the ground. ZACK: Face up or face down? BRENNAN: Face up. BOOTH: This should be good. BRENNAN: And give me your right arm. Okay. (she starts to drag him) If Graham Hastings was dragged to the pit by this arm in this direction, the trauma to the back of his ribs would result in hinging. ZACK: And the exposed wound where the head was severed would have been collecting particulates along the way. BRENNAN: (helping Zack back up) Tell Hodgins we might have enough for him to determine where the victim was beheaded. BOOTH: Oh, yeah! Double yeah. I'm waiting to hear from the psych ward to see if we can talk to Lori again. BRENNAN: Well, I'll ask Will what type of relationship Graham and Lori really had when I have coffee with him. BOOTH: Whoa. Wait a second. You know, we're investigating his brother's death. I mean, don't you think that can get a little messy? BRENNAN: I can compartmentalize. Same as you. (Cam enters) BOOTH: Mm. CAM: The blood on those talisman things hanging from the trees? Not human. Brennan (turns to leave): I'll be back soon. (Cut to: Resturant. Brennan and Will are sat outside, having coffee.)WILL: I just want to thank you for everything you're doing to find out what happened to Graham. BRENNAN: Is that why you called? To thank me for doing my job? WILL: That and, uh- I didn't think you'd come, so I guess I'm a little nervous (he takes a sip of coffee). BRENNAN: Caffeine affects the adenosine receptors in the brain. It causes increased heart rate, so- WILL: There are other causes. BRENNAN: My partner warned me to stay focused on the case, so- WILL: If you've got questions, that's cool. BRENNAN: Okay, um, what kind of music do you like? WILL: (laughs) That's a good question. Um- Snow Patrol. And Leonard Cohen, I like Leonard Cohen. BRENNAN: Gravel voice, but somehow it's soothing. WILL: Yeah, I wonder why that is. BRENNAN: There's actually no empirical way of assessing something like - that. But you didn't mean that literally, did you? (They smile) WILL: Uh-uh. BRENNAN: I'm sorry. My - my social skills are very limited. WILL: Trust me. They're fine. BRENNAN: You know, it took a long time for me to understand how my brother could leave and now it's just as odd to meet someone who stayed. WILL: I thought about leaving all the time. I mean, I was a kid. I didn't know how to be a parent. I guess it was my fault that his head got so big, and he was bossing people around like he was already Steven Spielberg. BRENNAN: Graham couldn't have been all bad. I mean, my partner says that Lori seemed to love him. WILL: Poor kid. I liked her. She deserved better. BRENNAN: Graham didn't treat her well? WILL: No. He juggled a lot of girls. I don't know how he did it, but no one ever found out about each other. BRENNAN: So he cheated on her? WILL: Doesn't run in the family, by the way. BRENNAN: I have to get back to work. (she gets up to leave) WILL: Did I say something? Brennan: Maybe. WILL: If I've offended you in any way, I'm sorry. BRENNAN: (she stops and turns back towards Will) Do you like Massive att*ck? WILL: I don't know Massive att*ck. BRENNAN: Very impressive integration of radical politics into their music. I'll play them for you next time. (Cut to: Medico Legal Lab - Angela's Office. She's blasting music while watching the video - Hodgins enters and touches her shoulder. She screams.) HODGINS: (talking loudly over the music) I know where Graham Hastings was m*rder. (Angela turns off the music) ANGELA: Are you trying to k*ll me? HODGINS: What's with the music? ANGELA: It helps muffle the screams so I don't pass out every few seconds. HODGINS: Smart. We have to go through all the video again. Hastings was k*lled in a patch of eastern hemlocks like this. They grow in clusters throughout the forest. We have to spot the cluster Graham and the others were near. ANGELA: Wait. We have to go through all the video again? HODGINS: Don't worry. I'm right here for you. (They start to watch the video) GRAHAM: There is no way that this is natural. I mean, it's like - it's like, she left this here for us. Like, like a guide or something, you know? LORI: Make it stop. GRAHAM: Lori. Lori. (Lori starts to freak out) LORI: Make - Make it stop! BRIAN:Graham, there's something seriously wrong with Lori, okay? We should go back. (We see Brian) GRAHAM: No, this is a - (Lori screams) LORI: No! No! BRIAN:What is this? (Angela grabs Hodgins hand) LORI: Make it go away! Make it stop! Noooo. BRIAN:Come on! Let's go! (There are chopping sounds and we see blood running down a tree trunk.) LORI: No, Graham! No! (Cut to: Medico-Legal-Lab - Brennan is examing Graham's bones in a different room. Booth is with her)BRENNAN: Lori was not Graham's only girlfriend. He had lots of girlfriends, but he somehow managed to keep them secret from each other. BOOTH: So what would happen if a very jealous Lori found out? BRENNAN: I don't know. That's, that's more your territory. BOOTH: What? What? What, am I cheating? Brennan (smiles): I just meant that you use psychology. You're very touchy. Perhaps because of all your skulking around. BOOTH: I am discreet, okay? It's different. A gentleman is discreet, okay? (We realize that Zack has been in the room the whole time, between Booth and Brennan) ZACK: What are we talking about? Booth (to Zack): Nothing that concerns you. ZACK: But I'm quite literally in the middle of the conversation and it seems very interesting. (Booth glares at him) However, your glaring indicates that I shouldn't press for further information. BOOTH: Mm-hmm. Good genius, yeah. So, Lori loves Graham. He thinks he loves her but finds out that he doesn't, so she goes all O.J. on him. Ah, that's a perfect cover, right? "Headless witch did it, not me." The whole insanity thing might be an act. ZACK: But the victim sustained extensive defensive wounds. This was a very powerful attacker. BOOTH: Oh, you know, when a woman finds out that a man has been cheating on her, she can get pretty mad. (Brennan and Zack look at Booth) BOOTH: That's what I heard. Okay, look, we got motive and opportunity, It fits. BRENNAN: No, it doesn't fit. Graham Hastings was 5' 10" and 176 pounds. Lori is 120, tops. The injuries aren't consistent with a woman Lori Mueller's size. (Cam enters) CAM: Of course, people on PCP have been known to exhibit extraordinary strength. BOOTH: PCP? Who was on PCP? CAM: Hodgins' report on the organic matter from the baggy found at the scene showed that it contained psilocybe mushrooms injected with phencyclidine. BOOTH: Whoa, what a trip. ZACK: Well, if Lori ingested those it's possible she could've caused Graham's injuries. CAM: Not to mention, combining dissociative anesthetics with hallucinogenic compounds- can have a devastating effect on people with fragile brain chemistry. BRENNAN: So her mental condition is probably genuine. BOOTH: You know what, I'm going to go talk to my good old buddy Brian, see if he knows anything about the Magical Mystery Tour that Lori might've been on that night. (Cut to: University Campus - Editing Room. Brian and his film professor, Nate Gibbons, are sitting and editing a film) BOOTH: Hey, Brian. BRIAN: Hey, Agent Booth. This is Nate Gibbons, my film teacher. (To Gibbons) This is Agent Booth, I told you about. NATE: Hello. BOOTH: Hi. (They shake hands) NATE: You're here about Graham Hastings. BOOTH: Yeah. Was he, uh, one of your students? NATE: Yes. He was an incredibly gifted kid. What happened out there was horrible. BOOTH: Mm. BRIAN: What are you doing here again? BOOTH: You want to find out what happened to Graham, don't you? BRIAN: Of course. BOOTH: Yeah. So what were we watching? That's pretty cool. BRIAN: Nothing, really. It's this film I'm doing for, uh, my degree. NATE: Brian's being modest. He wrote and directed an amazing modern take on the Gilgamesh story. BRIAN: Uh, Nate produced it. I got it accepted into Sundance. BOOTH: Oh, congratulations. (to Nate) If you don't mind, I'd like to talk to Brian alone. NATE: Sure. We'll finish up later. BRIAN: Alright. NATE: Call me if you need anything. BOOTH: Mhm. (Gibbons exits) BOOTH: Brian. Listen, we have evidence suggesting that, um, Lori was taking drugs that night in the woods. BRIAN: No. Those woods are too thick. We knew that we had to keep our heads on straight. BOOTH: So as far as you know, Lori Mueller wasn't under the influence of any hallucinogens. BRIAN: No- BOOTH: When she was with Graham, was she violent? BRIAN: No way. BOOTH: Did you know that Graham was cheating on her? BRIAN: Man, that was none of my business. Sure, Graham was a hound and everyone knew it. BOOTH: Maybe Lori found out, got angry with Graham. BRIAN: No, okay? There's no way, it wasn't her, okay? Whacked out or not, it wasn't her. There was something else out there that night. (Cut to: Medico Legal Lab - Angela's Office. Angela and Hodgins are rewatching the video footage. Lori and Brian walking through the forest) LORI: Where are we going? I can't see. BRIAN: Don't worry, just stay close. (Angela closes her eyes and leans against Hodgins shoulder) LORI: What is- HODGINS: You're supposed to be looking for eastern hemlock. It's much more effective with your eyes open. ANGELA: I just know what's going to happen here, okay? This is where they freak out because they hear the witch. (On the video, there is a chopping sounds and Lori screams.) ANGELA: Wait. There. (they pause the video on Lori in front of a tree) Did you see that? HODGINS: Yeah. But where are they? Go, go forward. Stop. (They stop on a tree.) Dense crown, fine branches, scaly bark and wide ridges. Those are eastern hemlocks. Love your eyes. Now we need a landmark. (They got back to watching the video) BRIAN:You have to be quiet, okay? There's something out here. LORI: No! NO! HODGINS: Wait a minute, wait a minute. (they stop the video on Lori's watch) 2:37 a. m. ANGELA: So? HODGINS: We have a date plus an exact time. I - I can estimate the position of the moon from shadowing patterns on the forest floor. We should be able to get the approximate latitude and longitude. (They got back to watching the video) BRIAN:Graham, leave the camera! GRAHAM: Run, Lori! (Lori screams) HODGINS: Let's just work out the coordinates. ANGELA: Yeah. (Open: George Washington National Forest. Brennan and Booth are back at the crime scene in the woods with the Ranger.) RANGER EDISON: The axe was found buried over there. BRENNAN: Dried blood on the trunk. (Brennan shines a black light on the tree trunk) BOOTH: Whoa. Make that a lot of dried blood on the trunk. BRENNAN: Someone should do a scraping here. Where'd you find the skull? RANGER EDISON: Buried just behind those bushes. But there's something else. (The Ranger brings them to another area) BOOTH: Second skull. RANGER EDISON: I'm afraid so. BRENNAN: Are there any other outstanding cases in the area? BOOTH: No. There aren't. ACT THREE (Cut to: Medico-Legal-Lab - Forensics Platform) BRENNAN: Based on bony architecture this skull's consistent with that of Graham Hastings. CAM: I'll confirm with the blood from the axe. HODGINS: And the other skull? ZACK: Female. Mid-30s at the time of death - which was between the mid-18th and mid-19th centuries. HODGINS: This axe handle is birch. Betula Uber. Same extinct species as the wood fragments we found in the bone. ANGELA: Almost done with her face. BRENNAN: Why are you spending time on that? It won't help the case. HODGINS: Come on. Let the kids have some fun, Mom. ZACK: Both skulls have depressed fractures on the parietal bones. They could've been k*lled with a blow to the head before they were decapitated. BRENNAN: In Graham's case, yes, but on the female skull - there's evidence of new growth what looks like - this person underwent trepanation. ZACK: An antiquated form of brain surgery. HODGINS: Practiced in the 1700s on those suspected of witchcraft. CAM: Do you think that skull is your Maggie Cinders? HODGINS: Of course not. I mean, there's no way to know, right? I'm just saying. It's interesting. (Cut to: Medico Legal Lab - Brennan's Office. She's taking a book off the shelf as Booth enters)BOOTH: Hey, Bones? You know those papers that Hodgins found in Graham Hastings backpack? BRENNAN: His hallucinogenic ramblings? BOOTH: Mhm. You got it. They were written on the back of the pages from his screenplay. BRENNAN: I don't see the significance. Graham was a film student, of course he wrote screenplays. BOOTH: Yeah, but this was a modern-day take on the Gilgamesh story. The same story that Brian Andrews is using for his film. BRENNAN: He stole Graham's screenplay. (Cut to: FBI - Interrogation Room. Booth & Brennan are questioning Brian Andrews. Booth lays out the pages that they found on the table) BOOTH: Look familiar? BRIAN: Where - where'd you find these? BRENNAN: Graham Hasting's backpack. Near his m*rder body. BOOTH: Care to explain why, uh, a movie that's about to make it to Sundance sounds a lot like the screenplay that your d*ad buddy wrote? BRIAN: Look, I know what you're thinking. BOOTH: Oh, really? Because what I think is that you k*lled him. BRIAN: No. BOOTH: I think that you're the one who drugged Lori, so she wouldn't know what the hell was going on that night. BRIAN: No, I didn't. Look, I know that this may look similar, but this is mine. BOOTH: Really? Because you know we found an e-mail on Graham's computer, sending you a complete first version draft to you. BRENNAN: He wanted you to read it. Get your thoughts. BOOTH: So. What'd you think? BRIAN: I thought - I thought that it was better than anything I could ever write. So, yeah, you know, after Graham was missing a few months, Nate thought it would be safe to pass off as our own, but I didn't k*ll Graham. BOOTH: Anything else you forget to mention, Brian? Oh, come on, Brian. You love the movies, right? So, this is the time where the innocent guy comes clean or the guilty guy asks for a lawyer. Okay, so which movie is this going to be? BRIAN: That night - Lori. When - when I found her, she was covered in blood. It wasn't hers. I was afraid. BRENNAN: You think she k*lled Graham. BRIAN: It wasn't her fault, though. She was nuts, okay? She said that the blood just rained down on her. I wanted to protect her. BRENNAN: So you got rid of the bloody clothing. BRIAN: I hid them. In the woods. They're still out there. BOOTH: Oh, Okay, great. You can take us there. BRIAN: No! Look, I'll tell you what I remember, but I'm never going out there again. You can lock me up for the rest of my life. I'm never going back out there. (Cut to: Booth's Car. Booth and Brennan are both on their cell phones) BOOTH: (into the phone) The kid said he hid her clothes in a hollow log near a stream. BRENNAN: (into the phone) Thanks. (she hangs up the phone then to Booth) Angela looked at the video again. Tell the forensic team to fan out across the area south-southwest of the cabin ruins. BOOTH: Did you hear that, Lou? Yeah, south-southwest. Yeah, I know it gets cold when the sun goes down, Lou. Well, you should've brought your blankie. Alright, just call me when you find her clothes. (he hangs up the phone.) Man. (Booth sighs and realizes that Brennan is staring at him.) What? He was being a baby. BRENNAN: I didn't say anything. BOOTH: But you're looking at me like - I'm in trouble and you're a teacher. BRENNAN: You're very touchy lately, Booth. BOOTH: Look, Bones. I don't know why I didn't tell you about Cam. BRENNAN: Did I mention Cam? BOOTH: I just didn't want it to get weird, I guess. BRENNAN: Weird? BOOTH: We're partners, you know? Together all the time, right? You're a woman and I'm a man and I never had a relationship like this where we were - like two guys, except you're not - ya know - a guy. Yeah. BRENNAN: No. No, I'm not. Should I feel odd about - wanting to hang out with Will? BOOTH: No, of course not. You know, because essentially - I mean - you're a guy like me. But not really. BRENNAN: That would mean that, to me, you are essentially a woman. (she pauses a second to ponder this) Yeah, I can see that. BOOTH: No, no, no. I'd - I'd prefer not to be a woman, if you don't mind. BRENNAN: I'm merely trying to follow your reasoning, Booth. BOOTH: Okay, fine. What do you say we just, you know, we'll drop it for now (He picks up his ringing cell phone then into the phone.) Yeah, it's Booth. (he listens. Then a b*at later, to Brennan.) They found the clothes. BRENNAN: That was fast. BOOTH: Yeah, well, good work, Lou. All right, now you can come home before all the monsters get you. I- (he looks at his phones) Hung up on me. I thought it was funny. (Cut to: Medico Legal Lab - Autopsy Bay) CAM: The blood from the axe was from Graham Hastings. BOOTH: Okay, well, is the blood on Lori Mueller's clothes a match? CAM: Nope. BRENNAN: Then there's another victim out there? CAM: Yes and she's probably named Bessie. BOOTH: Bessie? CAM: It's cow's blood. The hormones and antibiotics confirm that it's from a butcher shop. (Zack enters carrying the skull) ZACK: Dr.Brennan. The witch's skull was cut with a Stryker saw. BOOTH: Wait. Don't you use those in your autopsies? ZACK: They're also used in teaching institutions. I found a faded serial number behind the occipital condyle. It's from the University. BRENNAN: So the skull was stolen from the medical school. BOOTH: Someone set up one hell of a horror show to k*ll Graham Hastings. ACT FOUR (Cut to: FBI - Booth, Brennan and Nate Gibbons enter the interrogation room) BOOTH: Have a seat.NATE: I'll help in any way I can, but I do have a class starting in 45 minutes. BOOTH: Yeah, well, you know, it's film class. You know what? Have them watch Wedding Crashers. NATE: I can assure you, Agent Booth, that film class is a lot more than watching movies. BRENNAN: Were you aware that the medical school at the university has an anatomical specimen collection? NATE: I don't even know what that means. This is about Graham, right? BRENNAN: The research collection can only be accessed by a faculty member with a key card. BOOTH: Yours was recorded entering the building last November 7. Three days before Graham Hastings disappeared. You often go into a medical school at 2:43 in the morning? NATE: I reported my key card missing last November. I'm sure you'll find a record of that. BOOTH: Yeah. It's convenient. BRENNAN: Very convenient. NATE: Are you accusing me of something? BOOTH: Someone stole a skull. Planted it in the woods along with, uh, animal bones, blood, weird amulets. BRENNAN: Tricking people into believing that Graham was m*rder by a ghost. NATE: Okay, but why? Why would I possibly want to do something like that? BOOTH: Ride his coattails, ya know. Escape the faculty ghetto. BRENNAN: He shut you out. BOOTH: And maybe you were feeling just a little bitter about that, huh, teach? NATE: I'm entitled to an attorney, aren't I? (Cut to: Medico Legal Lab - Booth and Brennan are entering the building)BOOTH: Okay, maybe it was Graham who stole the skull himself. BRENNAN: Are you suggesting it was some convoluted su1c1de scheme? He chopped off his own head? BOOTH: No. Right? Look, I'm just saying, things, they got out of hand, right? He wanted to make it-look like a documentary, right? As scary as possible. So,he sets everything up, right? He gets Nate to help him out that night, but Nate sees an opportunity. No one knows he's out there and before you know, it's chop chop and I'm going to Hollywood. ANGELA: I found someone else in the woods. (Cut to: Medico Legal Lab - Angela's Office. Booth, Brennan and Angela enter. Hodgins is sitting, waiting for them) ANGELA: At least, I think it's a person. BRENNAN: Have you finished with the particulates from the axe handle? HODGINS: I've determined that the assailant was wearing rough-hewn leather gloves, but I still have to check- BOOTH: Then, uh, why are you in here? ANGELA: Because I want him here. Okay. Look. I ran it through a mass-recognition program (she points to a shadow on the screen) That's Graham. And that is our mystery guest (She points to a shadow talking to Graham.) BRENNAN: It's not Brian? ANGELA: No. Different height and weight. This person is about six-one. As you can see, that includes a head. HODGINS: So, it's definitely not Maggie. BOOTH: Nate Gibbons is about six-one. BRENNAN: I'll ask Will if he can tell us anything about Graham and his teacher. Maybe he thr*at Graham? (Brennan exits, Booth turns to watch her go) (Cut to: Restaurant. Brennan and Will are having dinner) WILL: His professor? BRENNAN: Did Graham tell you anything about his relationship with him? WILL: Yeah, he said the guy wanted to help produce his film, but Graham said he wanted to do it on his own. BRENNAN: His professor is producing his film. Brian stole Graham's screenplay. He and the professor are making it. WILL: The teacher k*lled Graham for a script? BRENNAN: Make his career. Brian's, too. I've seen people m*rder for a lot less. Uh, it's not certain yet. We're just looking for evidence that links one or two of them to the remains. WILL: With all this going on, when I'm with you - I feel like everything's gonna be okay. BRENNAN: I'd like to see the world the way you do. WILL: Then you would be looking at a very beautiful woman. (They both smile, then Will leans in and they kiss.) (Cut to: Medico Legal Lab - Autopsy Room) CAM: Preliminary tests show only one type of DNA on the axe, but now the follow-up tests are showing two. ZACK: Something wrong with our electrophoresis machine? CAM: No. I double-checked it. BOOTH: Uh, so this means you got the k*ller's DNA. CAM: Right. Attacker must have been cut by Graham during the struggle. I'm trying to separate out the two types of DNA, but it's hard. BOOTH: That's easy. I'll just get a warrant for a blood sample for Nate Gibbons. (Hodgins enters) HODGINS: The glove fragments on the handle were coated with diammonium phosphate and a guar gum-derivative thickener. BOOTH: You speak English? ZACK: It's a flame-ret*rd. ANGELA: Exactly. Isn't that only used by professional firefighters? BOOTH: Wait, Graham's brother. He's a firefighter. ANGELA: He's also about six-foot-one, right? And, he has a head. CAM: That explains why it looks like there was only one blood source. Siblings share so many of the same chromosomes. BOOTH: Will Hastings k*lled his brother. CAM: That certainly explains my result. BOOTH: Brennan. Wait, she's with him now. (Booth leaves) (Cut to: Resturant. Brennan and Will are still having dinner. Booth enters the restaurant looking for them and when he finally spots them, approaches the table) BRENNAN: ....that's your opinion. I don't think you're the one that should be telling me that - (looks up and sees Booth) Booth. (then, laughing) What are you doing here? BOOTH: (to Brennan) I'm sorry. (to Will) You're under arrest for the m*rder of your brother, Graham Hastings. (Booth sits down at the table) WILL: What? BOOTH: You have the right to remain silent. BRENNAN: What is this, Booth? BOOTH: He did it. Cam found his blood on the axe and Hodgins found chemicals that only a firefighter would have access to. WILL: I didn't k*ll Graham. (Brennan looks at Will, horrified. She realizes that Booth is telling the truth) WILL: We fought, that's all. BRENNAN: You were out there in the woods that night? WILL: Please don't look at me like that. Please. I was just helping my brother. He said the film was going to make him famous. BOOTH: So you got the animal bones, the blood, and you made the chopping sound with the axe. WILL: He wanted me to stay out of sight. But the girl, Lori, he slipped her drugs and she was screaming and I said I wasn't going to help anymore. And I said I wouldn't throw the blood on her, so he did it, and she went crazy and you saw her. Graham did that to her. Brennan (shocked): Will. WILL: I had to stop him. Okay? I can't be responsible for raising a monster like that. BOOTH: So you h*t him with the axe. WILL: He was just lying there, and I was waiting for him to move. And I've never - I never even h*t him before, no matter how difficult he got. BOOTH: And then you chopped off his head and you buried him to make it look like some witch did it. WILL: No. She did it. She did it. Maggie Cinders was out there that night and she made me do it. She told me never to tell anybody. Maggie Cinders made me cut off his head. That's the only way it could happen. You know me. He was my brother. I could never k*ll my own brother. It was her. (Brennan looks at Booth, tears starting to form in her eyes. This is a real horror she can't make sense of) BRENNAN: What are you waiting for, Booth? (Brennan stands up to leave as Booth stands behind Will, ready to arrest him) BOOTH: You have the right to remain silent... WILL: No! BOOTH: Understand me? Anything you say- (Brennan looks at Will one last time before she walks out of the resturant) WILL: No Wait. Wait please. BOOTH: ...will be used against you in a court of law. You have the right to speak to - an attorney. (As she walks off, Booth knows he has to let her go. He watches her as he cuffs Will and finishes reading him his rights.) (Cut to: Medico Legal Lab - Angela's Office. Angela enters the office while Hodgins is sitting on the couch) ANGELA: The FBI needs me to finish cataloging the restored footage. HODGINS: It's cool. I don't have anywhere else to go . ANGELA: You've been great today, Hodgins. (He stands and walks over to her) HODGINS: No, no (Looking at the screen) I haven't seen that piece. ANGELA: Yeah, I was working on it before. I just finished rendering. (They play the videotape) (They watch the video as the image of a ghostly white shadow woman appears on the monitor) ANGELA: Um, uh. Could, could be a reflection. HODGINS: Had to be. Or some moonlight. ANGELA: Yeah. Uh, moonlight sounds right. Can I stay at your place tonight? HODGINS: Sure. No problem. (Cut to: Medico Legal Lab - Brennan's Office. She sits, staring at her computer monitor and leans back in her chair. Booth appears in the doorway.) BRENNAN: I sure know how to pick'em, don't I? BOOTH: Well, you know. Our perceptions are alway colored by what we hope and what we fear, what we love. We do the best we can. BRENNAN: I'm afraid my best isn't good enough. I can read bones, not people. BOOTH: Well, you had no trouble seeing through me. (Brennan smiles then stands goes around to the front of her desk) BRENNAN: It's a good thing I like being alone. BOOTH: You know what? Bones, you're not alone. Okay? Come here. (He places his hand on her back) Brennan (turning to face him): Booth. BOOTH: Hey, you're my partner. Okay? It's a guy hug. Take it. (She hesitates a second before stepping into his embrace. She hugs him tighter and he rubs her back as the scene fades out.) END.

{"type": "series", "show": "Bones", "episode": "02x10 - The Headless Witch in the Woods"}

foreverdreaming

"Judas on a Pole" Episode 2x11 Written By: Hart Hanson Directed by: David Duchovny Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open - roof of a hotel) (A man is sh*t d*ad on the rooftop of a hotel. The sh**t, in a hood, straps the victim to a cross, guts him, and then lights him on f*re. The sh**t leaves him to burn.) (Cut to: Jeffersonian - conference room - Zack is in front of a panel - made up of 5 people including Dr. Temperance Brennan, Professor William Grayson and Professor Constance Wright)) PROFESSOR WILLIAM GRAYSON: Mr. Addy. Your dissertation is entitled "Analysis of Bone Trauma" ZACK: When viewed in cross section, the pressure force excerpted by the w*apon can be assessed. PROFESSOR CONSTANCE WRIGHT: Obtaining the cross section, will compromise the original bone. ZACK: My technique preserves bone surface morphology, through the use of polyvinyl replication. A transparent positive is made by covering the impression with an aqueous solution of synthetic polymer. (Booth barges in the room and heads towards Brennan) BOOTH: Hey, Bones. Come'on. We've got a body, went up like a roman candle. Hey, Zack! How's it going? ZACK: So far, they don't like me. BOOTH: Shocker. Come'on. Let's go. ( he pulls her out of her chair) BRENNAN: What? I'm in the middle of something... BOOTH: Well, ya know, real life m*rder and mutilation versus academic clap trap, no contest. (to Prof. Wright) I'm sorry, no offence. WRIGHT: This committee can carry on without you, Dr. Brennan. BRENNAN: Zack, just answer the questions. BOOTH: Yeah. (Booth drags her out of the room and down the hall, as the review continues) ZACK: Next question? WRIGHT: How do you expect anyone to take you seriously as a working Forensic Anthropologist when you look - the way you do? ZACK: (looks confused) What? (Cut to: Roof of the motel - FBI is at the crime scene along with Booth and Brennan) BRENNAN: Male. Middle - aged. BOOTH: What was with Zack back there. BRENNAN: Defending his dissertation, last step before he gets his Doctorate. (picks up intestines) I think these are what's left of his intestines. BOOTH: Is he gonna make it? BRENNAN: No. He's very d*ad. (she laughs at her own joke) BOOTH: I mean Zack. BRENNAN: Uhh. 50/50. BOOTH: He's a stoolie. BRENNAN: Zack? BOOTH: Our victim. Ya know, he's a rat. Snitch. BRENNAN: What makes you say that. BOOTH: His guts got spilled. Alright, Spill your guts. BRENNAN: Very literal. BOOTH: Yeah. Hang up there like a scarecrow on a rooftop of a hotel used to house witnesses, it's a warning. BRENNAN: Oh look. There's something jammed down his trachea. (Cut to - Jeffersonian - Medico-Legal Lab - Platform) ZACK: I rectified their erroneous assumptions concerning polyvinyl replication. HODGINS: You corrected them? ZACK: Only when they were wrong. (Hodgins laughs) Are the remains ready for x-ray? CAM: Yes. Maybe we'll get lucky and ID the poor bastard that way. HODGINS: Oh, we just got lucky. (shows them a piece of paper with writing on it) ZACK: (reads) "My name is Garrett Delaney" CAM: (looking in the mouth) There's something metallic here. (she pulls out a coin and places it in a dish) This is going to turn out to be some freaky, weird ritualistic thing, isn't it? HODGINS: Oh man, I hope so. ZACK: (looking at the coin) Christopher Colombus. CAM: Where's Dr. Brennan? ZACK: Her brother came for a visit. (Cut to - Brennan's Office) BRENNAN: Dad called you? You sure it was him. RUSS: He said "You and your sister are in danger" and he hung up. BRENNAN: I spend half my time with a sn*per-trained FBI Agent. I feel safe. RUSS: Tempe. I know someone is watching me. BRENNAN: What's your evidence? RUSS: I can feel it on the back of my neck. You spend some time in jail, you develop a sixth sense. BRENNAN: Maybe you should stay with me for a few days. RUSS: No, Tempe. I have work and Ihave , I have Amy and the girls.. BRENNAN: What about your sixth sense? RUSS: Hey! BRENNAN: (laughing) What? RUSS: You can't not believe in something one second and then use it against me in the next. BRENNAN: It's a long drive. You can start fresh tomorrow and I've got (she hold out her keys to him) cold beer in the fridge. (Booth enters) BOOTH: No, Don't drink the Moroccan Beer, it tastes like earwax...how you doing, Russ. RUSS: Okay Booth. (they shake hands) You? Good. BOOTH: Yeah. RUSS: Good. (Brennan tosses Russ her keys, and he leaves) BOOTH: I still make him nervous, don't I? Come'on, let's go. (He goes to pull her out of her chair) BRENNAN: Wha..What? Why do I always feel like you're abducting me! (cut to: Booth's car) BOOTH: Yeah, it turns out our corpse is a former FBI Agent. (Cut to: Garrett Delaney's Apartment - Brennan & Booth are looking around the apartment) BOOTH: Garrett Delaney left the FBI about, uh, 15 years ago. He's now head of security of some big K Street lobbyist. BRENNAN: So why did he end up a human torch? BOOTH: That's what we're here to find out. BRENNAN: His place is much better than yours. Ten times better. BOOTH: I told you, he left public service. He makes, uh, more money that I. So that's all your dad said, huh, "You're in danger" BRENNAN: Yes (Brennan is trying to open a locked door using a credit card) and Russ's sixth sense agrees. BOOTH: (sees that Brennan is trying to open the door - he smiles) What are ya doin'? BRENNAN: I've been practicing some of the black ops stuff you taught me. BOOTH: (he walks towards her) Let me show ya (he laughs) BRENNAN: Every FBI Agent in the country is looking for my father, maybe he's trying to scare us off. BOOTH: Six months without a break in the case, he ain't gonna be nervous...let me show ya... BRENNAN: Ya know. My dad's a career criminal. Just because he says Russ is in danger, doesn't mean it's the truth. BOOTH: (takes the credit card of of Brennan's hand) Let me show you how it's done, okay...(he kicks the door open) (They enter the room to find a wall full of surveillance photos of Russ) BOOTH: Oh. He might have gotten it right this time. BRENNAN: Russ. These are all pictures of Russ. (Opening Credits) ACT I (Cut to: FBI Headquarters - Conference Room - Brennan, Booth & Russ) RUSS: Me at work. Me and Amy. This is the day before yesterday. Dad was right. Someone's watching. BOOTH: This is worse than watching. BRENNAN: What do you mean? BOOTH: This is hunting. RUSS: Hunting. BOOTH: As in k*ll. You see these (points to pictures) right here. These are ranges. He's picking out a spot from which to sh**t at you. RUSS: So what do I do now? BRENNAN: The hunter's d*ad. The hunt is over, right? BOOTH: Anyone else know you're here? RUSS: Only Amy. BOOTH: Great. You call Amy and tell her if anyone calls looking for you, she doesn't know where you're at. BRENNAN: You should stay with me until we find out why Delaney intended to k*ll you. RUSS: How are you going to do that? BOOTH: By figuring out who k*lled him. (Cut to - Jeffersonian - Medico-Legal Lab - Angela's Office) ANGELA: This is the paper that was pulled from Delaney's throat. It was dated, signed and initialed on both sides of the page. February 1978. HODGINS: It looks like a cop's notebook. ANGELA: That makes sense, except (she reads from the scans) "I will not put an innocent man in prison just because he is a political thr*at. Marvin Beckett hasn't broken any law." HODGINS: Oh. Whoa, whoa, whoa. Marvin Beckett? Back in the 60's, Marvin Beckett was a civil rights activist. He made his bones protesting African American over-representation in the Vietnam w*r. '78 he was sent to prison for life. ANGELA: Why? HODGINS: He k*lled an FBI Agent named Gus Harper. ANGELA: Wait. Augustus Harper? HODGINS: Yeah. You know the case? ANGELA: August Harp (she reads off the paper) Look. Augustus Harper. HODGINS: Oh wow. This means Delaney's m*rder has something to do with Marvin Beckett going to prison. Oh, when you're good, you're very, very good. (Cut to - Jeffersonian - Medico-Legal Lab - Hallway) HODGINS: 1970's. Ohio. There's a task force made up of FBI, state police and local cops. It goes bad. Starts taking a cut from the same bank robbers they're supposed to be catching. Well, then they conspire to plant a stack of stolen money on Marvin Beckett. Well, then this young Agent, right, Harper, okay. He decides he can't live with that and decides to blow the whistle. (As Hodgins explains he keeps pointing at the papers, while Booth continuously swats his hand away) BOOTH: I can read. HODGINS: The same guy who was gonna blow the whistle on them for framing Marvin Beckett, then gets m*rder by Marvin Beckett? Come on. Talk about k*lling two birds with one stone. BOOTH: Great. Who else knows about this? HODGINS: Us and you. That's it. BOOTH: Let's keep it that way. HODGINS: I've seen this movie. I get k*lled on the way home. BOOTH: Then don't go home. HODGINS: You serious? (Cut to - Jeffersonian - Medico-Legal Lab - Conference room - Brennan, Booth & Barbara Harper) BARBARA HARPER: 30 years ago, I was married to Gus Harper for exactly 8months. I'm not sure I can help you. BOOTH: What about the contents of the note? BARBARA: What do you people want? BRENNAN: The truth. BARBARA: The last time the FBI came to talk to me, they told me to keep my mouth shut or 'you won't get your husband's death benefits' BOOTH: You're husband's a good man, and he tried to do the right thing and he ended up d*ad. I can't let that stand. BARBARA: The FBI m*rder Gus. Then they had a state funeral for him, complete with the grieving widow as the centerpiece. BRENNAN: (shows Barbara a page from the notebook) Is this your husbands handwriting? BARBARA: Yes. He was compiling evidence. BOOTH: And there's more? BARBARA: There was a diary, a dozen audio tapes, field notes... BOOTH: Where did Gus keep it? BARBARA: Safety deposit box. BOOTH: Can you tell us where that uh, safety deposit box was? BARBARA: Ohio First Savings and Loan in Dayton. (Brennan and Booth exchange glances - they both have a realization and Brennan leaves the room - Booth goes to follow her) BOOTH: (to Barbara) Excuse me one moment. (he follows Brennan outside the conference room) BRENNAN: My parents robbed that exact bank just days after Gus Harper was k*lled. They were looking for that evidence. That has to be why Delaney was stalking Russ. BOOTH: Go home. I have a few more questions for Barbara Harper, Okay. You go home and you be with your brother, alright? BRENNAN: Okay. (to self) Okay. (Cut to - Jeffersonian - Medico-Legal Lab - Zack's Office) ANGELA: (shows a photograph to Zack) You think it's Delaney? ZACK: Definitely. I hope to keep working here when I receive my Doctorate. ANGELA: We'd all like that. ZACK: What did she mean when she said "How do you expect anyone to take you seriously?" ANGELA: It's a comment on - your deportment. ZACK: Dr. Brennan doesn't care about deportment... ANGELA: That's true, but if you work here, you won't be Brennan's grad student anymore. You'll be a full blown Forensic Anthropologist. Cam, will be your boss. ZACK: In your opinion, does deportment matter to Cam? ANGELA: Let's just say that Cam's not the kind of woman you catch with crusties in the corner of her eye. (Cut to - Brennan's apartment) RUSS: (holding photographs of two young girls) Hayley's 6 and Emma's 8. (Brennan doesn't seem to be paying much attention) RUSS: Tempe. BRENNAN: I'm sorry. Preoccupied. RUSS: If I play my cards right, these little girls are gonna be your nieces in the next couple of months, the least you can do is memorize their names. (Brennan picks up the pictures and looks at them) BRENNAN: They're cute. RUSS: Hayley has lung trouble. They're trying to figure it out. You ever deal with an HMO? BRENNAN: If it's money, Russ, I can help. RUSS: No. Forget it. If I'm gonna become these little girls daddy, I gotta man up for the job. (There's a knock at the door - Brennan gets up to get it) BRENNAN: That's not rational. RUSS: I'm a good mechanic. I'll take care of my own. (Brennan opens the door and in walks Booth) BOOTH: (holding file folders) Gus Harper's - service history. 'kay. Graduated top half of his class at Quantico. He was assigned the joint State/Federal Bank Robbery Task Force. Right there. BRENNAN: The victim. BOOTH: Back when he was Special Agent Delaney, supervising Gus Harper. RUSS: The guy that was hunting me. BOOTH: That's right. Okay, here's a list of the bank robber's with their FBI code names. (he hands a list to Brennan) BRENNAN: Dad's code name was Columbus. BOOTH: (throws down a picture after each name) You got Lewis, Clark, Magellan, Cook, Columbus. BRENNAN: All named after explorers. RUSS: (points to 2 photos) That's Mom and Dad. BOOTH: Everyone of these people are deceased... BRENNAN: Except for Dad. BOOTH: Delaney was k*lled (holds up coin) to send a message to the FBI. This Columbus coin was found in the victim's mouth. BRENNAN: Columbus - sh*t a man in the head, hung him from a pole, gutted him and set him on f*re. And Columbus - is our father. ACT II (Cut to - Brennan's apartment) RUSS: Dad had it under control. I mean, for 15 years, everything was fine - until.. BRENNAN: Until what? RUSS: Dad left you a message, he said stop looking. You didn't. BRENNAN: Uh. So this is my fault? RUSS: Well, consequences aren't the same as fault. My parole officer if very philosophical. BRENNAN: Well, all we have is a voice tape of Dad saying "Back Off" and a little silver dolphin that I found at Mom's grave. That's as far as the investigation has gone. RUSS: According to Booth. BRENNAN: What? Booth and I are partners. RUSS: Tempe. He's FBI. You aren't. You're the daughter of a career criminal and the sister of a loser on parole. BRENNAN: What? I wouldn't let anyone else call you a loser, Russ. What makes you think you're allowed? RUSS: I love you too. (Cut to - Royal Diner - AUSA Caroline Julian and Booth) CAROLINE JULIA: What you're asking is the kinda thing that destroys careers. From the time I was a little girl, I dreamed of putting bad men in jail (Booth steals a donut hole) Put that back - which is why I became an Assistant United States Attorney. BOOTH: Okay, look, you don't have to help me.. CAROLINE: Of course I have to help you. Marvin Beckett is still a hero to a lot of African Americans. Some of us never believed he k*lled this FBI boy. Now you buy me breakfast, tell me you found a way to clear his name, release him out of wrongful incarceration after 30 years? I can not walk away - which you already know. BOOTH: Maybe you should have some more coffee.. CAROLINE: Of course I want more coffee. We have to come up with our plan of att*ck. BOOTH: Okay, Well I was thinking Judge Moran.. CAROLINE: We should exhume Gus Harper. See if your genius, scientist partner, can ascertain whether he died in the manner the FBI said he died 30 years ago. BOOTH: Moran's got a long.... CAROLINE: No. We want Kemper. BOOTH: Hang 'em high, Kemper? CAROLINE: Hey. I'm ruining my career, I'm doing it my way. Understand? Now. Take a donut hole. I'm offering. BOOTH: (takes a donut hole) Thanks. (Cut to - Jeffersonian - Medico-Legal Lab - Platform) ZACK: (holding up a b*llet) This was lodged in Garret Delaney's sinus cavity BRENNAN: .22 caliber. ZACK: These dimples - indicate that the b*llet ricocheted around inside the cranium. BRENNAN: You worried about your Doctorate? ZACK: No. Dr. Grayson touched me with an open hand on the shoulder. BRENNAN: You mean inappropriately? ZACK: No. I read a book on body language. Apparently, in our culture when an older male lays an open hand on a younger male, it conveys approval but if he bumps younger male with a closed fist - it conveys doubt. Dr. Grayson, went like this (he demonstrates by tapping Brennan on the shoulder 3 times with an open hand), not like this (he lightly taps Brennan on the shoulder 3 times with a closed fist). Like this (he repeated the open handed tapping). Not like this ( he repeats the tapping with a closed fist). BRENNAN: Dr. Grayson is elderly and arthritic, perhaps he simply needed help getting to his feet like this (she pushes down on Zack's shoulder 3 times with an open hand - demonstrating someone getting up) SECURITY GUARD: Dr. Brennan? Visitors in your office. (Brennan turns back to Zack and lays an open hand on his shoulder and taps him three times) (Cut to - Jeffersonian - Medico-Legal Lab - Outside Brennan's Office) RUSS: Tempe. This is a friend of dad's. Father Coulter. It's Toby Coulter. Train tressel guy. BRENNAN: Ah, yeah. I remember that story, when dad and his friend accidentally blew up a train tressel. BOOTH: Come on. How do you "accidentally" blow up a train tressel? FATHER TOBY COULTER: Well, we were hired by a farmer to dynamite the ice off a stock pond. Anyway, we get this competition going - who's gonna slide the dynamite farther across the ice before it blows. BOOTH: You know it's a Federal offense to blow up a train tressel, Father, even if it is accidental. BRENNAN: Father Toby Coulter. Meet my partner, Seeley Booth. RUSS: Careful, he's FBI. FATHER COULTER: Well, I'm innocent. It was Max's toss that, uh, brought the tressel down. BOOTH: Max Keenan's best friend grows up to be a priest. FATHER COULTER: I'm sure your people have that fact on file somewhere. RUSS: Tempe, Father Coulter has a message from Dad. FATHER COULTER: It's a private message. BRENNAN: Come to my office. (They all follow her in - Father Coulter tries to close the door on Booth) RUSS: She's just gonna tell Agent Booth anyway, might as well let him listen. (Cut to - Jeffersonian - Medico-Legal Lab - Inside Brennan's Office) FATHER COULTER: "Back off." That's the message. He'd said you'd understand. BOOTH: We'd you see him? FATHER COULTER: In confession. BRENNAN: We're not Catholic. BOOTH: Well, the sanctity of confession is extended to all. Um, did he ever call you on your cell phone, Father? FATHER COULTER: Two days ago. BOOTH: Can I see your phone? FATHER COULTER: You wanna trace the call? BOOTH: Yeah. (he takes the phone and writes down a number) So uh, Max Keenan. He, uh, come to you for absolution? FATHER COULTER: Well, I'm sure you know the requirements for confession. BOOTH: Contrition and intent - not to repeat the sin. FATHER COULTER: Max doesn't have either and as a Priest, I failed him. I was never able to get him to walk the straight and narrow. BRENNAN: Is there anything else you can tell us? FATHER COULTER: Well, he was angry. Felt his hand had been forced. BRENNAN: Where can we reach you, Father? RUSS: Father Coulter is staying at the St. Augustine's Seminary for the next few days before heading back to Ohio. BOOTH: (he hands back the phone) Here Father. FATHER COULTER: (to Brennan) Your father loves you. BRENNAN: Is that part of Dad's message? FATHER COULTER: That's a personal observation. (Cut to - FBI Headquarters - Booth's Office) BOOTH: Delaney's m*rder, the thr*at on Russ's life - this is all happening now because of a little metal dolphin we found on your Mother's grave. FBI field unit in Denver, traced it to a local artist in Mead, Colorado. BRENNAN: ...who identified Dad as the buyer. But Delaney left the FBI, 15 years ago. BOOTH: And somebody told him about your Dad.. BRENNAN: And didn't tell you? BOOTH: They're part of the conspiracy. BRENNAN: You must be annoyed. BOOTH: Yeah. Ya know what? I am. And I don't like finding out there's a dirty FBI Agent in this building. (he closes the door to his office) Here's what I think happened. Delaney goes to your Father, he asks him to hand over the evidence. He doesn't do it, he kills you or Russ. BRENNAN: Dad calls Russ to warn him...and then..kills Delaney. BOOTH: Guts him, burns him. Leaves a calling card. "Don't mess with Max Keenan's kids" BRENNAN: Am I supposed to like that? BOOTH: Ya know, Bones. I'll take a stand up crook over a crooked cop anyday of the week. CAROLINE: Booth. I got us a meet with the judge, let's go. And you (points to Brennan) better get back to your lab, in case we're successful. BOOTH: Ya know. I find it best to do what she says. BRENNAN: Okay. (Cut to - Judges Chambers of Judge Theodore Kemper) JUDGE TED KEMPER: You want to exhume the young FBI Agent that Marvin Beckett m*rder? CAROLINE: That's correct, Your Honor. KEMPER: That is a big, noisy mess in the making. BOOTH: Uh, The FBI has credible evidence that the homicide case against Marvin Beckett was uh, manufactured. (door opens and in walks Asst. U.S. Attorney Dan Burridge) ASA DAN BURRIDGE: Assistant United States Attorney, Dan Burridge, arguing against this writ, Judge Kemper. KEMPER: on...on..on behalf of... BURRIDGE: The FBI. KEMPER: (pointing to Booth) I thought you were FBI. BOOTH: I am, Your Honor. KEMPER: I told ya. A big, noisy, mess. Alright, let's hear your argument, Mr. Burridge. BURRIDGE: This is a precipitate exhumation in a highly inflammatory case. The evidence to which Miss Julian alludes, has not been authenticated. BOOTH: It's been authenticated by the Jeffersonian Institution. BURRIDGE: The FBI would like to do their own, in house analysis before proceeding. CAROLINE: Of course they would. They're the ones that did the framin' 30 years ago. BURRIDGE: I take exception to that. CAROLINE: Why? You weren't even born 30 years ago. BURRIDGE: Judge.. CAROLINE: Not like me and Judge Kemper who got to see first hand what Marvin Beckett was really like. KEMPER: Ms. Julian, did you bring this to me because I knew Marvin Beckett personally? CAROLINE: Did you? I - I wasn't aware of that, Your Honor. We're you aware of that Agent Booth? ( He shakes his head no) BURRIDGE: We'd like to do this slowly and carefully, Judge. That's all. CAROLINE: And we want to exhume Gus Harper, so we can make sure he was m*rder in exactly the way the damn FBI said he was m*rder. Your Honor. (Cut to - Jeffersonian - Medico-Legal Lab) (As the voice over is happening, we see a casket being wheeled through the doors of the Medico Legal Lab and into the Autopsy Room - The casket is then opened to reveal the body of Augustus Harper) CAM (v.o): As mandated by the Writ of Exhumation by Judge Theodore Kemper of the D.C. Federal Judicial District - I, Dr. Camille Saroyan, will be performing an autopsy of Special Agent Augustus Donald Harper under the auspices of the Jeffersonian Institution. Date of Death - June 25, 1978. Date of Internment - July 2, 1978. Date of exhumation - that would be today. Also present at the post exhumation autopsy is Dr. Temperance Brennan. The original autopsy, in 1978, found that Agent Harper was k*lled when he was sh*t 3 times, at close range by a .38 colt, detective special revolver. CAM: (examining the body) 2 sh*ts to the chest. One piercing the heart, the other the left lung. The third, a sh*t to the frontal bone.. (Cam pauses) BRENNAN: What? CAM: That b*llet hole in the head, that's from a .38... BRENNAN: Just like the corner said. CAM: I can already tell. These two holes (sticking her finger in the ones in the heart and the lung) are from something a whole lot bigger than a snubbed nosed revolver. Something more like a r*fle that a sn*per would use. BRENNAN: Zack, you better get a full set of x-rays before Dr. Saroyan re-opens. CAM: We're gonna conduct this one, like the whole world is watching. (Cut to - Royal Diner- Russ approaches Booth, who is already seated at a table) BOOTH: Russ. RUSS: Okay. I'm here. What's up? BOOTH: You know, you're an idiot, Russ. I like you but - you're a real idiot. RUSS: What'd I do? BOOTH: I got a call from your parole officer today. RUSS: Why? BOOTH: Why? Because you crossed state lines without informing him. I just told him you were aiding in an FBI investigation. RUSS: Thanks. BOOTH: You're slipping, aren't ya? RUSS: Look. I wanna marry Amy and raise her kids. One of them is sick, that costs money. I'm a felon on parole, I work part-time as a mechanic. You tell me what job am I gonna get that lets me be the man I need to be to raise a family. BOOTH: You got this sick little girl depending on you, I get that. But you go back inside and you cross that line, you're not helping anyone out- (A sh*t is fired through the window of the dinerBooth and Russ fall to the ground.) BOOTH: Everybody down! (Russ put his hand against his neck, it's been grazed but Booth is unharmed.) ACT III (Cut to - FBI Headquarters- Booth's Office) TV VOICEOVER: Civil rights activist and convicted m*rder, Marvin Beckett, when a second autopsy on his alleged victim, FBI Agent Gus Harper, revealed inconsistencies with Mr. Beckett's trial back in 1979. FATHER COULTER: What kind of inconsistencies? BOOTH: Well, you have your confidences to keep, Father. I have mine. BRENNAN: It's over right? Now that it's out, there's no reason to k*ll Russ BOOTH: Ah, ya know. The men behind this don't care about Marvin Beckett, they care about being exposed. BRENNAN: Lucky you were together. Why were you together? BOOTH: Oh, ya know. A man's gotta eat. FATHER COULTER: To think that ah, some people still refuse to believe in guardian angels. (Brennan watches as Father Coulter taps Russ's shoulder with an open palm. While Deputy Director Kirby stands near the doorway) KIRBY: Booth! (He signals with a pointed finger for Booth to join him and Booth stands immediately, looking flustered and nervous - they all turn to look at Kirby as he leaves.) RUSS: Who's that? BOOTH: Deputy Director Kirby. My boss's boss's boss. (Cut to - FBI Headquarters- Kirby's Office) KIRBY: You're what's known as a real pain in the ass, Agent Booth. BOOTH: Yes, sir. KIRBY: I just had my testicles handed to me by the Attorney General of the United States of America. He wanted to know why this Marvin Beckett issue wasn't done slowly and carefully with greater forethought and tact. You know what I told him? BOOTH: No, sir. KIRBY: I told him, I did not know. BOOTH: Sir, I had to do it the way I did it because the FBI is - KIRBY: Not. Your. Decision, Booth. You're suspended without pay. g*n, ID, Security card, please. BOOTH: Sir, I'm entitled to the reading of the charges against me. KIRBY: The charges - against you - is that I was pissed upon from a very great height. You're outta here in ten minutes. (Booth takes his g*n and badge and lays it on Kirby's desk) (Cut to - Jeffersonian - Medico-Legal Lab - catwalk meeting area.) BRENNAN: Can they do that? Just kick you out without any warning? BOOTH: Well, the two guys standing behind me, with the g*n, seemed to think so. ZACK: As you can see, Harper's ribs and sternum were practically obliterated by the two sh*ts to his torso. ANGELA: Zack, Booth got fired. BRENNAN: Suspended, not fired. CAM: Suspended's FBI speak for fired. BOOTH: Ah. You know what hurts the most? They took the car. Got no wheels. ZACK: The b*ll*ts themselves, removed from the body - of course, but Hodgins found some very small fragments- HODGINS: Copper, lead, polymer. This is a conspiracy, baby. CAM: Guys. What we're dealing with here is that - Booth - won't be working with us anymore. BOOTH: Well, I got my own g*n, it's just - god, why did they have to take the company car.... ZACK: I assume the only way Booth can get his car back, would be to solve the case on his own and that we'd help. BOOTH: Oh, no. No, no. I can't let you guys do that. BRENNAN: Anyone that wants to help Booth, raise their hands. (Brennan raises her hand followed by everyone else. At this, Booth smiles.) ZACK: Alright. I reversed engineered to find the most likely design of the b*ll*ts. After the b*llet spread, lead pellets were released - like buckshot. BOOTH: Wait a second. That's a home made round invented back in the '70's HODGINS: We're talking a military-issues, M40A1 sn*per r*fle. BOOTH: Nice. HODGINS: Dude. What you call being a 'conspiracy theorist', I call being well informed. ANGELA: Wait. Gus Harper was m*rder by a military sn*per? BOOTH: Who makes his own rounds. BRENNAN: Maybe we can compare it to the b*llet that grazed Russ? BOOTH: I'm a civilian. We don't have access to that round. Maybe Caroline can help us. (Cut to - Street - Caroline's Car) BOOTH (on phone): You still have a job? CAROLINE (into phone): Not for long I'm on performance review. (Cut to - Jeffersonian - Medico-Legal Lab - hallway) BOOTH: Well, look. None of the bank robber on the FBI robbery task force has sn*per training in the '70's. I need to know who else was on that task force. Local - BRENNAN ( running down the hallway): Booth. BOOTH: State cops- BRENNAN: Booth! BOOTH: A*F- BRENNAN: Booth! I got it figured out. BOOTH: and if any of them had sn*per training. Once you find out, you keep your head down. (Cut to - Street - Caroline's Car) CAROLINE: Task force, sn*per training, 70's, duck. Got it. (Cut to - Jeffersonian - Medico-Legal Lab - hallway) BRENNAN: I figured out a way to solve the case and get your job back. BOOTH: Wow. That would be great. BRENNAN: We need my father to give us the rest of the evidence he stole from that safety deposit box. BOOTH: Great- BRENNAN: (grabbing him by the arm) I'll drive. (Cut to - Jeffersonian - Medico-Legal Lab - catwalk meeting area.) ZACK: Dr. Saroyan? When I get my Doctorate...I'd like to work - here. CAM: Zack, you're an excellent scientist, but an important part of the job is appearing as an expert witness in court. ANGELA: Ooh. ZACK: Ooh, what? CAM: Jurors have to take you seriously and frankly, you look like a weekend fill-in at a college radio station. HODGINS: Truth hurts, dude. Learn from it and grow. (Cut to -St. Augustine's Seminary - outdoors) FATHER COULTER: You weren't able to find Max by tracing him through the cell phone call he made to me? BOOTH: Call came over the internet. It was untraceable. FATHER COULTER: Well, Max, always uh, did things his way. BOOTH: Guess you being a priest didn't have much of an effect on him. FATHER COULTER: Son, I spent my whole life trying to turn Max's life to Jesus. He knows exactly one bible verse. Numbers 35:19. BOOTH: "The revenger of blood himself shall slay the m*rder. When he meteth him, he shall slay him". BRENNAN: What's that mean? BOOTH: That's the Law of the Jungle. BRENNAN: Father Coulter, if my father makes contact with you again, please tell him he needs to trust me. His way got my mother m*rder and almost got Russ k*lled. It's time he tried my way. FATHER COULTER: He won't contact me again. BRENNAN: Well, how do you know? FATHER COULTER: Ask him. He put me under surveillance. BOOTH: If a parish priest can figure out the FBI is watching him, then so can an experienced fugitive like your father. (Cut to - Jeffersonian - Medico-Legal Lab -Angela's Office) ZACK: I need a makeover. ANGELA: Zack. I am a big believer in people being themselves. You're actually kinda cute.. ZACK: Yes, I've been told that many times usually followed by the word but and in this case "but no one takes you seriously. I need help, Angela. So what do I do first? (Angela circles him, checking him out to try to figure out what he can change) ANGELA: Lost the floppy hair. (Zack groans) (Cut to - Jeffersonian - Medico-Legal Lab -Brennan's Office) BOOTH: Why are ya mad at me? BRENNAN: (sighs) I need a g*n. BOOTH: No, you don't. You got me. I'm your g*n. You want equipment, here (he hold up handcuffs and puts them on the table) have these, alright. New division of labor. I sh**t 'em, you cuff 'em. BRENNAN: Why didn't you tell me you had Father Coulter under surveillance? BOOTH: It is my job to find your dad and put him in prision. BRENNAN: And you don't think I'll help? BOOTH: What? He's your father. I really don't think I should have to ask you to help. BRENNAN: He abandoned me, Booth. And that's the best thing you can say about him. BOOTH: Your father lives by a certain code, and part of that code is defending his family by whatever means necessary. BRENNAN: You mean k*lling people and setting their corpses on f*re. BOOTH: Any means necessary sorta covers that. BRENNAN: You respect him? BOOTH: I'm just saying, in his world, he's a very honorable man. BRENNAN: That's ridiculous. There's only one world; it's this one. BOOTH: Would that be the one world where you're mad at me for trying to catch your father or the other world where you actually want him caught? BRENNAN: Neither. BOOTH: Well, you have to pick one. BRENNAN: Either. BOOTH: Oh, mhmm. BRENNAN: Both. CAROLINE: Dr. Brennan, Agent Booth. I thought you'd like to meet the reason we're all losing our jobs and gettin' sh*t at. This is Mr. Marvin Beckett. MARVIN BECKETT: I wanted to thank you, personally. BRENNAN: You're welcome, Mr. Beckett. BECKETT: Thirty years ago, crooked Agents put me in jail for something I did not do. I did not k*ll the young FBI Agent. I did not steal the money and I thank you for proving it to the world. That's why I'm here, to tell you to your face, to assure you I did not do those things. You free'd an innocent man and in return, I must warn you. The people that did this to me aren't just a bunch of corrupt cops. They server masters of MUCH greater influence. You're looking to bring their world down around their ears. They will strike at you. Watch yourselves. CAROLINE: Here's your list of sn*pers from the decade of disco. This time, I'm advising you - Duck. BRENNAN: Anyone you know? BOOTH: Yeah. The A*F ref on the task force was a marine sn*per, Robert Kirby. BRENNAN: FBI Deputy Director, Robert Kirby? That just suspended you? BOOTH: Call your brother, tell him to get out of the house. Tell him to get out, now. BRENNAN: (picks up the phone to call Russ) Why? What's going on? BOOTH: Seconds after Caroline got this list, Kirby knew about it. BRENNAN: He's not answering. I don't understand, Booth. BOOTH: It's not us that Kirby is afraid of, it's your father. The only way to strike at him, is to go through you or Russ. Kirby was the one that took a sh*t at Russ. BRENNAN: No answer. (Cut to - Brennan's Apartment - Booth & Brennan kick the door in and enter) BOOTH: Russ. BRENNAN: Hello. BOOTH: All right, just stay back. BRENNAN: Russ? BOOTH: There's no sign of a break-in. I'll check the back. Russ! BRENNAN: Russ? (at that moment, Brennan sees a pool of blood on the floor in front of her) Oh, my god. Booth? BOOTH: What? BRENNAN: Russ. BOOTH: Alright, just take it easy. Alright, we don't know that for sure. BRENNAN: That's too much blood. Nobody could survive tha- that much blood loss. Nobody. BOOTH: (Brennan falls into him - holding him tight.) Alright. Okay. It's alright. BRENNAN: Oh my god. (Cut to -Interior - Brennan's car) BRENNAN: It's against the law...us not calling in a m*rder. BOOTH: It wasn't a m*rder. It was a bloodstain. BRENNAN: That much blood...it's mur-it's m*rder. BOOTH: We call it in, the next thing is - we find ourselves under arrest. BRENNAN: That had to be Russ's blood. BOOTH: You got a sample, right? We'll check the DNA at the lab. Until then, hey - who's the one that always says 'don't jump to conclusions'? BRENNAN: Yeah, you're right. Thanks. I wish you wouldn't keep letting me hug you when I get scared. BOOTH: Hey, I get scared and I'll hug you. We'll call it even. ACT IV (Cut to - Jeffersonian - Medico-Legal Lab -Outside Autopsy Room) BOOTH: Results. CAM: The blood's not Russ's. BOOTH: See, even you can't do a DNA test that fast. CAM: Didn't have to. Both Brennan and her brother are O type blood, as was their mother. The blood sample you brought me, was AB - therefore... BOOTH: 'kay, let's go tell Bones. CAM: I just saw her. She's on the way to see the priest. BOOTH: Why? CAM: He said he had something for her. BOOTH: No, she can't be going places without me. Not when it's open season on Brennan's. (his phone rings) BOOTH: (answering): Bones. CAROLINE (on phone): Not even close, Cherie. We need to talk. (Cut to -St. Augustine's Seminary - courtyard) FATHER COULTER: Well, first, I want to tell you that your brother, is uh, with his father. BRENNAN: You mean....with God? FATHER COULTER: No, his earthly father. Your father. BRENNAN: Are you certain? FATHER COULTER: Saw it with my own eyes. BRENNAN: Oh, thank god - which I use only as a figure of speech. FATHER COULTER: Well, I mean, you have to start somewhere. You know, you're - you're very much like him. BRENNAN: I'm - nothing like my father. FATHER COULTER: Black and white, the two of you. You always saw the world in black and white. Your mother wasn't like that, either is Russell. (Cut to - Royal Diner) BOOTH: All right, go. CAROLINE: I was clearing out my desk, when my phone rings and it's this FBI Agent named Carlsen- BOOTH: He heads up a surveillance unit. CAROLINE: And he tells me, "You and Booth are wasting my time with this damn priest". I tell him 'you better mind your mushy mouth"... BOOTH: Caroline, I gotta find Bones, keep her from gettin' k*lled- CAROLINE: Father Coulter is 90 years old, confined to bed with alzheimer's at a convalescent home out there at the seminary - which does not much sound like the priest you told me about. (Cut to -St. Augustine's Seminary - courtyard) FATHER COULTER: Your father, he talked about uh, when you were four and your, your brother was nine and he hid behind this door and he jumped out at you... (Cut to - Royal Diner) BOOTH: I- I, ya know what? Just give me the keys to your car. CAROLINE: My car? (Cut to -St. Augustine's Seminary - courtyard) FATHER COULTER: Boo! (they laugh) He hollers, Boo! And you, you had this doll, had this string in the back for talking... BRENNAN: Chatty Cathy. (Cut to - Royal Diner) (Caroline throws her keys to Booth) (Cut to -St. Augustine's Seminary - courtyard) FATHER COULTER: Wham! You took that doll and you wound up and you h*t your brother so hard you knocked him flat as a pancake. I said to your mother, "No one, no one will ever jump out at that girl again." And your mother said, "just like you Max. She's just like you" BRENNAN: (finally realizing who Father Coulter REALLY is) Hair color...plastic surgery...colored contact lenses, chin and cheek implants...fifteen years older. Still...I should have seen it. (Cut to -Caroline's Car - Booth driving) (he picks up his cell phone and calls Brennan) BOOTH: Come on, Bones, pick up. Pick up! BRENNAN'S VOICEMAIL: This is Dr. Temperance Brennan. Leave a message. BOOTH: Dammit. (Cut to -St. Augustine's Seminary - courtyard) BRENNAN: Russ knew it was you all along? MAX: Yeah. BRENNAN: You talk to Russ, but not to me? MAX: You know. To tell you the truth, you do - you do better without me and Russ does worse. Take this. (he hands her his bible) BRENNAN: I'm not religious. MAX: No. We're gonna play this your way. Please. BRENNAN: (she thumbs through the book) This is Gus Harpers journal. MAX: There's a key there that's to a safety deposit box. In that safety deposit box, is all the evidence. BRENNAN: Why didn't you give it to them? Back in 1978. MAX: Because your mother took one look at it and said "If you turn this over to them, they will k*ll us. And our kids." BRENNAN: They got Mom anyway. MAX: Yeah, there's not a day that goes by that my heart is not broken. (Russ pulls up in a truck) RUSS (from inside the truck): Dad! Come on. MAX: I gotta go. (he goes to stand up and as he does, Brennan hugs him) BRENNAN: Wait. I can't let you go. MAX: Oh, I love you too. BRENNAN: No. I mean I can't let you go. ( she kicks him and he falls to the ground) I'm sorry. MAX: Ooh. I must be getting old. I let you get the drop on me. (Russ gets out of the car and comes around to the side, but Max signals to him that it's okay) BRENNAN: I'm sorry. I'm sorry. I just can't let you get away (Max reverses her hold and put the handcuffs on her and handcuffs her to the bench) MAX: I'm sorry. Listen to me. If you find somebody that you can trust, you hang on to 'em. Remember that. RUSS: Dad! Let's go! MAX: I'm proud of you, I love you. (he kisses her on her head) (Max heads to the truck just as Booth pulls up in Caroline's car) RUSS: Dad, get in. MAX (to Booth): You take care of her. (he heads to the truck) BOOTH: FBI. Stop or I'll sh**t. BRENNAN: Booth. (Max gets in the truck) Booth. Booth! (Booth lowers his g*n and races to Brennan's side, as Russ and Max drive away but not before backing into Caroline's car) BOOTH: Right. I mean, did he really have to h*t the car? I wasn't gonna chase him. (Brennan sits down on the bench, defeated. Booth sits next to her and put his hand on her shoulder) BOOTH: You okay? (Open - roof of a hotel) (On the rooftop, where the episode began, Max has FBI Agent Kirby crucified as he lights him on f*re. Scene fades out with Max being replaced by Booth as the FBI processes the scene) (Cut to - Jeffersonian - Medico-Legal Lab -Cam's Office) (Brennan places a folder in front of Cam on her desk) CAM: What's this? HODGINS: Zack's Doctorate. BRENNAN: I'd like to recommend him for a job. CAM: I can't put him in front of a jury, I'm sorry. I'll put in a good word in Pure Research. That way he can come visit once in a while. HODGINS: Visit. ANGELA: Dr. Saroyan? Dr. Brennan, Dr. Hodgins. I'd like to present your colleague. (she steps aside and reveals Zack, in a suit) Dr. Zachary Uriah Addy. HODGINS: Look at you...all grown up. BRENNAN: Wow. CAM: Very impressive. ZACK: I can learn how to be effective in front of juries... BRENNAN: Zack can learn anything. (The four squints look at Cam, awaiting her answer) CAM: All right, he's hired. Who am I to break up this team? ANGELA: Lunch is on me, Dr. Addy. Anywhere you wanna go. ZACK: The diner. ANGELA: Anywhere I said.. ZACK: I like the diner! HODGINS: Do me a favor, Uriah, I need a little time to adjust to your fascist haircut (he places a hat on Zack's head and grabs his ears) Let's go. (Angels follows and gives him a kiss on the cheek. Cam walks by and pats him on the arm and just as he's about to walk out, Brennan grabs him and pulls him into a hug) BRENNAN: Congratulations, Dr. Addy. ZACK: Thank you, Dr. Brennan. (they pat each other on the shoulder with an open palm) (Cut to - Royal Diner - Outside - Booth approaches and sees the squints celebrating and waves Brennan outside) BRENNAN: What happened? BOOTH: Uh, the uh, Attorney general took one look at the uh, evidence your father provided and you know, he reinstated me. BRENNAN: I'm glad. BOOTH: Listen, we uh, found another b*rned body. Same place, same setup. BRENNAN: Kirby? BOOTH: I'm pretty sure (he holds up a coin) It was Kirby's blood in your apartment. BRENNAN: Dad's still trying to warn people - "leave me and Russ alone". BOOTH: No, Russ..he's safe with your father. They're warning people to stay away from you. You know what? I'm sorry..that you had to go through it again. Watching your family drive off, leaving you behind. I'm sorry. BRENNAN: My Father is, is- BOOTH: He's your dad, and he loves you. (they hold a gaze with one another for a few moments) BRENNAN: Ya know. I'm just...I'm just one of those people who doesn't get to be in a family. That's -- BOOTH: ( he places his finger underneath her chin, lifting her head up) Listen, Bones, hey. There's more than one kind of family... ( they hold each other's gaze again until they're interrupted by Zack knocking on the diner window to get their attention). Well, hell, Zack got the job, right? BRENNAN: Come in and congratulate him. BOOTH: Nah, you know he's your squints, not my squints. BRENNAN: No, Booth...we are all of us, your squints. Do me a favor and pat Zack on the shoulder with an open hand. BOOTH: What? Why? Does that mean something? (Brennan laughs as they enter the diner together) END.

{"type": "series", "show": "Bones", "episode": "02x11 - Judas on a Pole"}

foreverdreaming

"The Man in the Cell" Episode 2x12 Written By: Noah Hawley Directed by: Jesus Salvador Trevino Transcribed by: frogggirl2 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Exterior - Day - Jail, smoke streaming out several windows, firefighters and f*re trucks outside, sirens wailing. Cut to interior, prisoners yelling, Booth Brennan and Warden walking down corridor towards camera.) BOOTH: Hey, where'd the f*re start? WARDEN: Not sure yet. It spread through the ducting though. Brennan yawns. BOOTH: Maybe you'd like something a little bit more exciting, huh? Like Attica. BRENNAN: My neighbors are renovating their apartment and one of the workmen left his radio on. Hip hop is not conducive to sleep. PRISONER: Get me out of here. BRENNAN: Whoa. Are you allowed to put that many men in one cell? BOOTH: Just cut the warden a little slack, okay, Bones? There was a riot. WARDEN: The cell doors open automatically in a f*re. The guards had to subdue the inmates so the firefighters could do their jobs. (Prisoner grabs Brennan and pulls her towards the cell. Booth grabs Brennan and pulls her away, between him and the Warden.) BOOTH: Whoa, whoa, whoa, whoa, whoa. You stay close, okay? A lot of these animals haven't seen a real woman since Reagan was president. BRENNAN: Okay. WARDEN: (pointing) Body's in here. BOOTH: Okay, you're sure this is Howard Epps? WARDEN: This was his cell. BRENNAN: Why not keep him on death row? WARDEN: We don't have one. He was transferred to Bayview so he'd be closer to the courthouse for his trial. BRENNAN: (Looking at burnt remains) Victim is male, approximately 30 years of age. He matches Epps general size and build. Contortion indicates a . . . (smiling) painful death. BOOTH: Well, after k*lling four teenage girls that we know about it's just what the doctor ordered. BRENNAN: It seems as if someone threw accelerant on him, lit him on f*re. BOOTH: Hey, look. Any idea who'd want him d*ad? WARDEN: All the inmates hated him. Once the f*re started, it was . . . It was chaos. Could've been anyone. BRENNAN: (examining the arm of the charred remains) ... Booth? BOOTH: Yeah? BRENNAN: This is the wrist I broke. BOOTH: So? BRENNAN: So this break is fresh. BOOTH: So? Bones, they break in a f*re, right? BRENNAN: Yes, but . . . there's no sign of a prior break. This man's wrist was slammed against a hard edge within the last few hours. BOOTH: Whoa, what are you saying? BRENNAN: (Exhales) This is not Howard Epps. WARDEN: That's impossible. BOOTH: Okay, look. All your prisoners, are they accounted for? WARDEN: They are if this is Epps. BOOTH: What about the guards? WARDEN: They've all reported in. BRENNAN: Whoa. BOOTH: What now, whoa? BRENNAN: The dye from the tattoo survived the f*re. (Tatoo on the remains reads "D.C.F.D.") D.C. f*re Department. He was a firefighter. BOOTH: So you're saying that the fireman comes in to save Epps, but Epps kills him, takes his uniform, sets him on f*re. BRENNAN: And walks right out the front door. (Throwing surgical gloves onto the floor as she stands.) WARDEN: Son of a bitch. BOOTH: Lock this place down now. WARDEN: (Yelling to guards as he turns and walks away) I want this whole block locked down! No on in or out! BOOTH: It's Booth. I need you to close off a 30 mile radius of the Bayview Federal Penitentiary. Howard Epps escaped. (Buzzer sounds. Men Shouting. Cell door closes) ACT I (Interior - Day - Platform at the Jeffersonian. Camera pans from behind Zack, Angela and Hodgins to in front to reveal them standing over the charred remains and examining the "SCIENCE" section of a newspaper with the headline "The Clues Are in the Bones: How Forensic Anthropology is Helping the FBI Solve Crimes.") ZACK: You look short, don't you think? ANGELA: Is that important? HODGINS: You were supposed to say no. ZACK: But you are short. HODGINS: And the article describes you as robotic. ZACK: Yeah, and "wildly intelligent." ANGELA: Did you really call me "the heart of the operation? (Reaching out to hold the newspaper.) HODGINS: Yeah. It was before you called me short. ANGELA: Hey, Zack called you short. I think you're just the right height. HODGINS: Yeah? ANGELA: Short men have better leverage? ZACK: I'm feeling uncomfortable. CAM: (from out of frame) Any answers? (Everyone turns around to look at Cam. Cam sees the newspaper in Angela's hand.) Hope you enjoyed your 15 minutes of fame people, (Cam takes the newspaper from Angela )'cause we have a psycho on the loose, so it's back to work. (Looking at the newspaper.) I photograph well. (Folds the newspaper in half and hands it back to Angela.) Okay. So what have we got? HODGINS: The accelerant was distilled alcohol. ZACK: Fractures are consistent with Dr. Brennan's theory. The victim's wrist was broken to match Epps's injury. A blow to the head rendered him unconscious. He was then set on f*re. ANGELA: If there was ever anyone who should be in Gitmo . . . CAM: I agree. But, he's not. He's out and that means more victims unless we stop him first, which we will do. Or, there'll be another article written about us that won't be so kind. Where's Dr. Brennan? (Backing out of the room) ANGELA: She and Booth are talking to Epps's wife. CAM: Turning and walking away. I.D. the remains. (Interior - Day - Booth's Office. Cut to picture of a woman in a white dress with Epps. The woman sets the picture down on Booth's desk. She's sitting down in front of the desk and Booth is perched on the left side. Brennan sits in a chair to the left.) CAROLINE EPPS: I'm no longer involved in Howard's life. BOOTH: It's hard to believe, being his wife and all. CAROLINE EPPS: Ex-wife. The judge signed my divorce papers last month. BOOTH: Why didn't it work out, exactly? Was it a lack of quality time or all the women he bludgeoned to death? CAROLINE EPPS: I thought I could help Howard, but he used me. I haven't had any contact with him in over six months. BOOTH: I'd like to place you in protective custody until we find him. CAROLINE EPPS: That won't be necessary. BRENNAN: Mrs. Epps, the women in Howard's life don't tend to live very long. CAROLINE EPPS: I appreciate your concern Dr. Brennan, but I've changed job, apartments. BOOTH: WE found you. Hey, Howard could too. CAROLINE EPPS: I have a new life and a new boyfriend. Raymond's a good man. If he found out . . . BRENNAN: We all have secrets in our past, Mrs. Epps. Admittedly, not as bizarre as yours, but you shouldn't risk your life just because your embarrassed to tell your boyfriend the truth. CAROLINE EPPS: Howard's interest is in young blonde girls. I'm not even his type. Gets up and walks to the door. BOOTH: If he contacts you . . . CAROLINE EPPS: (Turns back to look at Booth) I'll call. (Exits.) BRENNAN: What-- You can't let her go! She's not safe! BOOTH: Well, I can't force her to take protection, alright? I'll have the local police drive her house every couple of hours and make sure she's safe. And you know what? You're not safe either. BRENNAN: But I'm not unhinged. I can take care of myself. BOOTH: You and Epps-- Okay, it's personal. You're everything that he hates. BRENNAN: And what is that exactly? BOOTH: Well, you know, you're a smart, strong, confident woman. (Brennan smiles.) And, uh, figured him out. You made him feel powerless so he's gonna want to, uh, prove that, uh, you're weak and inferior. So, you are not to gout on your own, ever. (Interior - Day - Autopsy Room Jeffersonian. Cam is walking to door when Booth walks in.) BOOTH: Hi. CAM: Hey, did the wife you anything? BOOTH: Oh, chills. Look, I need you to double security here at the lab. CAM: You think Epps is gonna come after Brennan? BOOTH: I can't rule anything out when it comes to Epps. CAM: I'll take care of it. BOOTH: Look, I-I don't want you to be alone either. CAM: Are you inviting me over? BOOTH: I'm just thinking that everyone should just stay here at the lab. CAM: Leave it to a serial k*ller to spoil the mood. BOOTH: Whatever security you think is enough, you double it, Camille. (Walking toward her and leaning in. She gazes into his eyes. Booth smiles. She kisses him.) CAM: I'm glad you're on my side, Seeley. ( Booth smiles again, leans in, resting his forehead on Cam's. She smiles as he turns and leaves. Booth looks back at Cam when he gets to the door.) (Interior - Day - Brennan's office. Angela holds up a picture of a man in uniform, handing it to Brennan. Brennan is standing in front of a board with a map with lines drawn on it linked to pictures of remains and pictures of victims.) ANGELA: The burn victim is Donald Kent, a decorated firefighter. BRENNAN: Epps would appreciate the irony. ANGELA: You know Kent was still alive when he was set on f*re? How many victims does that make? BRENNAN: Seven that we know of. ANGELA: And they aren't just young blonde women anymore. (Brennan sis in her chair.) BRENNAN: No, they aren't. (Brennan looks over her shoulder at the board behind her.) ANGELA: He's such a monster. He's k*lled from behind bars and new victims keep turning up and now he's out. BRENNAN: We will find him, Ange. We're ready this time. ANGELA: I'm not. Look, I have some sick days coming. And I was thinking that since Epps makes me sick, that-- BRENNAN: We need you, Ange. Hodgins certainly does. ANGELA: That was low. BRENNAN: I know. Did it work? (Angela smiles.) ANGELA: How do you deal with the fear? BRENNAN: (Reaching down to grab her purse, getting up and setting the purse on the desk.) I . . . have this. (Reaching into her purse. She pulls out a very large, very shiny g*n. She flips it open and closed, smiling.) ANGELA: Oh, my God. That-- (standing) That thing is huge. Whoa, wow. That's like, movie huge. BOOTH: (Walking in the door.) Where the hell did you get that? BRENNAN: The mall. BOOTH: The mall? BRENNAN: Yeah, it's pretty big, right? Bigger than the one you have. BOOTH: Excuse me. It's not the size that matters. It's how you use it. BRENNAN: Well, I think size is pretty important. BOOTH: The point is that you shouldn't have a g*n in the first place! ANGELA: If you do have one, bigger is always better. BOOTH: You're not helping! ANGELA: Right, yeah. This does seem like a private conversation. Angela leaves. BOOTH: Yeah, private. Okay. You know, people see you with that, the next thing you know everyone in this place is gonna start packing. BRENNAN: This is America. Get used to it. A phone rings. Brennan sits, answering it. Brennan. EPPS: (Standing outside in daylight.) I'd forgotten how nice it was to breathe fresh air. BRENNAN: (Mouthing "Epps" to Booth who points to his phone and steps out of the office to make call.) We will find you, Howard. EPPS: We'll see. I can't tell you how nice it is to be out of that stupid orange jumpsuit. I mean, I have an I.Q. of 180, for God's sake, and they had me dressed like a pumpkin. BRENNAN: You b*rned a man alive. EPPS: Means to an end. Everything is a means to an end, Dr. Brennan. BRENNAN: I thought it was just women you were after. EPPS: I felt the need to grow as a human being. BRENNAN: What is it you want? (Booth snaps at Brennan and signals for her to keep the call going.) You must want something or you wouldn't be calling. EPPS: Yes. I want you to know that everything that happens from here on in is your fault. BRENNAN: (Brennan looks surprised.) Wh-what's going to happen, Howard? EPPS: I can't answer all your questions. Use your head, Dr. Brennan. Use your head. (Epps drops the receiver and walks away. Brennan hangs up the phone. Booth walks back into the office looking at his notepad.) BOOTH: Okay, we got it. He's in a pay phone on Water Street and 23rd. (Exterior - Day - Phone booth, receiver dangling where Epps was standing in the previous scene. Rapid beeping of phone of the hook, and siren wailing as Booth's SUV and cop car both pull up in front of the pay phone. Booth and Brennan exit the SUV and head toward the phone.) BOOTH: Bus stop. Three different lines, they run through here. (To cop.) Want you to check every bus stop. See any witnesses, you bring them to me. BRENNAN: (Examining the phone) Booth, Epps left us something. (Takes a surgical glove out of her purse and uses it to pick up a glass jar with something white inside.) BOOTH: What is that? (Brennan shakes her head no.) (Interior - Day - Zack's office at the Jeffersonian. Zack and Brennan are looking at a computer screen. Hodgins walks from the back of the room to the desk in front.) BRENNAN: It's bone. ZACK: Shaved down by a rough sandpaper. Hodgins found mica grit. HODGINS: Tell you this: If Epps comes near Angela, I'll k*ll him. ZACK: What about the rest of us? (Zack moves the specimen to the microscope next to Hodgins, Brennan follows.) BRENNAN: Everyone will be fine. Cam increased security. HODGINS: (Adding solution to a specimen.) And you have the big g*n. (Laughing.) Hey, tough to keep that one a secret. Beautiful woman with a w*apon? Very g*n & a*mo summer issue. (Replacing the implement and looking at Brennan. She glares at him.) I'm gonna concentrate on my work now. ZACK: Hey, osteon count places the victim's age as mid-30's. I'll run amelogenin and a nuclear DNA test to get sex and race. HODGINS: (Looking at screen next to him) I got the chemical breakdown. (Hodgins stands, Brennan and Zack move to look at the screen.) Powders in the bone are organic. It's a mixture of cardamom, tamarind and kokum. ZACK: Spices? HODGINS: Yeah. The bone wasn't cooked. Why would he add spices to it? BRENNAN: Epps likes puzzles. The spices are a message. A woman screams. HODGINS: (Everyone runs out of the room.) ANGELA! (Interior - Day - Angela's office at the Jeffersonian. Angela is standing in front of her desk, staring aghast at a cardboard box on top, hand over her heart.) ANGELA: Oh, my God. (Hodgins, Brennan, Zack and Cam run in.) HODGINS: What happened? (Angela points at the box. Brennan looks in, Cam and Zack standing around the desk.) BRENNAN: A heart. CAM: Definitely human. Adult. DNA can give us sex. ZACK: He's k*lled two people today! CAM: That's if this heart's from the same victim as the bone dust. (Brennan puts on a surgical glove and reaches into the box.) What? What is it? (Brennan unfolds a piece of blood-soaked paper. ) BRENNAN: It's the DC Sentinel article about the lab. Every lines is blacked out except one. "Dr. Hodgins called Angela 'the heart of the operation.'" HODGINS: Son of a bitch. You don't have to stay inhere, Angela. ANGELA: How did this even get in here?! I thought that there was security! CAM: So did I. I-I'll take care of it. (Angela and Hodgins exit.) BRENNAN: He's coming after me through my friends. CAM: What? BRENNAN: He told me whatever happened would be my fault. CAM: (Cam nods.) Then we'll make sure nothing else happens. (Interior - Day - Autopsy room at the Jeffersonian. Close-up of the heart in the box melds into an image of the heart on the screen over the autopsy table. Cam is standing on the left of the table, Brennan on the right.) CAM: There are cut marks on both sides of the inferior vena cava and connecting arteries. The heart was cut out using shears or scissors. (Booth walks in.) BOOTH: Package was delivered by a bike messenger. He said a man matching Howard Epp's description approached him on L Street. Paid cash. BRENNAN: He's just playing with us. BOOTH: Not for long. (Hodgins walks in.) BRENNAN: How's Angela? HODGINS: Angry. She insisted on helping me, which worked out well. She realized that the present Epps gave us was a recipe. BOOTH: Wait, the heart? HODGINS: No, the ingredients in the vial. After he ground up the bone, Epps mixed it with spices: the cardamom, tamarind and kokum - which are all used in making curries. BRENNAN: Indian food. BOOTH: Epp's wife. The last address we had for her was in Little India over a curry restaurant. (Pushing Brennan out of the room.) Come on! (Interior - Day - Mrs. Epps's apartment building. Booth and Brennan walk towards her open door. Booth puts out his arm to keep Brennan behind him, opening the door with his other hand. Brennan pulls out her big g*n, checks the barrel, and clicks it closed.) BOOTH: You know, I could have the Bureau pull your license. BRENNAN: Yeah, and I could assign Zack as your forensic anthropologist. (The both enter g*n at the ready walking cautiously through the apartment..) BOOTH: Place hasn't been rented since she moved. BRENNAN: You know, it's just not logical. Playing games with us? It's just gonna lead us right to him. (Brennan flips the light switch on and off but nothing happens. Booth turns to the ktchen and looks at the refrigerator which can be heard running.) Wait. If the lights are off, then why is the refrigerator working? (Booth moves toward the refrigerator.) BOOTH: Wai- just stand back. (Brennan, still holding her g*n up, looks into the other room. Booth examines the refrigerator.) Well, it's not booby-trapped. (He opens the door. Mrs. Epps severed head, blood is sitting on the top shelf.) Act II (Interior - Day - Autopsy room at the Jeffersonian. Dr. Brennan holding the head and Cam looking on. Booth standing at the other end of the room.) BRENNAN: The neck was severed just above the shoulders. The jagged marks on the bone indicate that Epps used some kind of saw to decapitate her. CAM: No sign of blunt force trauma to the skull - Epps usual M.O. No clear cause of death. BRENNAN: Without the rest of her body we can't know for sure how she died. CAM: I'm seeing some kind of white powder in her hair. Hodgins can tell us what it is. Why just leave her head? BOOTH: To get us all involved. I mean, the less we have to work with, the- the more we're all drawn in. BRENNAN: Epps told me to use my head. BOOTH: Everything he says is a clue. Could it be inside the head? CAM: It's too early to tell. BOOTH: What do you mean, too early? Okay? All we do is just cut open the damn head and find out what's inside. BRENNAN: But there are protocols, Booth! BOOTH: Yeah, and I'm sure Epps is really concerned about the protocols. CAM: This is my autopsy. We're gonna do it by the book. That means surface exam followed by x-rays after which I will open the skull. BOOTH: Sorry. I'm just a little anxious to get the little gerbil back in his cage. That's all. CAM: (Looking from the neck to the screen above the exam table which shows an enlarged view of the neck.) Okay. That's terrifically disturbing. BOOTH: What? CAM: Massive blood aspiration to the soft tissue of the neck. (Brennan exhales loudly.) BOOTH: Meaning? CAM: Caroline Epps was alive when Howard cut her head off. BRENNAN: Now he's torturing his victims. BOOTH: So let's t*rture him. BRENNAN: How? BOOTH: Bring his mother in. CAM: I thought Epps hated his mother. BOOTH: His FBI profiler believes he was emotionally attached to her. His prison logs show that he wrote to her almost every day. CAM: Well that's sick. BOOTH: But helpful. I mean, if he feels responsible for his mother being in jail we can knock him off his game. (Interior - Day - Interrogation Room. A large woman in a colorful print dress with glasses on a cord sits at the table. Booth and Brennan enter.) BOOTH: (Whispering.) What's that smell? BRENNAN: It's mold. It grows in the fat creases of morbidly obese people. MRS. EPPS: What is this about? Did you bring me here to make fun of me? BRENNAN: I merely stated a fact, Mrs. Epps. You need to lose weight. Obesity also causes diabetes, heart damage, liver failure. Not to mention the wear it puts on your joints. MRS. EPPS: I have a glandular condition. A little compassion and understanding, that's what I really need. To Booth. Why am I here? BOOTH: We, uh - we found some drugs at your place. (Pulls a pill box, plastic with slots for each day of the week, from a plastic evidence bag.) MRS. EPPS: Those are my pills. My doctor gave them to me. I need my medicine. BOOTH: Well, you know, they're not, uh, properly labeled. This could take us a few days to sort this out with your doctor. BRENNAN: We're looking for Howard, Mrs. Epps. MRS. EPPS: Howard's in jail. I haven't seen him or talked to him in years. BOOTH: Howard, uh, escaped yesterday. MRS. EPPS: Oh, dear Lord. I tried to raise a good son. Tried to keep him pure like the good book says. I-I don't know what happened. He was such a sweet child. BOOTH: Howard- He wrote to you all the time. MRS. EPPS: He wants me to understand, wants me to forgive him. Says he's still my little boy. (Inhales loudly.) But I don't answer. BRENNAN: You're son m*rder his wife yesterday, beheaded her. MRS. EPPS: (Shaking her head now) And you want to blame me? BRENNAN: You made your son bathe in ammonia. MRS. EPPS: The women he would go out with, they were loose. Not the right kind for a God-fearing son! Wanted him to wash their scent off. BOOTH: Is there anything else that you can tell us that might help us find your son before he kills again? MRS. EPPS: It's not my fault what he did. BOOTH: Yeah. Okay. Um, that's all for now. We'll have an agent escort you back to your cell. Um, of course you have the right to an attorney. (Booth and Brennan stand up to leave.) MRS. EPPS: I should've been harder on him, b*at him more regular. I'm a nice person. Too nice. That was my problem. Too nice. (Exterior - Day - Booth's SUV. Booth driving and Brennan in the passenger seat.) BRENNAN: Marian Epps is clearly a bad mother. BOOTH: (Chuckles.) You think? BRENNAN: But a lot of people have bad mothers and they don't up to be serial K*llers which is why I don't put much stock in psychology. BOOTH: Listen, Bones, I don't care how you explain it, alright? The guy, he's an animal. He's got no conscience. BRENNAN: I don't know how one draws moral distinctions between K*llers. BOOTH: Listen, Bones, alright, there are crimes of passion, alright, crimes committed out of desperation, which are usually followed by remorse or acknowledgment of human failing. The key word here is "human." BRENNAN: The reasons for k*lling someone are unimportant. It- The life that's taken is all that matters. BOOTH: Listen, you can't blame yourself here. BRENNAN: It's me he's after. Angela and everyone else, they shouldn't be involved. BOOTH: Alright. Look. It's not your fault, alright? It's all Epps, which is why I'm gonna take this little bastard down. BRENNAN: Booth. (Looking in rear view mirror at a car behind them.) Booth, we're being followed. BOOTH: Mm-hmm. That's right. (Chuckles.) Two agents, all the time, at a very discreet distance. See, I don't care how big your g*n is. Alright? (Clears Throat. Cell phone rings.) BOOTH: What's this? Booth. CAM: Something was inserted in Caroline's ear. Epps made an incision in Caroline's left ear canal, inserted a token for a kid's ride from a place called Hillside Park. BOOTH: Oh, God. My son plays there every day after school. Booth h*t's the siren and does a u-turn. (Exterior - Day - Hillside Park. A man is handing a girl a token in front of a merry-go-round.) MAN: Here you go. (Booth and Brennan run around the path toward the merry-go round.) BOOTH: Parker comes here every day at 4 with his nanny. (Sees the nanny, grabs her elbow.) Rose! Rose, where's Parker? ROSE: On the merry-go-round. He was just there! (Booth jumps onto the merry-go-round, Brennan runs around the other side.) BOOTH: Parker! Parker! BRENNAN: Parker! BOOTH: (Running between the rows of horses.) Parker! Parker! BRENNAN: Parker! Parker! ROSE: Parker! BRENNAN: Parker? ROSE: Parker! BOOTH: (Freaking out.) Parker. Parker! BRENNAN: (Looking away, sees Parker at the ice-cream vendor.) Booth. BOOTH: What? BRENNAN: Over there. BOOTH: Parker. Parker! Parker! PARKER: (Running towards Booth, carrying an ice cream cone.) Daddy! BOOTH: Hey. (Picks him up, hugging him tightly, hand behind his head.) Oh, God. Alright. PARKER: Look. A man bought me ice cream. BOOTH: Alright. Alright. (Throws down the ice cream.) PARKER: That was my favorite. BOOTH: I'll buy you another one, okay? Just listen to me. What did this man look like? PARKER: A man. He said he was your friend. BOOTH: What did he say to you? Did he say anything else to you, Parker? PARKER: To use my napkin. BRENNAN: (Picking up napkin.) Booth. (Takes napkin from Brennan, reading it aloud,) "My name is Parker. Ask me how I can solve this case." To Parker. Alright. What else did he tell you? PARKER: Nothing. He was just nice. BOOTH: Okay. Just listen to me, Parker. Alright? This man is trying to hurt Daddy's friends, okay? So I need you to think. What else did he say to you? PARKER: I didn't do anything wrong. He said he was your friend. BOOTH: You never talk to strangers, okay?! You never! (Parker beings to cry. Booth hugs him.) I'm sorry, buddy. It's okay. Alright? I'm sorry. ROSE: What's going on, Mr. Booth? BOOTH: There's just an investigation going on, okay, Rose? (Pulls Parker away and looks at him.) I'm gonna have these agents take you and Parker home and keep you safe. Alright? (Pulls Parker into another hug.) I'm sorry. It's okay. (Interior - Day - Autopsy room at the Jeffersonian. Pan up from Mrs. Epps head in a jar to Cam examining the head with an implement and the examination viewable in a screen behind Cam's left shoulder. Zack walks in.) CAM: No. ZACK: I didn't say anything. CAM: You've been in her every 10 minutes since they left. I will let you know when I'm finished. ZACK: I could take the head and x-ray it. Then you could finish what you're . . . CAM: No. We have these protocols for a reason. A telephone rings. Saroyan. BOOTH: (Calling from his SUV, Brennan in the passenger seat.) Have you opened the head yet? CAM: I just finished telling Zack . . . BOOTH: Listen, Epps just went after my kid, Cam. CAM: Parker. BOOTH: You know there's something there. He told us. It's something we need. He wants us to find it. CAM: You're upset. BOOTH: Of course I'm upset! Listen, I know there are protocols, but he could've k*lled my son. (Booth hangs up.) CAM: (Cam hangs up the phone. To Zack.) Get me the number two saw. (Cut to bone saw whirring, Cam with safety goggles on preparing to saw the head.) I found some bruising to the back of her head. I'm gonna cut below it so I don't disturb the area. ZACK: I hate this part. CAM: Me too. (Begins to saw half way between the eyebrows and hairline. Suddenly, a white powder sprays out of the head. Cam begins coughing and wheezing.) ZACK: Dr. Saroyan. CAM: Protocol. ZACK: Biological containment. (Alarms blaring. Jack and Angela put masks on and run from their offices. Cam collapses on the floor, eyes rolled back in her head and frothing at the mouth.) Uh-unknown hazardous material. We need an emergency medical team at the autopsy lab ASAP. ANGELA: What happened? HODGINS: I don't know. I don't know. I don't know! ANGELA: Oh, my God. Cam. ZACK: Dr. Saroyan, they're on their way. ACT III (Interior - Day - Hospital Room. Cam is lying on the bed, eyes closed, a nurse attending to her. Brennan, Booth and a Doctor stand outside looking in.) DOCTOR: Here heart rate is erratic. There's clotting in the kidneys. BOOTH: How bad is that? DOCTOR: Bad enough. But what worries us more is the lung damage. The toxin has caused edema. BOOTH: What does that mean? I don't know what that means. BRENNAN: Fluid buildup. Essentially, she's drowning. I'm sorry. DOCTOR: If she has family nearby, you'll want to send for them. BOOTH: Yeah. Cam's got a lot of family. (Booth walks away.) BRENNAN: How much time does she have? DOCTOR: Send for her family. (Doctor exits. Brennan moves over next to Booth. Hodgins walks in.) HODGINS: Zack saw everything. BRENNAN: How close was he? HODGINS: A few feet. BRENNAN: And he's fine. So it's probably not a toxic gas. HODGINS: Zack says it was some kind of powder. Which means there could be traces on her clothing. BOOTH: Just work fast, okay, Hodgins? Just work fast. (Hodgins exits.) BRENNAN: Considering the relationship between you and Cam, I'd like to say the right thing, Booth . . . I don't know what it is. Usually I'd-I'd ask you or Angela. BOOTH: You just said it. Thanks. (Interior - Day - Hodgins desk at the Jeffersonian. Glare from the light behind booth bridges to the overhead lamp above the desk. Hodgins is sitting at the desk, Zack has his back to him.) HODGINS: Can't find any traces of powder on Cam's clothing. ZACK: Did you search elect statically? HODGINS: Yes. You're sure it was a powder. ZACK: Yes. HODGINS: It had to be a gas. ZACK: If it were a gas, I'd be in the hospital with Cam. (Hodgins hands are in gloves in a plastic box. He's running an implement over the clothing.) HODGINS: No particles on her clothing. Zack, it had to be a gas. ZACK: It wasn't. Are we having an argument? HODGINS: Of course. ZACK: Why? HODGINS: Because Cam's dying, and I should be with Angela. And because there are no particles. ZACK: On the clothing? HODGINS: That's right. ZACK: What about the glass parts still left in the head? (Hodgins whips around to look at Zack.) HODGINS: I'm not angry at you anymore. (Hodgins pats Zack on the shoulder as he runs by.) (Interior - Day - Hospital room. Cam is lying in bed, eyes closed. Booth is sitting to the left of her bed, head down. Cam's eyes open.) BOOTH: Hey! (Cam wheezing.) Welcome back. CAM: Why can't I breathe? BOOTH: Your saw, it um, it h*t some kind of poison, but, uh, you're gonna be alright. CAM: Zack? BOOTH: He's fine. Okay? Everyone- everyone's good. (Cam nods.) I'm- I'm . . . I'm so sorry, you know, that I put so much pressure on you to hurry. I didn't, uh- CAM: (Wheezing) Not your fault. Epps did this to me. BOOTH: (Sniffles) Hey. Your family's coming. CAM: Oh, God. (Coughing.) And I thought poison . . . was my biggest problem. (Booth chuckles and sniffles. Cam chuckles.) (Interior - Day - Brennan's office. Brennan at her desk and Angela in the doorway.) ANGELA: You look exhausted. BRENNAN: (Exhales.) What have you got? (Angela leans in and types on Brennan's computer.) ANGELA: Okay. This is an x-ray of Caroline's head. These are shards of glass, very fragile. BRENNAN: What was it? ANGELA: I think it was a glass capsule filled with a poisonous powder. Epps inserted it after she was d*ad. Probably up the nose. BRENNAN: And when the saw blade h*t it, it exploded. ANGELA: Hodgins has some of the shards now. He'll figure out what the poison is. BRENNAN: If I were Epps, I would've made it something that changes composition after prolonged exposure to air. ANGELA: Let's hope he's not as smart as you. I'm gonna go sit with Cam for awhile. (Angela exits. Brennan turns to face the wall with the case info. A telephone rings.) BRENNAN: Brennan. EPPS: So who'd I get? BRENNAN: (mouths "Epps," pointing to the phone to signal to the agent outside her office. The agent exits.) If you're talking about the bulb in Caroline's head, we removed it. How'd you get it in there without breaking it? EPPS: I saw the emergency vehicles. I know I got someone. They might not be d*ad yet, but they will be soon. BRENNAN: Sorry. You missed this time. EPPS: If you don't admit to who it was, then I can't give you the hint to save their life. Okay, then. It was nice talking to you. BRENNAN: Wait! Wait! EPPS: Yes, Dr. Brennan? BRENNAN: Dr. Saroyan. EPPS: She tried to remove the bulb with forceps. But it was too fragile. It snapped. BRENNAN: Yes, that's exactly what happened. Now will you tell me the poison? EPPS: The body knows what the head can't say. BRENNAN: Caroline's body or your mother's body? EPPS: My mother? BRENNAN: Yes. We have her in custody. Didn't you know? EPPS: On what charges? BRENNAN: What poison, Howard? EPPS: (pacing back and forth, running his hands through his hair) You had no right. My mother's not part of this. BRENNAN: You tell me about the poison and I will tell you about your mother. EPPS: (placing the phone to his forehead and then away from him. Talking into it sideways.) You don't run the game. I run the game. You're gonna be sorry. (Hangs up. Agent re-enters.) AGENT: Cell phone downtown. There's a team on its way. BRENNAN: He's already gone. (Interior - Day - Cam is in her bed, intubated, eyes closed. Booth is sitting in a chair to the left of the bed looking anxious. Brennan walks in with an agent behind her.) BOOTH: (Seeing Brennan and standing.) Hey, Hodgins find the poison? BRENNAN: Not yet. (Walking toward the bed.) How's Cam? BOOTH: It's worse. She can't breathe on her own. They- Uh- Bones, I really need you to find out what she inhaled. BRENNAN: Epps called and left me a clue. BOOTH: What is it? BRENNAN: He said, "the body knows what the head can't say." BOOTH: Caroline's body. BRENNAN: I think so, yes. You were right. He was pretty upset when he found out that we had his mother. BOOTH: (Chuckling) You told him? That's good. Make the bastard sweat. BRENNAN: He said we'd be sorry. (Turning to leave.) I'll call you as soon as we have something to g on. BOOTH: Bones, I'm coming with you, alright? Hold on, alright? This is gonna take all of us. (Booth kisses Cam on the forehead and brushes the hair back from her face.) Okay, I'll drive. (Interior - Day - Zack's office. Jack has his hands in the plastic box collecting samples from Caroline's head. Zack is looking at the display screen behind Hodgins.) HODGINS: If I put too small a sample into the photoelectric aerosol sensor then I'll both lose the sample and not get an accurate response. ZACK: I estimate that there's about 1/10,000th of a gram on this shard. HODGINS: (Exhales) We're not getting enough. Not to mention the particles themselves are extremely small, about 1.6 micrometers in diameter. (Booth enters.) BOOTH: Hey. What's the poison? HODGINS: I don't know yet. BOOTH: Well, what-what do you know? HODGINS: It's none of the common poisons: arsenic, cyanide, mercuric chloride. BOOTH: Let's start by telling the hospital what it isn't then, okay? What was in Caroline Epps's hair? HODGINS: The white powder? It was just common plaster dust. ZACK: There was also a very small amount of sodium hydrosulfide in her ear. BOOTH: Great. Put those two things together, what do we have? HODGINS: Drywalling and . . . ZACK: (stammering) Uh, leather goods. BOOTH: Great! I'll look through the evidence and see if I can find those two things. Turning to leave. HODGINS: Booth. (Booth turns back to Hodgins.) BOOTH: What? HODGINS: I'm sorry man. Without more material, it's just . . . BOOTH: You're both doing a great job. Now it's up to me to find Caroline Epps's body. (Turning to leave and getting to the door.) ZACK: Booth? BOOTH: (Turning back around irritably.) What? ZACK: We've endowed Epps with intelligence he does not have. His clues are unsophisticated word games. BOOTH: Yeah? ZACK: Uh, "my name is Parker. Ask me how I can solve this case." BOOTH: I already asked Parker. He doesn't know anything. ZACK: It doesn't have to be your son. It can be something else named Parker. Something to do with leather goods or drywall. Do a Boolean search. (Booth shakes his head angrily, moving toward Zack.) Okay, right. You don't know what that is. Boolean is . . . (Booth moves toward Zack thr*at, Zack backs into a seat.) I won't explain. I'll just do it. BOOTH: I am walking out of here. You try and stop me again, I will sh**t both of you. (Booth exits.) ZACK: (Pulls a map up on the screen and whimpers.) Mmmm... Ummm... (Turns to face Hodgins.) HODGINS: What? ZACK: I really need him to come back. HODGINS: (yelling) BOOTH! (to Zack.) Whatever you got better be worth dying for. (Booth enters menacingly, placing a hand near his g*n.) ZACK: Uh, there's a Parker & Parker Leather Goods owned by the Parker brothers on Parker Street in the town of Parker just outside of Arlington. That's a lot of Parkers. BOOTH: Yeah, okay. Let's go. (Pulling Zack up out of the chair by the tie and guiding him out of the office.) Grab your boos and let's get going. Come on. (Exterior - Night - Parker & Parker Leather Goods.) (Interior - Night - Parker & Parker Leather Goods. The swat team opens the door. Booth is behind them.) MAN: Alright. Let's fan out. Moving into the next room. Clear! MAN #2: Go, Sean. (Brennan and Zack appear behind Booth.) MAN #3: Check that door. Check that door. (Caroline's headless corpse is on a table in the center of the room.) MAN #4: We're clear. BOOTH: Okay. Uh- (putting his arm out to prevent Brennan from approaching the body.) Come on. Knowing Epps, how do we even know that's Caroline's body there. BRENNAN: If it isn't, it'll still be a clue. BOOTH: Okay, let me do this, alright? (Moving to examine the table.) Alright. No, uh- (Into a receiver on his jacket.) Jam all the frequencies. (To Brennan ) If he's got a remote detonator, it ain't gonna work now. No sign of trip wires. BRENNAN: There it is. On her stomach, the poison, just like Epps said. ZACK: (Moving toward the table) I'll just . . . BOOTH: No, Zack, no! (A switch clicks and something beeps.) Don't hesitate! Put your palm on the stomach and press down. (A switch clicks.) BRENNAN: What? BOOTH: That was a pressure trigger. (Zack hands the bag to Brennan.) Body's booby trapped. Everybody out! MAN: Roger that! Let's go! (The swat team exits.) Go! Go! Go! Go! ZACK: What do I do? BOOTH: Don't be scared. ZACK: I'm not scared. I just need to know what to do. BOOTH: (Pushing Brennan out of the room.) Out. Out. BRENNA: I want to help! BOOTH: Out! Now. (Booth tilts a wooden dining table in the corner over onto it's side. Booth exhales loudly.) Zack, uh . . . This, uh . . . (Coming up behind Zack and placing his hand on Zack's.) This is gonna hurt? ZACK: You or me? BOOTH: Mostly you. Okay. On three, I want you to jump back as high as you can. ZACK: I'm not a good jumper. BOOTH: Be a good counter. ZACK: I-I am a good counter. BOOTH: Right. ZACK: On three. BOOTH: Okay. BOOTH & ZACK: One, two, three! (They jump backwards. From the exterior we see f*re erupt from the front windows of the store, bl*wing out the glass.) ACT VI (Interior - Night - Dr. Brennan's Office at the Jeffersonian. A television report of Channel 2 WPKV News (J.C. Natt Reporter) is playing. A female reporter is standing in front of a firetruck and the debris strewn front of Parker & Parker Leather Goods.) FEMALE REPORTER: The expl*si*n occurred as FBI agents searched the shop for escaped serial k*ller Howard Epps. At least one person was k*lled in the blast. Dr. Zack Addy, a forensic anthropologist who was working with the FBI, died at the scene. Special Agent Seeley Booth remains in critical condition. (Booth is sitting on the couch watching the TV. He has Bruises on his face.) BOOTH: Chuckles. Okay, that's creepy. Zack d*ad and me in critical condition, right? (Zack is sitting next to him. He has cuts on his face and he is holding his right arm. Brennan is sitting on the arm of the couch next to Zack.) ZACK: But why? It's not true. (Brennan turns of the TV with the remote.) BRENNAN: (To Zack.) You gonna be alright? ZACK: (Shakes his head yes.) My doctor said most of my injuries didn't come from the expl*si*n but from being slammed into the floor. (To Booth.) Apparently, you're extremely strong. BRENNAN: (To Booth.) Did you have to be so rough on him? BOOTH: It was a b*mb. I was being, you know, heroic. ZACK: (To Brennan.) I was heroic too. BRENNAN: Yes, you were. BOOTH: Somebody saved somebody. That's all I'm saying. ZACK: Well, I got the poison. BRENNAN: Which is good because Caroline's body was blown to pieces. BOOTH: That was good thinking, you know, you keeping your wits. But I mean, what I did was, uh . . . (Looking at Brennan and Zack's incredulous looks.) I guess if you have to explain to yourself why you're a hero, I guess you're not really a hero. (Interior - Night - Zack's office at the Jeffersonian. Hodgins is alone, looking at computer.) HODGINS: What the hell are you? You're not a bacterial protein or a non-opioid analgesic. You're not a neurotoxin or a heavy metal. (Angela enters.) You act like chloromethane, but Zack said that there was no sweet smell when the powder was released. ANGELA: Are you talking to the evidence? HODGINS: Just . . . working through this as systematically as possible. ANGELA: You know, when this whole thing is over, I am moving to a doorman building, I'm getting an unlisted number and I am hiring a full-time bodyguard named Knuckles. HODGINS: Don't get paranoid. ANGELA: That's funny coming from a conspiracy theorist. Computer beeping HODGINS: Of course! Methyl bromide. Exiting I'll call the hospital. (Interior - Night - Dr. Brennan's office at the Jeffersonian. Booth is standing, Zack and Brennan are on the couch. Hodgins enters.) HODGINS: Methyl bromide mixed with plaster dust. That's what made it so hard to isolate. BOOTH: What's the treatment? HODGINS: Racemic epinephrine. I called the hospital, they're starting an I.V. BRENNAN: Shouldn't you be there for that? HODGINS: Hey, priorities in life, man. One, be there when someone you love comes back from the brink of death. Two, catch the serial k*ller. Everything after that is basically unimportant. BOOTH: I'm gonna go see Cam at the hospital. (To Brennan) and you are gonna go home and get some sleep? ZACK: Why can't I go home? BOOTH: Didn't you just hear what they said on the news? You're d*ad. BRENNAN: What about Epps? BOOTH: I got an entire surveillance team outside your home, watching you. Why does everybody question me, right? I'm the hero. (Interior - Night - Cam's hospital room. Booth at the end of the bed. A doctor to the right, examining Cam.) BOOTH: Why is it taking so long? DOCTOR: It's not. She's responding. (Doctor exits.) BOOTH: Camille? CAM: Seeley. BOOTH: (Chuckles) Don't call me Seeley. CAM: Don't call me Camille. BOOTH: How you feeling, babe? CAM: Like I got poisoned by a disembodied head full of plaster dust. BOOTH: Plaster dust. (To himself ) Plaster dust. (Exterior - Night - Brennan's apartment building.) (Interior - Night - Brennan's apartment. An agent is opening the door, Brennan and another agent are behind him.) AGENT #1: Everything is secure. Agent Holtz will stay in the hallway and they'll be another agent in the lobby. BRENNAN: Thank you. (Agent hands Brennan her keys) Good night. AGENT #1: Good night. (Agent Exits.) Brennan closes the door. (Interior - Night - Brennan's bathroom. Shower running, mirror fogged up, music playing. A piece of drywall is pushed in and Epps crawls through and pushes open the closet door, holding a crow bar. He rounds the corner looking toward the bathroom. At the front door, Booth is looking in, g*n in hand, and Agent #1 and Agent Holtz are behind him.) BOOTH: (Whispering) Check the apartment next door. (Epps approaches the bathroom. Brennan rounds the corner, dry and dressed, g*n in hand. The hammer clicks into place. Booth's g*n clicks as he walks toward Epps.) d*ad end. BRENNAN: (To Booth) You won't let me sh**t him, will you? BOOTH: You knew he was gonna be here, didn't you? BRENNAN: It's the only scenario that made sense. BOOTH: Oh. What, you heading for the balcony, Howie? Hope you can fly, cause that's about a fifty foot drop, (to Brennan) right? BRENNAN: Yeah. EPPS: How did you know? BRENNAN: Plaster dust in the poison. BOOTH: Renovations to the apartment next door. BRENNAN: You're not all that smart, turns out. EPPS: One minute. All I want is one minute alone with you. BRENNAN: Fine with me. BOOTH: Don't provoke the lunatic, alright? (To Epps) You got nowhere to go. EPPS: I'm not going back to jail. BOOTH: You see, that's really not your decision, Howie. Get your hands up. Drop the crowbar. (Epps throws the crowbar at the lamp, breaking it and casting the room into darkess. He dashes out the window.) BOOTH: In the line of f*re, Bones. (Epps jumps off the balcony and Booth grabs him by the arm.) You're not getting away, Howard. (Brennan appears and leans over to look.) EPPS: (Panting) Look who the k*ller is now, Agent Booth. BOOTH: A little help here, Bones? I got nothing but d*ad weight here. Help me. BRENNAN: (Trying to reach but not being able to.) Sorry. Can't reach. BOOTH: Grab the railing. EPPS: You're gonna drop me anyway. Just get it over with. BOOTH: You son of a bitch. EPPS: Are you saying you don't want me d*ad? BOOTH: Yeah, I'm not you. EPPS: Oh, really? You're not thinking of the world with me still in it? Going after Dr. Brennan, your son- BOOTH: I'm not you. (Booth and Brennan grunting, straining to reach.. Epps, scared, whimpers, gasps, and Booth looses his grip. Epps falls to the pavement. Sirens wail, police radio chatter sounds.) (Interior - Night - Brennan's Apartment. Booth, Brennan and Agent #1 are sitting at the dining room table.) AGENT #1: Unit on the ground saw what happened. So did the sn*per across the street. You tried to save him. BOOTH: Yep. BRENNAN: No one could've helped him. BOOTH: (Nodding) Yeah. AGENT #1: You can take off now, Booth. Department might want to assign you a shrink- on the job death like that. (Exits.) BRENNAN: You didn't have your full strength. Your wrist was hurt from pulling Zack away from the expl*si*n. BOOTH: My wrist wasn't hurt, Bones. BRENNAN: (scoffs) I wish you'd let me sh**t him. BOOTH: No, you don't. (Getting up and walking out.) (Exterior - Day - Hillside Park. Booth is bending over Parker in front of the merry-go-round.) BOOTH: Come on, Parker. I'll put you up there. PARKER: No, Daddy. I don't wanna get on. Booth picks Parker up and puts him on the merry-go-round. BOOTH: Up. Up. There you go. Alright? (Strapping him in to the ride. Brennan enters, watching silently. Booth kisses Parker on top of his head.) Knuckles. (Booth and Parker bang knuckles. Booth walks away as the ride starts. Sees Brennan.) Hi. How'd you know I was here? BRENNAN: Saturday morning. How's Parker? BOOTH: Yeah, I'm afraid I freaked him out the other day. He's really scared of this place. Now I gotta put that right. (Sitting down on a bench.) BRENNAN: That's you all over- putting thingss right. (Sits down next to Booth. Exhales.) Cam gets released from the hospital today? BOOTH: Yeah. BRENNAN: What? BOOTH: You know, what happened to Cam happened because . . . we had a personal relationship. BRENNAN: Had? BOOTH: Yeah. People who work in . . . high-risk situations they can't be involved romantically because it leads to things like what happened. BRENNAN: High-risk situations. BOOTH: Every single day it's with us. There's this line, and we can't cross it. You know what I'm saying? BRENNAN: Yes. I understand. (she takes a deep breath. Parker waves from the merry-go-round. Looking at Parker.) He seems okay now. BOOTH: Yeah, you know, it's important to make things right. I just don't know how. I don't know how. (Fade Out - End)

{"type": "series", "show": "Bones", "episode": "02x12 - The Man in the Cell"}

foreverdreaming

"The Girl in the Gator" Episode 2x13 Written By: Scott A. Williams Directed by: Allan Kroeker Transcribed by: xxblackxsatinxx Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (EXT. royal diner - day. AGENT SEELEY BOOTH: and DR. TEMPERANCE BRENNAN: walk out of the diner.) BOOTH: (on the phone) Florida? Today? BRENNAN: Is that work? BOOTH: (to Brennan) Yeah. (He holds the door open for a a few people entering the diner - then into phone again-) Hot, fun, Miama, Florida? Or sticky, you know, swampy Florida? (to customers he just held the door for) You're welcome, God! (An ice cream truck is heard in the background. They begin to walk down the same street as the ICE CREAM TRUCK.) BRENNAN: What's going on in Florida? BOOTH: (to Brennan) Wait a sec. (into phones) What flight? (The music gets louder.) Hold on a second. I can't hear you. (to the ice cream truck driver) Enough with the song already, all right? ICE CREAM MAN: I'm doing business here. Deal with it! BOOTH: (into phone) Hold on a second, now my pen's out of ink. BRENNAN: Here. (she hands Booth a pen) BOOTH: Oh, hold on. I can't hear anything. ICE CREAM MAN: The kids love the music! BRENNAN: Well, I don't see any kids. ICE CREAM MAN: The music attracts them! BOOTH: (into phone) Did you say the Everglades? Look, I can't hear anything because of this insane music! (Booth turns around and sh**t the CLOWN-SPEAKER on top of the ice cream truck. People start screaming. Brennan looks at him - mouth agape) ICE CREAM MAN: You sh*t my clown! BOOTH: Great. Flight number? MAN: Move out of the way!!! ICE CREAM MAN: Hey! He sh*t my clown! BOOTH: (into phone) Okay, thanks! (turns to Brennan) Okay, we're all set! BRENNAN: (still looking shocked) That was not good. (CUT TO: EXT. EVERGLADES - day / int. BRENNAN:'S CAR - day. Brennan is talking to Booth on her cell phone while driving to the crime scene.) BRENNAN: I thought you said you'd be down on the next flight? BOOTH: Well, I haven't met with the shrink yet. BRENNAN: What shrink? BOOTH: Well, the department psychiatrist has to sign a piece of paper saying, you know that I'm not nuts before I get my g*n back. So, I got an appointment tomorrow. BRENNAN: Great. Now I have to break in this... (looks at a paper) Agent SULLY:? BOOTH: Wait, Sully's a great guy, okay? And for your information, you never broke me in. BRENNAN: Oh, I think that's him - Okay, I'll talk to you later. (Brennan arrives at the scene and Agent SULLY: walks up to her.) AGENT SULLIVAN: Doctor Brennan? BRENNAN: Agent SULLY:? AGENT SULLIVAN: Uh-huh. Name's Eugene. BRENNAN: Okay, Eugene. AGENT SULLIVAN: No, not me. I'm Sully, short for SULLY:. BRENNAN: Well, then who's Eugene? SHERIFF: Right here. (Four men pull forward A d*ad ALLIGATOR) SHERIFF: Eugene's been king of this swamp for as long as I can remember. Broke my heart to have to sh**t him. BRENNAN: Is there an actual human victim? SULLY: Inside Eugene. BRENNAN: He ate somebody? SHERIFF: Damn spring breakers think it's a real kick to come down here and drink beer with the big fella'. I just chased off a bunch of 'em. And there was Eugene in the middle of the swamp gulping down somebody's arm. SULLY: Someone from the group of kids you chased off? SHERIFF: No. No gators don't eat fresh k*ll. They drown their pray. They stuff it down under water to tenderize for a few weeks before they can eat 'em. SULLY: Okay, why don't you drag the rest of the swamp for any additional remains. I'll check Fort Lauderdale Missing Persons. (points to Brennan) You start cutting. BRENNAN: No. SULLY: Wh- isn't that what you do? BRENNAN: Any potential remains are far too sensitive to be retrieved here. SULLY: Okay. Well, where - where do you suggest? BRENNAN: My lab at the Jeffersonian. SULLY: The whole gator? BRENNAN: I'll handle transport. SHERIFF: You're gonna need a big crate. BRENNAN: And a lot of ice. (Brennan leans down to look at the gator.) SULLY: Okie dokie, if you're doing this then there's a boat for sale that I'd like to check out. BRENNAN: A boat? Booth helps. SULLY: Cause Booth can't relax. BRENNAN: There's something metal in here. (Brennan retrieves a GOLDEN LOCKET from the gator's mouth. Sully and the Sheriff lean in to look at the object. Brennan pulls back defensively.) BRENNAN: (to Sully) Don't you have a boat to buy? ACT I (INT. Medico Legal Lab / EXAMINATION TABLE. Angela, Hodgins, Zack & Cam examine the gator.) ANGELA: I knew it was a gator. Brennan told me it was a gator. And yet wow! HODGINS: Definitely confirms one thing. We have the coolest jobs ever. ANGELA: Look at all these teeth. (Zack walks up to Angela and the gator.) ZACK: Step away, please. There are 80 in total. Note the conical shape. ANGELA: "Step away, please?" Just because you have a doctorate now does not mean I won't use you as a swizzle stick. (Cam examines the gator's stomach content.) CAM: Animal foot... possibly a rabbit. HODGINS: Not so lucky for either of them. CAM: Frog. ANGELA: Yummy! HODGINS: Do I hear music? (Zack leans in to listen to the music. Cam, Angela and Hodgins lean in towards the stomach. Cam pulls out a MUSIC-PLAYING FOOTBALL and turns it off.) ANGELA: Hey, I liked that song. (Cam pulls out something that seems to be a FOOT.) CAM: What do you think, Zack? ZACK: Definitely a human foot. CAM: Lovely. (CUT TO: EXT. DOCTOR WYATT:'S HOUSE - day. DR. GORDON WYATT is working on his barbecue outside of his house when Booth walks up to him.) BOOTH: Doctor Wyatt? DR. WYATT: Ah, Agent Booth, is it? Yes. Gordon, Gordon Wyatt. BOOTH: Right. You're the shrink? WYATT: Uh, shrink, yes, meaning psychiatrist. BOOTH: That's great, Doc. How's about you just sign my piece of paper here and I'll get back to work. WYATT: Uh, certainly. (Booth hands him a pen) No, no I have a pen. BOOTH: Okay. WYATT: Do you mind if I ask what exactly it was that you did? BOOTH: Yeah, I sh*t a truck. WYATT: Ah, full of t*rror1st, no doubt? Or plutonium, or fleeing felons, was it? BOOTH: No. It was an ice cream truck. WYATT: Do you have a good reason for f*ring on it? BOOTH: Yeah, the music... it was bothering me. WYATT: Ahhh. BOOTH: Yeah, there was a speaker in the clown's mouth. WYATT: Ohh. BOOTH: Yeah, I just pulled out my g*n, you know and (imitates g*n). It was gone. WYATT: So the FBI sent you to me, because you sh*t a clown? BOOTH: Not a real clown! WYATT: I suggest you cogitate on the underlying reasons you sh*t that clown while I make us some tea. BOOTH: What? Cogitate? Tea? (CUT TO: INT. Medico Legal Lab / Examination Table. Brennan examines the remains, while Hodgins and Cam go through the stomach contents - in depth.) BRENNAN: The depth of these bite marks - very impressive. HODGINS: One torn pair of jeans. One red linen blouse - size two. CAM: And one platform wedge, made it all the way to the lower intestine. (Angela walks onto the examination platform.) ANGELA: Florida FBI just beamed over names of recent missing persons. BRENNAN: We'll need dental records. (Sully walks onto the platform.) CAM: Sully! SULLY: Cam, look at you! In charge of moon base alpha here. CAM: And you're still a G-man, what happened to that restaurant you were going to open? Or was it a petting zoo? SULLY: Well I am keeping myself open for the perfect opportunity. I tried out a beautiful boat in Florida. BRENNAN: But he made it back to shore. HODGINS: Victim is female, in her late teens, eliminating three of your missing persons right here. SULLY: So, cause of death? CAM: For the gator? We have these four 45 caliber slugs. For the girl, so far we've got the gator. SULLY: Okie doke, well uhh... I'm gonna go grab a slice, so give me a call when you got an ID. (Sully starts to head off the platform.) BRENNAN: Her name's Judy Dowd. SULLY: Shouldn't you at least look at the x-rays before deciding that? BRENNAN: Says right here, she had surgery to repair a cleft palette at age two. (points to the remains) The bone graph is here. She was a freshman at Virginia State. Reported missing three weeks ago. (CUT TO: INT. FBI / INTERROGATION ROOM. Sully and Brennan are interrogating MR. DOWD.) DOWD: An alligator? Oh my god... SULLY: When did you last see your daughter, Mr. Dowd? DOWD: The day she left with her friend... for spring break. SULLY: Her friend... umh... Abigail Sims? DOWD: Abby... she's a good kid. I never should have left her go. (Brennan shows Mr. Dowd the necklace she found in the gator.) BRENNAN: We found this among the remains. DOWD: It was her mother's. Laney died when Judy was eleven. It's just been the two of us ever since. SULLY: Did you get any calls from her while she was there? DOWD: Every day. SULLY: Any sign that she was in trouble? DOWD: No. She sounded happy. So happy. (CUT TO: EXT. DOCTOR WYATT'S BACKYARD - day. Wyatt and Booth are having TEA.) BOOTH: You are 'really' English. WYATT: Oh, I don't know. I think I've assimilated quite well. Typical American house right down to the white picket fence, truck that's the, uh what is, the heartbeat of America. But tea, tea is uh, sacrosanct. Thank you very much. BOOTH: Me, I'm a coffee drinker. Hey listen pal - WYATT: You know, in an effort, to understand your culture better I've been trying to embrace this very American practice of preparing meat in the garden. BOOTH: Barbecue. WYATT: Hmm... it's a delightful word, isn't it? Barbecue. I think it's from the Caribbean, bar-ra-bi-cue, which means some sort of sacred f*re pit. You know the Latin for hearth is focus? Isn't that revealing? It's quite literally the focal point of every household. The hearth - the heart. Uh? Interesting. BOOTH: I told the ice cream guy I was sorry, alright? I... I... even bought him a new clown head! So just sign the paper! WYATT: Hmm... I must apologize. I gotta go off and get some ingredients for my mortar. Uhm, why don't we reschedule? BOOTH: We can't re-sch-edule. Alright? I gotta get back to work! WYATT: Well in that case, why not finish off preparing this area here? Could you do that? All the specifications are on the plans. You are fit for physical labour, euh? I mean, the clown didn't return f*re, did it? BOOTH: Oh well what if I said the plastic clown did f*re back, eh? WYATT: Brilliant. Now while I'm gone, what I want you to do is to consider what you were really aiming at. When you drew a bead on that unfortunate clown. BOOTH: Hey buddy, when I aim at something... I h*t it. WYATT: Precisely. Anyway, I shan't be long Agent. It's all on the plans here. I'll be back before long Agent. See you then. Do help yourself to more tea by the way. (CUT TO: INT. FBI / INTERROGATION ROOM. ABBY is being questioned by Sully and Brennan.) ABBY: Like I told the police, me and Judy were just doing the usual spring break stuff. The whole night was kind of a blur until I woke up the next morning at the hotel and Judy wasn't there. BRENNAN: She hadn't come back with you? ABBY: I can't remember. SULLY: So why didn't you report it to someone till later that night? ABBY: I thought maybe she'd hooked up. BRENNAN: Hooked up? Hooked... up? Oh... with uh, anyone in particular? ABBY: We met so many guys, you know how it is. SULLY: I'm guessing that she doesn't. BRENNAN: Do you have any pictures from that night, Abby? ABBY: No, the police took most of them. SULLY: Wha... most of them? ABBY: There's a couple on my personal webpage. I didn't want them showing poor Mr. Dowd. Judy would never want him seeing her like that. BRENNAN: Like... what? (CUT TO: INT. Medico Legal Lab / ANGELA'S OFFICE. Angela and Cam are examining something on a computer screen. Hodgins walks in.) HODGINS: There's the spectrophotometric evaluation on Judy Dowd. No results yet on her tox screen. CAM:No drugs, but her alcohol was sky high; 0.11. (examines the spectrophotometric evaluation) Oh dear. ANGELA: What? CAM: SPM reveals hidden hematomas and decomp tissue. See that shaded area here, it indicates bruising to her vaginal wall. ANGELA: Meaning Judy was r*ped. CAM: Or at the very least subjected to some extremely unpleasant college sex. HODGINS: One of these fine lads? CAM: Without DNA it's the proverbial needle in a hay stack. HODGINS: Wait, our victim was an HSB? CAM: Excuse me? HODGINS: Hottie Student Body dot com. It's this website that gets drunk college girls from all over the east coast to take their clothes off. (Angela and Cam stare at Hodgins.) What? I clicked on a pop-up, got caught in a p*rn. What? (CUT TO: EXT. DOCTOR WYATT:'S BACKYARD - day. Booth is working on the barbecue pit.) WYATT: Ohhhh splendid! So's your father who taught you to read plans, was it? BOOTH: Wrong tree doc! Dad and I were tight. WYATT: No, it's just that earlier you said that you weren't used to drinking tea with men. Which suggests to me that you're usually pretty rigid with your assignment of gender roles. BOOTH: What? No, no! My partner is a woman, kay? A woman who needs my help. WYATT: But are you currently involved with anyone? BOOTH: Just broke up with someone, okay? ME! And I ended it. WYATT: And, euh, how long had you been involved with her? Or... him. BOOTH: Her! Let's get that straight, okay? Her! Couple months this time. WYATT: This time? BOOTH: We got off... we'd gone out before. A few years ago, and euh, y'know, we, euh, I broke it up, and my ex wanted to give it another go. WYATT: Complicated. BOOTH: Ahhh, that's it! I sh*t the clown because I can't let go of the women in my life! Ah, thanks doc! Now I can go back to work, and you can sign the paper! WYATT: Excellent theory, but quite wrong and you're out of time. Tomorrow, all right for you? CUT TO:. INT. Medico Legal Lab / examination table. Zack is examining the remains when Cam enters the platform.) ZACK: We found a s*ab wound. CAM: Let's see it. ZACK: It's more of a puncture, really. In here among the bite marks just below her scapula. Angela doesn't like me being her superior. CAM: Because you're acting superior. ZACK: Which is what a superior is. CAM: Don't be a horse's ass, she's your friend. That's all that matters. These ridge marks inside the wound look like the threads of a screw. ZACK: We're trying to ID the w*apon. CAM: Well at the very least it concludes that Judy didn't stumble into the swamp and feed herself to Eugene. ZACK: That was my conclusion as well. CAM: Okay. (CUT TO: INT. Medico Legal Lab / ANGELA'S OFFICE. Angela and Hodgins are viewing something on the computer screen when Cam and Brennan walk in.) CAM: And the hits keep coming; seems Judy Dowd was r*ped and m*rder. ANGELA: No more rough college sex? CAM: Now that we know it's a m*rder, I'm feeling a lot less charitable. (The four of them watch a video from HSB on the computer screen.) BRENNAN: What is all this? HODGINS: Have a look. It was sh*t in Fort Lauderdale the same night Judy disappeared. BRENNAN: Who's that? HODGINS: He's names Monte Gold, internet king pin, inspiring Hugh Hefner. ANGELA: Monty has made millions off of this site. HODGINS: He also paid out a million in fines last year for filming under aged girls BRENNAN: I wonder if he knows you can't just pay a fine if you m*rder some one? END ACT I ACT II (Ext. entrance of a club - night. Some cars drive by, a few people are admitted into the club. Int. Club - Sully and Brennan walk up to MONTE GOLD, who is surrounded by young girls, and his workers LLOYD and EDDIE.) SULLY: Monte Gold? MONTE: Uh oh, run up some badges. Lloyd?! LLOYD: Hi. I'm Monty's producer, Lloyd. We've got, uh, sh**ting permits, and signed waivers. SULLY: You know this girl? (Sully shows a picture of Judy Dowd.) BRENNAN: She's on your website. MONTE: Yeah, and a thousand more like her. Might as well ask a Chinese guy to remember a grain of rice. SULLY: She's not a grain of rice, sport. BRENNAN: She's d*ad. MONTE: Eddie, off! Cameras off! Go away babies, shoo, let's go. What do you mean d*ad? SULLY: Name's Judy Dowd, we found her in Florida, r*ped, m*rder and fed to an alligator. MONTE: And she's posted on my website? Lloyd, you know about this? LLOYD: How would I know? MONTE: Get her off! Now, Lloyd. NOW! Go! LLOYD: Alright, alright. MONTE: You say an alligator? (Cut to: Int. Monty's bus - night. Lloyd is removing the pictures of Judy Dowd.) LLOYD: We would've never posted her if we knew. Monty is insanely careful BRENNAN: Not always, from what I hear. LLOYD: But he learns from his mistakes, now every I.D. triple check for eighteen before any girl signs the waiver. (Monte enters the bus.) MONTE: Idiot, you let her on my bus! LLOYD: I didn't want to be rude, Monty. MONTE: (to Brennan) Off the bus! Your boyfriend has no warrant. BRENNAN: You know, anthropologically speaking you follow a very ancient tradition. MONTE: Kay, entrepreneur? BRENNAN: Pimp. MONTE: Class is over. Off the bus. (Brennan heads off the bus.) (Cut to: Ext. Outside the club / near the bus - night. ISAAC is outside the club, handing out flyers.) ISAAC: Here you go, follow his path, learn the word. You two, follow his path, learn the word. (Brennan walks off Monte's bus.) Oh, oh there it is! Another misguided waif tumbles from the devil's sin mobile. BRENNAN: Excuse me? SULLY: She's with me. BRENNAN: Why are you winking? I'm not with... he's with me. SULLY: This is Isaac. Isaac is with the Church of the High Calling, way down in Eldon, Kansas. ISAAC (o.S.): Yeah, well let me tell you something. There is no distance too great to dissuade these lost young women from the grips of Monte Gold's carnal temptation. (Brennan examines the inside of Isaac's car. A gear shifter with a tennis ball can be seen.) BRENNAN: Looks like you plan on saving a lot of souls. SULLY: Women like this? (Sully shows Isaac the picture of Judy Dowd.) ISAAC: Oh oh! Who is she? What did Monte do to her? MONTE: Give it a rest, Isaac! (ALAN, mid 20's, walks up to Monte.) ALAN: Hey, hey Monte, you remember me? I'm Alan, I sent you my resume. MONTE: Not now. ALAN: Hey, hey, look I'm a great webmaster. I know the drill. ISAAC: A sinner about to throw his self into Satan's hellfire. ALAN: Shut up, freak! (Alan pushes Isaac. Isaac falls and hits his truck. Monte grabs Alan and tosses him aside.) MONTE: Hey, HEY! Come back and I call the cops. Get out of here, you'll never work for me, pal! (Monte walks up to Isaac.) God even fed you today, Isaac? Okay, let's get you a sandwich. Eddie, make the preacher some food, would ya? MONTE: (to Sully) The wingnuts come with the territory. Alright, let's quit playing games, what is it you wanna know? SULLY: Fort Lauderdale? MONTE: Lauderdale's Lauderdale. Partied that night, gave some willing girls their fifteen minutes of fame and headed out to Daytona for the next day's gig. BRENNAN: Any girls ride with you? MONTE: As much as I hate to disappoint you, fact is I'm not entertaining like I used to. SULLY: Ah, getting too old to exploit little drunk girls. MONTE: You've seen the videos, they exploit themselves. (Eddie walks up to them.) EDDIE: Ready to roll when you are Monte. MONTE: Now they all wanna be a Hottie Body, walk into a place and the shirts fly off, making what used to be a rush... I don't know... mundane. BRENNAN: Because you objectify them. You never see what makes them human. MONTE: Man, you have to spend all day with her. SULLY: Yeah, an actual woman. You oughta try it sometime. (Lloyd walks up to them.) LLOYD: Videos off the site. Here's a copy of the waiver. EDDIE: You know, I think I remember this girl. BRENNAN: You do? EDDIE: Yeah, you remember Lloyd. We were leaving the Lauderdale gig, and you made a joke about the bouncer swapping spit with that girl. LLOYD: That was this girl? EDDIE: I'm pretty sure. Ah, she's hot! LLOYD: Passed the two of them playing tonsil hockey in the doorway. That bouncer was a big dude too. MONTE: And it's me you're harassing. LLOYD: Let's go, Eddie. (Cut to: Int. FBI bureau / Conference Room. Brennan and Sully are looking over Judy's waiver.) BRENNAN: This waiver's a joke. Look at Judy's signature. (Brennan hands the copy of the waiver to Sully.) She could barely hold a pen. (A DELIVERY MAN delivers some sandwiches and drinks. Sully unwraps a sandwich. SULLY: Florida Bureau is going to scoop up this bouncer, and call me back. BRENNAN: We need to get back into that bus. SULLY:: No, we need cause for a warrant. (to the delivery guy) You tell Mario that he's still an artist. DELIVERY MAN: Sure thing. BRENNAN: What is that? (Sully begins to eat his sandwich.) SULLY: (with mouth full) Only the finest sausage and peppers on earth. Some day, I'm gonna turn it into a franchise. Wanna bite? BRENNAN: I thought you were buying a boat. SULLY: I am, maybe I'll start a charter service. I can serve these to the passengers, in Jamaica. (Brennan takes a bite of the sandwich.) BRENNAN: Good. SULLY: Hmmm, the word is great. Or maybe I'll manage a band. They could play on the boat too. BRENNAN: You, you don't like being an FBI agent? SULLY: Nah, sure I do. I just don't want it to be the only thing I ever was. (They exchange glances.) You're telling me, you're just going to be a bone lady your whole life? BRENNAN: I spent years studying anthropology. SULLY: I got a degree, but I'm not going to let it ruin my life. BRENNAN: I'm going back to the lab. SULLY: Here, take one of these with you back to that spaceship. I'll call you when we get our bouncer. (he hands her the other sandwich as she walks past him. Then - to himself, with a Jamaican accent) I can dig it man. (Cut to: Ext. Doctor wyatt's house - night. Booth is outside Wyatt's house, waiting for him to answer the door. Wyatt opens the door.) WYATT: Oh.. BOOTH: Hi. WYATT: Do we have a schedule? BOOTH: Uh, listen... I really need to get back to work, so why don't you just give me one of those clown restraining orders and sign my paper. WYATT: Have you had an insight as to why you sh*t at that clown? (Booth's cellphone rings.) BOOTH: Yeah, you know what I have some insight. It's right here (points to his cellphone) it's my Bones calling, my partner. Right. (answers the phone) Yeah? Bones. (Cut between Medico Legal Lab with Brennan on her cell phone and Wyatt's backyard with Booth on his cell phone.) BRENNAN: So when are you coming back again? BOOTH: What, aren't you playing nice with Sully? BRENNAN: I'm just not sure how serious he is about his job. BOOTH: Well, look, he's one of the best, all right? He just likes to keep his options open. BRENNAN: I've noticed. BOOTH: Listen, Bones, Sully he lost his partner about a year ago, all right. Something like that happens, you hear that clock on the inside ticking just a little bit louder. So you know what, you're in good hands. (Wyatt walks out of his house.) Here he comes, so gotta go, gotta go, gotta go. (Booth closes his cellphone. Wyatt walks up to him. Brennan looks at her phone, and closes it.) BOOTH: Alright, so maybe I am a little bit irritable. WYATT: Why do you think that might be? BOOTH: Don't they give you papers, and files, and reports? (Wyatt looks at Booth.) All right, me and my partner caught up to this serial k*ller named Howard Epps, and he died. WYATT: And who's fault was that, your's or your partner's? BOOTH: No, no, he jumped over that balcony maybe cause of her. Sometimes I think he had the right idea. WYATT: And where were you when Mr. Epps fell? BOOTH: Holding his arm. WYATT: No, that was before he fell, surely. BOOTH: What? WYATT: Well, Mr. Epps was dangling from your arm before he fell at which point he was no longer dangling but falling. Attached to you, he was alive, no longer attached, d*ad. BOOTH: I don't feel guilty about that. I mean Epps is a serial k*ller, tried to k*ll my partner and thr*at my son. I was glad when he h*t that pavement. WYATT: Do you think about su1c1de, often? BOOTH: su1c1de? Me? (scoffs) No, no, never. WYATT: And yet you sometimes feel that Howard Epps had the right idea about jumping off that balcony. BOOTH: It was a joke. Okay? It was a joke. WYATT: Yes, you do that a lot, don't you? Makes me feel such a bully for prying. (he gets up to go inside.) Well, we'll pick up on this next time. (Cut to: Int. Medico-legal lab / Examination Area. Zack is studying the remains and Angela is helping him.) ZACK: Increase magnification. (b*at) Please. If you're ready. I don't mean to appear dictatorial. ANGELA: I get it, Zack. (Brennan walks up behind Zack.) Hey. BRENNAN: So what are we looking at? ZACK: Bits of gold foil embedded deep within bite marks along the T-11 and T-12 vertebrae. ANGELA: Jewelry? ZACK: More likely scenario has the gator's teeth piercing Judy's stomach. BRENNAN: Embedding whatever she last ingested into her bone. ZACK: How would someone eat gold? ANGELA: Not eat, drink. (Brennan looks at Angela, puzzled.) Golden Rod. BRENNAN: Golden Rod? ANGELA: It's this 100 proof cinnamon schnapps that we drank in college. It's infused with real gold flakes. Purely for decadent sake. BRENNAN: How did it taste? ANGELA: Eh, it's way worse coming up. I can tell you that. (Int. Medico Legal Lab / Brennan's Office. Brennan is on the phone with Sully.) BRENNAN: She could have wandered into bars we don't know about. If we can find every place that carries that stuff. SULLY: (o.s.): I don't think we need to Doc. (Cut to: Int FBI - Interrogation Room. Sully is on the phone with Brennan, watching the bouncer in the interrogation room.) SULLY: We found our bouncer. Course he denies all, but his alibi just about buries him. BRENNAN: Buries him how? SULLY: He said he left early that night to get to his other job. Giving midnight swamp tours on his boat. Sounds like a good job actually. BRENNAN: So, he's admitted to knowing the Everglades like the back of his hand. SULLY: Which would not be smart if he were in fact the k*ller. BRENNAN: Well, most of the K*llers I know aren't all that smart. (Angela and Cam walk into Brennan's office.) CAM: The gold flakes are definitely from the liquor we found in her system. ANGELA: And I remembered something. (Angela brings up one of Monte's pictures on the computer screen.) BRENNAN: Monte and his harems, so what? CAM: Check out the caption. All the girls love Monte's gold. ANGELA: Now granted there are plenty of bars that carry this stuff. BRENNAN: But this could be the probable cause, we need to search Monte's bus. SULLY: I'll get the warrant. (Sully closes his phone (flash to) Brennan, Angela and Cam staring at the picture on the screen.) ACT III (Ext. Monte's tour bus - day. Brennan and Sully get out of Sully's car and head towards the bus.) SULLY: Bouncer's alibi checked out. BRENNAN: So Monte's minions were most likely just trying to throw us off. (Monte walks up to them.) MONTE: Unbelievable, you people. What is it you want now? SULLY: Hey, cool your jets, Hef. We just wanna check your bus. MONTE: (points to Brennan) This is you, isn't it? BRENNAN: Please don't point your finger at me. MONTE: I knew the first time I saw you, here comes another feminist crusader, out to spoil some good all American fun. (Brennan grabs his arm and twists it behind him.) MONTE: Ow, ow! Get off! Get off! BRENNAN: (to Sully) It was self defense. He as*ault me! SULLY: Yes, he did. MONTE: Crazy bitch. I'm calling my lawyer. SULLY: Here, you can read him this. (Sully pulls out a warrant. Monte takes it and walks away.) SULLY: Now I just hope we find something. (Cut to:Int. Monte's bus - day. Brennan and SULLY: are investigating the inside of the bus. Brennan opens the fridge to find bottles of Golden Rod.) BRENNAN: There. SULLY: It's not exactly a smoking g*n. Can you prove she drank it here? BRENNAN: I can try. (Sully closes the fridge and looks around the bus.) SULLY: Okay, you can only admit evidence that's in plain view, although on this bus that can be DNA on virtually any surface. BRENNAN: That's an image. Keep your eyes open for a metal screw threaded thingy. SULLY: A what now? BRENNAN: Judy's s*ab wound was probably from a bolt of some kind right through (she approaches Sully) here. (She touches an area on his back) SULLY: So, just inside her scapula? BRENNAN: Yes... most laymen refer to it as a shoulder blade. SULLY: Well, I told you I went to college. I minored in kinesiology. Although, this is the first time I've used it to impress a lady. BRENNAN: What was your major? SULLY: Art history. I also got a master certificate in sailing, a pilot's license, and I'm a certified EMT. There's more but I don't wanna brag. (Brennan's cellphone rings.) BRENNAN: Hold on. (she answers it) Hi, Hodgins. HODGINS: (o.s.)Judy Dowd wasn't k*lled at the swamp where she was found. (Cut to: Int. Medico-legal lab / Hodgin's Area. Hodgins is on the phone with Brennan.) HODGINS: Cryptosporidium on her clothes came from saw grass, a plant that doesn't even grow in Eugene's swamp. BRENNAN: Where does it grow? HODGINS: Oh, pretty much every where else in the Everglades. But in terms of gator distance, there's a saw grass marsh two miles south where Alligator Alley meets State Road 29. BRENNAN: All that from cryptosporidium? HODGINS: Did I not mention the fresh asphalt in Judy's shoe? That intersection was just repaved about a month ago. (Brennan watches Eddie clean the bus' windows.) BRENNAN: Very interesting. Thanks Hodgins. (Brennan hangs up the phone and looks at Sully.) SULLY: What's interesting? (Brennan simply smiles and gives a slight shrug.) (Cut to:Exterior look of royal diner before moving to the inside. Int. Royal diner. Angela is at the diner when she is approached by Mr. Dowd.) DOWD: Mrs. Montenegro? I'm Bill Dowd. Judy's father. ANGELA: Oh... Hi. I'm sorry, how do you know me? DOWD: The FBI told me that the Jeffersonian was investigating Judy's m*rder. I looked up your team's biographies online, and I saw your picture. ANGELA: And you followed me here? DOWD: I'm sorry. I know how that must look. But I just need answers. I need to know who k*lled my daughter. ANGELA: I'm sorry Mr. Dowd. There's nothing I can tell you. (Mr. Dowd takes a seat next to Angela at the counter.) DOWD: I already know about the website and this Monte Gold son-of-a- bitch. ANGELA: The FBI told you about that? DOWD: Buddy from my job found the video. He thought I'd be embarrassed, but all I care about is what happened next. Did this guy k*ll her? ANGELA: I really can't discuss the case. DOWD: The way he's pawing at my girl in that video, he's gotta be a suspect. ANGELA: At this point, Mr. Dowd, there are a lot of suspects. DOWD: But not many like him. I mean, do you trust him? Do you think he's a good man? ANGELA: No. No, of course not. I find him repulsive. DOWD: Please, I just gotta know. Was it him? ANGELA: I'm very sorry about your daughter, Mr. Dowd. There's nothing I can say. DOWD: I understand. I shouldn't have put you on the spot. (b*at) I'm sorry. (Mr. Dowd gets up and exits the diner.) (Cut to: Quick overview of D.C) (Ext. Monte's bus - day. Brennan and Sully walk off of the bus. Brennan walks up to Eddie.) BRENNAN: You lied about the bouncer, Eddie. EDDIE: What? BRENNAN: The bouncer in Lauderdale. You never saw him kissing Judy Dowd that night she went missing. EDDIE: Really? I was sure it was them. SULLY: Hey, you drive the bus too, don't cha? EDDIE: Yeah, so? SULLY: So, you drove out of Lauderdale, straight up the 95 to Daytona? EDDIE: Is that what Monte said? (Sully and Brennan exchange glances.) Yeah, straight up 95. SULLY: You sure about that? EDDIE: No... no, that's right there was construction. We got detoured across state onto 75. BRENNAN: Right, 75, isn't that Alligator Alley? SULLY: Yeah. C'mon Eddie, girl is d*ad. EDDIE: We didn't k*ll her. (Eddie heads back towards the bus.) BRENNAN: But she was on your bus, she had a few drinks. You have sex with her? EDDIE: Nope, no way. I was driving. BRENNAN: Well, did Monte have sex with her? EDDIE: I guess. BRENNAN: You guess? Was it consensual? EDDIE: All I know is she was drunk, really drunk and when Monte was done with her, she came up by me wanting to get off the bus. (Lloyd walks up to them.) LLOYD: Eddie, don't say anything! SULLY: Where were you in all this? EDDIE: Lloyd drives in front of us, it was just me and Monte on the bus. LLOYD: Shut up, Eddie. Monte's lawyer says we don't have to talk to anybody 'till he gets here. SULLY: He has nothing to worry about. No one's under arrest. BRENNAN: Why'd you let her off the bus, Eddie? EDDIE: I didn't want to. It was really dark, she could barely stand up. SULLY: Then Monte wanted her off? EDDIE: He was pissed off. She was crying. LLOYD: Eddie! EDDIE: He was going to f*re me if I didn't. LLOYD: (to Brennan and Sully) We owe Monte a lot okay? He's been good to us. We knew that none of us k*lled her. BRENNAN: Well if you let her off the bus, in the middle of nowhere in that condition, you may as well have. LLOYD: Look, when Eddie told me where she got off the bus. I went back there to look for her. I must have driven that road for an hour. I figured, she'd hitched a ride back. BRENNAN: You figured? (she looks to Sully) He figured. LLOYD: Maybe Monte made a bad call and letting the girl off, but she wanted off. So he was just doing what she asked. BRENNAN: Except for the sex part. LLOYD: You know what, you can't prove that. SULLY: Ahhh... I wouldn't bet against her. (Sully walks over to stand behind Brennan.) SULLY: So, is Monte still in his office? LLOYD: No, he had an appointment back at the Iguana Club up in Maryland. BRENNAN: Okay. (Brennan and Sully walk away) (Cut to: Ext. Wyatt's backyard - day. Booth is working on the barbecue. He is placing the bricks. Wyatt walks up, holding COFFEE CUPS.) WYATT: You know what, I'm in America, we're men, let's drink coffee, not tea, eh? (Wyatt examines the barbecue pit.) Oh, I say, marvelous job. BOOTH: Thank you. (he takes a sip of the coffee) That's not coffee. WYATT: What is it? BOOTH: I don't know what the hell it is, but it sure as hell isn't coffee, Doc. WYATT: You tend to do things well, don't you? Make coffee, build barbecue machines. BOOTH: It's not really a machine. WYATT: Solve crimes, raise a son, love women, leave women. Whatever you aim at, you h*t. BOOTH: That bad? WYATT: By no means, no of course not, except - BOOTH: Ohh, it's okay, here we go. Let me have it, Doc. (Booth and Wyatt take a seat at a patio table.) WYATT: Except it is indicative of a need to control your environment. BOOTH: Again, I ask, is that bad? WYATT: No, of course not, no! Except - BOOTH: Except?! WYATT: Except when you sh**t a clown. BOOTH: You know, you make it sound like it was walking making balloon animals. WYATT: For the most part, your rebellions are small. BOOTH: Rebellions? WYATT: The colorful socks, the funky belt buckle, there a mechanism, quiet rebellions, a way of asserting your personal control over a h*m* organization like the FBI. But sh**ting a clown is not a quiet rebellion. (Booth's cellphone rings.) sh**ting a clown is quite literally deafening. (Booth answers his cellphone.) BOOTH: Booth. BRENNAN: Hey, it's me. BOOTH: Yeah, hold on for a second. (to Wyatt) Wait, why is it Doc that every time I answer the phone, you walk away? WYATT: Why do you answer the phone knowing it'll make me walk away? BOOTH: (to Brennan) Yeah, you know what Bones, I gotta call you back. (Cut to: Int. Brennan's car. Brennan is driving while talking to Booth over the loudspeaker.) BRENNAN: Is Sully for real? BOOTH: What? BRENNAN: I just can't decide whether or not to take him seriously. BOOTH: Well is he acting unprofessional? BRENNAN: No, he's very professional, it's just can he really do all he says he can do? BOOTH: Oh you mean that whole master carpentry thing. Yeah, you know he made me a dining room set last year. BRENNAN: He's a carpenter as well? BOOTH: As well as what? (Brennan's cellphone beeps, alerting of a call waiting.) BRENNAN: That's Sully calling - right now. We're doing, you know, what we did. BOOTH: Hey, you know, I'll be back soon. BRENNAN: Okay, I'll talk to you later. (Booth hangs out, and stands in front of the half finished barbecue pit.) (Cut to: Ext. Iguana club - day. Brennan and SULLY: arrive at the Iguana Club to talk to Monte.) SULLY: So, maybe Monte can tell us why he left the girl on the side of the road. BRENNAN: Hey, there's a store front. Sausage and pepper shack? (Brennan points to a for rent sign in a building's window.) SULLY: That's funny. Take my lead. BRENNAN: I know what I'm doing, didn't Booth tell you? SULLY: Yeah, take my lead. Wait, wait, wait, that's his car. (Sully and Brennan notice the car, with it's door ajar.) SULLY: Monte Gold?! (Brennan rushes around Monte's car to find Monte on the ground. Brennan checks for a pulse, and notifies Sully that he's d*ad with a shake of her head.) ACT IV (Outside of the FBI, the streets with the cars driving by.) SULLY: (O.S.) We found him in a pool of his own blood outside his club. Cut to: Int. FBI / Interrogation Room.. Sully is interrogating Isaac. Brennan is overseeing.) SULLY: What's the last thing you said to Monty, Isaac? His judgment cometh, and that right soon. It's not even a Bible verse. The judgment thing, it's a line from Shawshank. BRENNAN: Who's that? (Sully looks surprisingly at Brennan.) ISAAC: Vengeance is mine, sayeth the Lord. Look, if Monte's wicked deeds cost him his life, it was the work of a hand far mightier than my own. SULLY: Where exactly have your hands been the last five hours? ISAAC: Working on my truck, I got garage receipts to prove it. (Isaac pulls the receipts out of his pocket. Brennan's cellphone rings. Brennan leaves the interrogation room to take the call.) BRENNAN: Hey Angela, what's up? (Cut to: Int. Medico Legal Lab / Angela's Office. Angela is on the phone with Brennan. Hodgins is standing in the background.) ANGELA: Hey, I think that you might have the wrong man. BRENNAN:What do you mean? ANGELA: I made mistake, Brennan. (Cut to: Int. FBI / Interrogation Room. Brennan and Sully now have Mr. Dowd in the interrogation room. Sully places an evidence bag containing a g*n on the table in front of him.) DOWD: I only wanted to scare him. I didn't go there to k*ll him. But what he said, three words, he only said three words in his defense... she wanted it. BRENNAN: She didn't, Mr. Dowd. That much we do know. SULLY: Is there anyone you want to call, sir? DOWD: No, there isn't anybody. There was Judy, just Judy. (Mr. Dowd breaks down and covers his face with his hands.) (Cut to: Int. Medico Legal Lab / Forensics Platform. Brennan and Sully are looking over the remains.) SULLY: So this is the culprit, euh? Result of your metal screw headed thingy. BRENNAN: Zack managed to identify this bone bruise. SULLY: Across posterior six through eight. BRENNAN: Show off. (Hodgins enters the platform.) HODGINS: Okay, got my w*apon list and visual aids, courtesy of Angela. Now we know the wound was caused by a blunt steel dowel with screw threads at the top. The bruising around it is the rough size and shape of a harmonica. Now theoretically, the head of the wound struck, leaving bruising but then broke. BRENNAN: Allowing the steel dowel beneath to be driven into Judy's back. HODGINS: So, possible w*apon include shovel handle with steel shaft, a golfer's wooden putter with aluminum shaft... SULLY: Okay... but gear shifter? HODGINS: It's an alloy gear shifter with a grip shaped handle. SULLY:: This doesn't look like it could cause the injury. BRENNAN: Unless it didn't have a handle. HODGINS: Yeah. (he heads over to the simulation computer) She might of not been k*lled standing up, she could have been thrown down and then impaled. (Sully unscrews the handle of the gear shifter, taking it off.) SULLY: Preacher man had one of these in his truck. BRENNAN: With a tennis ball where the handle should've been, hiding the exposed threads underneath. SULLY: And he follows Monte everywhere. (Cut to: Ext. Roadside / Isaac's Truck - night. Sully and Brennan pull up to where other officials stopped Isaac. They find him praying on the back of his truck.) SULLY: Don't let us interrupt you, Isaac. ISAAC: I'm just praying for His guidance in bringing an end to this harassment. (Sully grabs Isaac and pulls him up to his feet.) SULLY:Well, he can't answer 'em all, can he? BRENNAN: Where were you headed? ISAAC: Home, if that's any of your business. SULLY: Back to your church, huh? I gotta tell you, I wish I had of called them a little sooner about you. ISAAC: You did this? You called them? BRENNAN: You sure you weren't headed back to Florida? Stop along Alligator Alley, make sure you left nothing behind. ISAAC: No, I don't even know what you're talking about. SULLY: Well, apparently, your Church kicked your hypocritical ass out last year. Something about you hitting on young female parishioners. (Brennan opens the door to Isaac's truck.) ISAAC: Who.. Who told you this, huh? (to Brennan) Hey, you can't get in there! (Brennan retrieves a tennis ball.) BRENNAN: Tennis ball for a gear shifter. (Sully slams Isaac into his truck. Brennan tests the gear shifter for blood. The gear shifter glows bright purple.) SULLY: Turn around Isaac! (Sully turns Isaac around and cuffs him.) ISAAC: Alright. Forgive them Lord, for they not know what they do. (Sully turns Isaac again to face him.) SULLY: Yeah, what we do know is that Judy Dowd was left drunk and stumbling on Route 75. BRENNAN: And you following Monte's bus, pulled over to give her a ride. SULLY: Not a free one apparently. ISAAC: No, no that's a lie. I never even saw her. BRENNAN: Oh so this isn't her blood, here? This is someone's blood. SULLY: How many of Monte's castoffs have you been with Isaac? Girls too drunk to know, before you picked up Judy. BRENNAN: You went for it, she rejected you, next thing you know she's impaled on the shifter. ISAAC: I may have picked her up, but if I laid a hand it was to heal and to ask His redemption upon her SULLY: Oh man, you are shameless. ISAAC: She was drunk. She went crazy, pushed me away, and fell back. It was an accident, it was the devil's work. BRENNAN: No, that was the part where you fed her to an alligator. (Cut to: Int. FBI/ Interrogation Room. Brennan and Sully are overlooking Isaac through the window of the interrogation room.) BRENNAN: There should be a sense of satisfaction after solving a case but most of the time I feel drained. SULLY: Yeah, that's why you can only do this job for so long. m*rder, death, corpses, you do that your whole life, there's gotta be more, y'know? BRENNAN: The sausage and pepper sandwich. SULLY: You got admit it was good! So what do you and Booth usually do now? Is there a bar you got to, a restaurant, pilates class? BRENNAN: There's a diner. Booth says the pie is the best. SULLY: Can I buy you a slice? BRENNAN: (b*at) Sure. SULLY: I guess, we're not working together anymore. BRENNAN: Yes. SULLY: And since we have no professional obligations to each other, I can ask you out? Theoretically. BRENNAN: Theoretically. SULLY: Perhaps after a twenty-four hour waiting period. BRENNAN: Why? SULLY: So the brain can adjust to alternate perceptions of each other. BRENNAN: I actually don't need it. My brain adjusts quite quickly. (Brennan walks away, Sully follows) (Cut to: Ext. Wyatt's Backyard - night. Booth is finishing up the barbecue. Wyatt walks out.) WYATT: Oh my good lord. (Booth is lighting the barbecue.) BOOTH: That's right. WYATT: How many bricks did you use in the end? BOOTH: Yep you know, one hundred and eighty. Right so you can go sign away. (Booth hands Wyatt the paper for him to sign.) WYATT: What are those? BOOTH: Oh those are two beautiful prime rib-eye steaks. Being the barbecue master that I am, I thought I'd show you how to barbecue, Doc. WYATT: Oh but I don't want to be shown, I want to learn trial and error. BOOTH: No, no no.. Doc, listen it's better to learn off hamburgers, or sausages. You know those puppies cost fifty bucks a pop. WYATT: You know, according to the FBI reports there was no way you could save Epps' life. Your partner's report says the same thing. An FBI snipe from the opposite roof saw everything through his scope. According to all witnesses you have nothing to feel guilty about. BOOTH: Yeah, so? WYATT: So, why, in a fit of pique did you endanger innocent people in a public thoroughfare by discharging your firearm? (Booth closes the barbecue cover.) BOOTH: I'm a good sh*t. I didn't put anybody in danger. WYATT: Your file shows your a military sn*per. How many people have you k*lled? BOOTH: Lost count. WYATT: Oh, you can remember a hundred and eighty bricks, but not how many lives you've taken? BOOTH: Epps makes fifty WYATT: Fifty what? BOOTH: Fifty kills. WYATT: But Agent Booth you didn't k*ll Epps. You tried to save him, remember? Or perhaps I better put it as a question, did Howard Epps slip from your grasp or did you release him? (Booth flashbacks to Epps's death.) Oh come now man, it's a simple enough question. Was he indeed your fiftieth k*ll or did you just happen to be there when he died? BOOTH: (flustered) I don't know. WYATT: A man like you in control of every situation and you don't know? BOOTH: (shaking his head) I don't know. I had him, and then I lost him, and then something happened in between. I don't know. WYATT: I believe you, because for a man like you to admit that you don't know, to relinquish control. That could indeed argue a disruption in your self-view that was large enough to motivate you to sh**t a clown. (Wyatt takes a seat to sign the papers.) You know, I think we've made marvelous progress. This is a close where we can certainly begin. (Wyatt is about to sign the papers when he looks to Booth.) WYATT: You know what, I've changed my mind. I would love you to cook those steaks. (he signs the release paper and hands it to Booth.) BOOTH: I can do that. WYATT: Medium-rare please, Mr. G-man. BOOTH: I can do that. (Booth begins to the cook the steaks, looking unsatisfied with the signed paper.) END.

{"type": "series", "show": "Bones", "episode": "02x13 - The Girl in the Gator"}

foreverdreaming

"The Man in the Mansion" Episode 2x14 Written By: Christopher Ambrose Directed by: Dwight Little Transcribed by: KimberKatie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Booth and Brennan arrive at the crime scene and exit Booth's SUV) BRENNAN: Do you have therapy today? BOOTH: It's not therapy. BRENNAN: Well, you're seeing a psychiatrist. BOOTH: Not for therapy. It's an official evaluation. Okay? OFFICER: Person who found the body is in the living room. BOOTH: Great, crime scene first, then we talk to the witnesses. OFFICER: Corpse is gonna be in the den. BOOTH: Thanks. Brennan (motions to his tie): What is that? BOOTH: What's what? BRENNAN: Your tie. It's staid. BOOTH: Staid? BRENNAN: Yeah. Boring. It looks like J. Edgar Hoover picked it out. BOOTH: Look, it's something' I'm working on, okay? BRENNAN: In therapy? BOOTH: Gordon Gordon says that the ... you know, the wild socks and the fancy ties are all just, ya know, quiet rebellions, helping me suppress other impulses. BRENNAN: Isn't that good? BOOTH: You'd think so, right? But, you know, apparently all the other issues just have to rise to the top. BRENNAN: Why do you call your psychiatrist "Gordon Gordon"? BOOTH: 'Cause that's who he introduces himself. You know: "Hi, I'm Gordon. Gordon Wyatt". BRENNAN: Like "James, James Bond". BOOTH: "Bond, James Bond", not "James, James ... James" ... whatever. (They enter the crime scene - The Bancroft Mansion) CAM: We're over here. And you might want to tuck your pants into your socks. The flies get into everywhere. (Booth gives an exasperated sigh, and pulls up his pant leg, revealing solid black socks.) CAM: What, no cartoon characters on the socks? BOOTH: Never had cartoon characters on the socks. They were just ... um ... never mind, okay? What have we got here? CAM: Three weeks decomp, give or take. BOOTH: Oh, the place was tossed, huh? CAM: No forced entry. The victim is probably the man of the house, Terrance Bancroft. His wife Clarissa identified the watch and wedding ring. BRENNAN: This isn't good for me. CAM: Yeah, it's pretty gross. BRENNAN: No, not that. There's too much soft tissue for me to tell anything. In fact, why am I here at all? CAM: The Bancroft family asked for us specifically. BOOTH: What, they got some kind of pull? CAM: The Bancroft Wing at the Jeffersonian? Sixty million bucks will buy a lot of goodwill. BOOTH: Typical. BRENNAN: (bends down to examine the body) This dried crust here, at the mouth... CAM: ... when the jugular was cut, the air mixes with venous blood and the negative pressure causes an air embolism. Death is very quick. BOOTH: So just ... sit there, and stop complaining. BRENNAN: Bound. CAM: Multiple s*ab wounds. We need photos of these splatter patterns. BOOTH: (glancing around) I'll be this statue is worth more than my house. BRENNAN: You know, you should ask your therapist about your issues with rich people. CAM: You're in therapy? BRENNAN: You've seen the socks. (Brennan and Cam smile.) CAM: The victim's wife is in the kitchen. (Cut to: Bancroft Mansion - Kitchen. Booth stands in the kitchen with Clarissa Bancroft, who is seated at the table.) CLARISSA: I was ... I was at the vineyard for a month, and Terry was supposed to be at his fishing camp in Idaho, so the house was closed up. BOOTH: And you didn't try to contact him at all during that time? CLARISSA: (takes a deep breath) We spoke three weeks ago, um ... the day before he was supposed to leave. The cabin doesn't get cell service... (she stands up and begins to pace) I heard the officers talking about a possible home invasion? BOOTH: Definite possibility CLARISSA: Well, Terry supports a youth center on the other side of the Anacostia River. BOOTH: Rough neighborhood, tough kids. CLARISSA: I was always afraid to go there, but he said it was because I didn't really know them. BOOTH: Yeah. Listen, I'd like you to ... uh ... put a list of things together that might have gone missing and, uh, give me a call. CLARISSA: Okay. (Cut to: Medico Legal Lab - Zack is seated at a computer, Hodgins walks in behind him.) HODGINS: Is that the Bancroft case? ZACK: Yeah. HODGINS: Looks like a home invasion homicide, right? (picks up the report and begins to read) ZACK: Yes, I'm running dental records now, and Cam is finishing up the autopsy. HODGINS: But Booth is pretty sure it's Terry Bancroft? ZACK: Yes. There was a lot of insect activity. Samples are at your workstation. Also, the extension cord that was used to tie him up, and everything that was on top of his desk. HODGINS: He was tied up? (Cam enters the room) CAM: His heart was perforated, but there's no blood in the thoracic cavity. HODGINS: He was s*ab after he was already d*ad. What ... what k*lled him? CAM: His jugular was punctured. Multiple s*ab are congruent with K*llers jacked on crystal meth. Or ... just plain adrenalin. HODGINS: Why k*lled him? CAM: No sign of forced entry. He probably knew his attackers. (The computer Zack is seated at begins to emit a beeping noise) ZACK: We have a match. Confirmed. Terrance Bancroft. HODGINS: He knew his K*llers? CAM: Are you alright? HODGINS: Yes. Yeah, absolutely. I'll ... I'll get on insect analysis right away. (Cut to: Medico Legal Lab - Hodgins work area. Hodgins is examining a framed photograph of Terry and Clarissa Bancroft, presumably on their wedding day. The frame is covered in blood. He places the photograph on his desk, and picks up another. He turns the photograph over, and removes the back of the frame. He is about to remove the photo, when Angela walks in.) ANGELA:Hodgie? HODGINS: Yeah? Hey. Good morning, Angela. (He places the photograph on his desk, and covers it with the blood-splattered photograph of the Bancrofts on their wedding day) ANGELA:I have blood splatter patterns on my computer ... if you need to match them to anything you have here. HODGINS: Uh, yeah, thanks. I'll come look after I get through the evidence from the desk. ANGELA:You okay? HODGINS: Mmm-hmm. Yeah. ANGELA:Yeah? Wanna have lunch later? HODGINS: Okay, yeah. (Angela walks away, and Hodgins returns to the photograph. He pulled the back of the frame forward, and removes the photograph, turning it over. We see that it is a photograph of four men, standing in front of a lake. They are wearing no clothes, but three of the men have guitars in front of them, and the fourth has a drum. Hodgins turns the photograph over, and the text on the back reads: Stoner, Tripp, Me + Hodgins, August '95. Hodgins folds the photograph in half, and puts it into his inner jacket pocket, glancing around to see if anybody is watching him.) ACT ONE (Cut to: Medico Legal Lab - Brennan's Office. Sully and Brennan are talking.) BRENNAN: Would I get to play? SULLY: Uh, no. You will be cheering, then watching. BRENNAN: What fun is that? SULLY: I am a mad "sagger". I ... I ... I wear my shorts very, very low. BRENNAN: Okay. SULLY: (laughs) You suck hugely at being a girl. Okay, okay ... anthropology ... anthropology. Oh, okay ... think of it as a social ritual in which I impress you with my manly prowess during a game of basketball. BRENNAN: You want to impress me? SULLY: I'm traditional that way. BRENNAN: Why don't you just bonk me on the head with a giant club? SULLY: Well, I'd much prefer you came to the game and ogled my butt crack. You know, it's law enforcement versus public defenders. Guys with ponytails and love handles. We're heavily favored. So? BRENNAN: (grins) (Cut to: Bancroft Mansion. Clarissa Bancroft is walking towards the front door. She opens it, and finds Jack Hodgins standing on her doorstep.) HODGINS: Hi, Clarissa. CLARISSA: Hodgins. I ... you heard about Terry? HODGINS: Can I come in? (Clarissa nods her head, and opens the door wider for him to enter. Hodgins enters the home, and looks around) CLARISSA: Last time I saw you, you didn't have a beard. HODGINS: Yeah, last time you saw me I couldn't grow a beard. I'm sorry about Terry. Makes everything that happened between us look ... CLARISSA: ... meaningless. HODGINS: Just a lot less important than it seemed at the time. I got over us, Clarissa. CLARISSA: Then how come it took Terry getting m*rder for you to show up at our door? (Hodgins removes photograph he stole from work from his pocket, and hands it to Clarissa. She opens it, and studies the photograph.) CLARISSA: Where did you get this? HODGINS: I work at the Jeffersonian Institution. I'm on the case. This showed up with the evidence. CLARISSA: I don't understand. Why are you bringing it to me? HODGINS: If my bosses were aware that I knew the victim, or his wife, they'd remove me from the investigation. And I would really like to help catch whatever son of a bitch m*rder my friend. CLARISSA: So if someone introduces us... HODGINS: ...Nice to meet you, Ms. Bancroft, and you too, Dr. Hodgins. CLARISSA: Got it. CLARISSA: Hodgins? Terry and I were ... having some marital problems. But we were getting through it. That's going to make me a suspect, isn't it? HODGINS: I can't talk about it, Clarissa. (He turns and walks from the house) (Cut to: Youth Center. Agent Booth is talking with the center's direction, Robert Fraiser) FRAISER: Terry, man we're really gonna miss that guy around this place. BOOTH: Foot the bill for this place? FRAISER: Oh, you know, he was more than a check book. I mean, Terry, he took a personal interest. BOOTH: How personal? FRAISER: No, don't even go there, all right? Terry, he was one of the good guys. BOOTH: Those kids are pretty hard core, huh? FRAISER: Oh yeah, yeah. You know, drugs, gangs, v*olence... BOOTH: Any recent arguments or incidents? FRAISER: Well, apparently the night before Terry was going to head up to his cabin, he caught a kid with a couple pounds of heroin. BOOTH: Couple pounds? The kid was a mule. FRAISER: Yeah, he was runnin' deliveries to Baltimore on the bus. BOOTH: Did you see Bancroft take the drugs from the kid? FRAISER: No. BOOTH: How about any of these kids? Did they see it? FRAISER: Sure, until you ask them. Then nobody saw nothin'. BOOTH: Did Bancroft call the police? FRAISER: Oh, man, come on. If we did that, no kid would ever set foot back into this place. BOOTH: Oh. Then what, huh? Flushed it down the toilet? FRAISER: No, no, it's not like that. I mean, Terry, he would always deliver whatever he snagged to the cops. You know, otherwise the supplier would think they would get ripped off, and then the mule ends up d*ad. (Cut to: Youth Center - Locker Room. Fraiser and Booth are standing at a bank of lockers, and Fraiser is cutting the lock on one.) FRAISER: So this is Julio Diaz' locker. BOOTH: Whoa. Blood on the kid's sweatshirt. FRAISER: Nah, Julio would never k*ll anybody. I mean, he might deliver drugs, but he really liked Terry. BOOTH: Maybe Julio's supplier? When was the last time Julio was here? FRAISER: The day Terry took the heroin. (Cut to: Youth Center - Room. Booth, standing in front of a group of kids) BOOTH: Okay, look. If it wasn't for Terry Bancroft, this place wouldn't exist. I need one witness who saw Terry take the dope from Julio Diaz. Just one. (The crowd of kids are silent, some not meeting Booth's eyes as he surveys the room. Nobody speaks up.) FRAISER: Sorry, man. (Cut to: Medico Legal Lab - Angela's Office. Angela and Brennan are seated at her computer.) ANGELA:What is not to like? Go watch Sully play basketball. BRENNAN: But - he still hasn't made a move on me. ANGELA: How many times have you gone out? BRENNAN: Four ... or six. Depending on how you define "go out". ANGELA:Right. Bumping into each other at the diner does not count as going out. BRENNAN: Four. (points to the computer screen) There. Along the interior cervical vertebrae. Is that shadow a glitch? ANGELA:I don't do glitches. Four, huh? So the question is ... is Sully damaged goods, or is he just very respectful? BRENNAN: What? Those are my choices? ANGELA: Damaged goods, you run away; very respectful, you hang in. BRENNAN: I should just make the first move. ANGELA: No, Brennan! For once can you just pretend that you're the girl? BRENNAN: Why is everyone so anxious for me to be a girl? ANGELA: Listen. Go to the basketball game. Let him show off for you, and see what happens. BRENNAN: I don't know. It sounds so ... passive. ANGELA: Now you've got it. (Cut to: FBI - Booth's Office. Booth is at his desk, and Sully's sitting in front of him.) BOOTH: You just don't get it. SULLY: What! I'm asking for guy advice, you are a guy - what's not to get? BOOTH: First of all, guys, they don't ask for advice. And secondly, I'm not going to help you get my partner into bed. SULLY: Why not? It's not like you want her.) (Booth's lips twitch, but he doesn't say a word. SULLY: Unless ... Do you want her? BOOTH: Nah. Come on, Bones is, you know, my partner. SULLY: That is why you need psychiatric treatment, because you have the hots for your partner! BOOTH: I'm not in psychiatric treatment, okay? It's an evaluation. Big difference. SULLY: I can tell that Brennan is the go slow type, but you gotta help me out on how slow, because too slow is worse than not slow enough. An agent appears at the doorway. AGENT CHARLIE: Agent Booth. BOOTH: Yeah? AGENT CHARLIE: District cops got a kid matching your APB ... down at the morgue. (Booth gets up from his desk, and Sully is left on his own.) (Cut to: Morgue. The Coroner, Booth, and Robert Fraiser are standing over the table containing the body, a sheet covering it.) ASST. CORONER: John Doe #120806. Male, approximately fourteen years old. His body was found under the Anacostia Bridge on the sixth. BOOTH: That was almost twenty days ago. FRAISER: I ... I think that's Julio. That's definitely his gold chain, for sure. ASST. CORONER: Cause of death: single g*n wound to the back of the head. BOOTH: Execution style. FRAISER: Yeah, if, uh ... if Terry hadn't gotten the drugs to the cops, then the supplier would have come for Julio. BOOTH: Terry Bancroft got k*lled for that heroin. (Cut to: Medico Legal Lab - Room. Zack and Dr. Cam Saroyan are viewing Terry Bancroft's skeleton on a light table.) ZACK: Dr. Brennan saw a shadow on the x-rays. I removed the tissue from the bones and found a fungus. CAM: Not odd. If you were decomposing for three weeks, you'd probably work up a fungus or two as well. ZACK: The interior cervical vertebrae. CAM: Spell it out, bone boy. ZACK: The jugular was cut, and the blood pooled here. CAM: He was lying on his back for several hours. (Booth enters) BOOTH: Anything new? CAM: Yes. The victim was k*lled by the puncturing of his jugular, left lying there for several hours, and then the m*rder came back... ZACK: ...forced the body into its chair... CAM: ... and s*ab him fourteen more times. BOOTH: Oh, to make it look like a home invasion. CAM: The blood on Julio's sweatshirt found in the locker was definitely Bancroft's. BOOTH: Well, that doesn't make sense. CAM: Bancroft confiscates the kid's dope, kid runs to the supplier, they go to Bancroft's place, scare him into telling them where the dope is, then k*ll him. BOOTH: Wait, that doesn't scan. I mean, why m*rder the kid? CAM: 'Cause he was there? 'Cause he cried, 'cause he blew his nose on a red hankie. They don't need much reason. BOOTH: Well, I don't like it. CAM: Doesn't mean it isn't true. (Hodgins enters the room, carrying a specimen in a jar.) HODGINS: Calliphora Vomitoria. Prepupal stage of the third instar. CAM: Does that give us a postmortem interval? HODGINS: Eighteen point five days. BOOTH: Whoa. You can be that accurate from flies? HODGINS: Yeah, D.O.J. Forensics has new statistical models of maggot growth that pinpoint death within a six hour window. BOOTH: Hmm. Then I was right. HODGINS: About what? BOOTH: Julio Diaz was k*lled twenty days ago. Eighteen point five days ago is after his body was found. CAM: Then how did Bancroft's blood get on Julio's sweatshirt? BOOTH: Julio Diaz was d*ad under that bridge. Somebody else put that blood on his sweatshirt. ACT TWO (Cut to: Basketball Court. Brennan is watching the game from the stands, clearly with her eye on Sully. Sully's teammates are calling to him on the court, using the nickname "Peanut". Two women are seated in front of her in the stands, discussing the game.) BLONDE WOMAN: Sully's looking good. BRUNETTE WOMAN: Hot BLONDE WOMAN: You know, Scotty says Sully won't shower with the other guys. BRUNETTE WOMAN: That guy's got some kind of an issue. BLONDE WOMAN: Guys only got one kind of an issue, girl. BRUNETTE WOMAN: Then I guess we know why they call him "Peanut". (The women giggle. Sully spots Brennan in the stands and waves to her. She waves back, and the two women see her, and uncomfortably share a glance.) (Cu to: Street outside the Royal Diner. Dr. Gordon Wyatt and Booth are walking down the street towards the diner.) WYATT: In point of fact, it is therapy. BOOTH: What? No, no, it's not. It's an evaluation. WYATT: No, I've already certified you as fit to carry a g*n and go back to work. BOOTH: Okay, then why are we meeting? WYATT: Well, because you discharged your w*apon at an ice cream truck. My provisional certification of your mental health only holds as long as you continue to meet with me. BOOTH: Great. For how long? WYATT: 'Til I'm satisfied you won't start f*ring at confectioners again. What's your objection to therapy? BOOTH: You know what, doc? I am not the kind of guy who's got anything to hide. WYATT: You know, I often find that when people declare what they are not, it almost invariably turns out that that's precisely what they are. BOOTH: Great. Then, you know what? No more declarations from me. The two enter the diner and take a seat. WYATT: You do know that what you just said is, in fact, the very avatar of a declaration. BOOTH: Avatar, that's great. (He motions to a waiter) Can I get a cup of coffee, and a, uh ... WYATT: (makes a "T" sign with his fingers) Tea, please. BOOTH: Tea, yeah. Let me ask you a question, doc. Why is that every time you introduce yourself, you always say your name twice, huh? (dons an English accent) "Hello, my name is Gordon, Gordon Wyatt." WYATT: Well, now you're simply lashing out, aren't you? Why don't we talk about the case you're working on at the moment? BOOTH: Why? WYATT: Well, I am trained as a forensic psychiatrist. I might be able to help. BOOTH: Okay. Fine. Great. I have a d*ad rich guy, works with at-risk youth, gets brutally m*rder after confiscating a couple of pounds of heroin from one of his kids. WYATT: It's interesting the first word you use to describe him is "rich" BOOTH: Ah, second. First description was "d*ad" WYATT: Why do you think you have a problem with wealthy people? BOOTH: This case is a perfect example. This guy, he makes up his own rules. What's that word that you used? WYATT: Uh, entitled. BOOTH: Yeah, entitled. That's what got him k*lled. WYATT: Did this rich guy, by any chance, have a wife? BOOTH: Ah what, are we changing the subject now? WYATT: And does the rich guy's wife have a lover? BOOTH: I just told you. The m*rder has to do with the heroin. The boy, the victim took the heroin from also turned up m*rder. WYATT: And is this boy from a modest background? BOOTH: Doesn't get any modester. WYATT: So is there any chance that you would rather catch the boy's m*rder, than the wealthy fellow's m*rder, so you have decided that they're one in the same? Any chance that you've based this assumption purely on your bias against rich, entitled people? BOOTH: Mmm-hmm. You know what? I did the belt buckle, I did the tie, I did the socks ... what else do you want from me? WYATT: What would you say if I told you that my name actually is Gordon Gordon Wyatt. That my first and middle names are the same? (Cut to: Basketball Court. The game is just wrapping up, and the men are coming off the court to meet their friends and family. Sully comes over to meet Brennan.) SULLY: So are you ready to go? BRENNAN: Don't you want to take a shower? SULLY: Ah, I don't sweat that much. BRENNAN: Won't you be uncomfortable at the restaurant? SULLY: It's a scuzzy bar. I'll be one of the best-smelling things there - next to you, of course. BRENNAN: You played very well. SULLY: Thank you. BRENNAN: In fact, you were the best. SULLY: See, that's why I wanted you to come, you know, to be impressed. BRENNAN: Well, it was an impressive display of manhood. SULLY: (laughs) Well, thank you. BRENNAN: Athletics as an analog for battle. In fact, you were a warrior tonight. SULLY: (laughs again) Wow. You really were impressed. BRENNAN: There are quite a number of ways that men judge their relative maleness with respect to other men. SULLY: Uh-huh. BRENNAN: Muscles, income, cars, attractive mates, tolerance to alcohol, hair loss ... and of course, the size of sexual organs. SULLY: Whoa! Save something for us to discuss at dinner. BRENNAN: Well ... women don't care about that. SULLY: Dinner, or ... hair loss. BRENNAN: The size of the sexual organ. SULLY: Ours or yours? BRENNAN: Penis size only matters to other males. SULLY: See, I was hoping you'd comment on how I shut down the other team's offense. BRENNAN: Well, their offense wasn't really all that good. SULLY: Oh, you know how to hurt a guy. It's not a bad thing, I like it. A little sauce, a little zing... (Cut to: Medico Legal Lab - Hodgins Work Area. Hodgins and Booth are standing together.) HODGINS: The flake on the trachea was India ink. It came from this (he holds up a letter opener). It's a Scrimshawed letter opener, wiped clean, but there are still minute traces of Terrance Bancroft's blood in the etchings. BOOTH: I need to pull a little con on the wife. HODGINS: Your wife? BOOTH: No, the victim's wife. HODGINS: Why? BOOTH: Find out if she was cheating on her husband. HODGINS: I thought the m*rder was because of the heroin. BOOTH: Well, it is. But you know, I need you to come along and, you know, collect some dust, or pollen, or seeds, or whatever the hell it is you do, so I can get in and figure out if she's got anything to hide. HODGINS: How will you do that? BOOTH: Oh, I've got my ways. Come on. HODGINS: Well, you know, I'm really busy here. You know, the m*rder w*apon ... plus, we found a fibre in the victim's throat. It's actually muskrat... BOOTH: Muskrat, hey, that's a perfect cover. We'll go the mansion, you go inside and look for anything made out of muskrat. Come on. Why are you draggin' your feet? Let's go. HODGINS: I'll ... I'll get my kit. BOOTH: Get your kit. (Cut to: Bancroft Mansion. Clarissa opens the door to find Booth standing on her doorstep.) BOOTH: Good evening, Ms. Bancroft. (He moves aside, and we see Hodgins standing behind him) This is Dr. Hodgins, from the Jeffersonian. We were wondering if... HODGINS: Very pleased to meet you. CLARISSA: Nice to meet you, Dr. Hodgins. Clarissa Bancroft. BOOTH: Dr. Hodgins needs to take a look inside, in the den, if that's all right. CLARISSA: Oh. What are you looking for? HODGINS: Muskrat. (They come into the house, and Clarissa and Booth wait in another room, while Hodgins is looking through the den.) CLARISSA: How long with Dr. Hodgins be in there? BOOTH: Oh, you know, a homicide investigation is pretty invasive. Both the family and the victim lose all their privacy. CLARISSA: I understand. BOOTH: Do you? Because, uh, it's inevitable that we find out everything. CLARISSA: What kind of doctor is Jack? BOOTH: Bugs. Slime. There's fancier names, but ... that's about it. CLARISSA: You know, don't you. You know that I had an affair. BOOTH: It's best that you tell me everything. CLARISSA: It ended three months ago. Terry and I were working through it. BOOTH: Separate vacations? Clarissa; I didn't say it wasn't difficult. You can love someone and still hurt them. You need his name? BOOTH: Yeah. CLARISSA: Leland Oliver. He's our financial consultant. BOOTH: So, you divorce your husband... CLARISSA: I would have gotten, at most, half of his money. This way I get it all. Leland knew that better than anyone. That's exactly why I didn't say anything earlier. BOOTH: How'd you know Dr. Hodgins' first name? CLARISSA: You introduced us. BOOTH: I never said his first name. Hodgins (comes around the corner) Just tell him, Clarissa. (Cut to: Outside of the Bancroft Mansion. Booth is briskly walking away, with Hodgins trailing behind him.) HODGINS: All right, look, I'm sorry, but it doesn't change anything. Hey, this is not a problem. BOOTH: Not a problem? Not a problem, huh? I ought to arrest you for tampering with evidence. This goes to trial, you are in Ibiza, or Antarctica on vacation. Start looking for another job. (Cut to: Medico Legal Lab. Hodgins comes onto the platform and sees Brennan and Cam, sitting at the table with Terry Bancroft's skeleton.) BRENNAN: Hodgins, what is the significant of the muskrat fur? BOOTH: (comes up behind Hodgins) Yeah, Hodgins. What is the significance of the muskrat fur? HODGINS: Muskrats have an under layer of fur. The outer layer is coarse hair. This ... this is muskrat hair. BRENNAN: Fur, hair ... I doubt our victim's jugular was cut by a muskrat. CAM: Is there something going on? BOOTH: (turns to Hodgins) You wanna tell 'em? HODGINS: The muskrat hair was coloured with a new dye that's just be patented by a menswear company in Canada. (He brings up a bunch of photographs of coats on the computer) BRENNAN: So the m*rder was dressed in one of these jackets? BOOTH: Wait. That one. BRENNAN: The leather b*mb with muskrat liner. BOOTH: That's the one Robert Fraiser was wearing. The director of the youth drop in centre. CAM: Then we have our m*rder. BRENNAN: Good job, Hodgins. BOOTH: No, no ... not "good job Hodgins". He might have blown the whole case. HODGINS: I told him it is not a problem. BRENNAN: What happened? BOOTH: I don't care what he does in his time off, but when he screws around with evidence to get in the pants of an old girlfriend on one of my m*rder cases? That is a problem. (Booth walks off the platform, and we see that Angela is standing to his side, and has heard everything. ) (Cut to: FBI - Meeting Room. Cam, Brennan, Hodgins, Booth, and Caroline Julian are seated in the room.) CAROLINE: I already got no proof how the victim got hold of that heroin. Now you're saying I can't put Hodgins on the stand? Why? BOOTH: You don't want to know the answer to that one. BRENNAN: Why doesn't she want to know? CAROLINE: As the prosecutor in this case, I'm obliged to share everything I know with the defense. HODGINS: Just because Clarissa Bancroft and I... CAROLINE: Whoa! Good night. BOOTH: Did you not hear what she just said? CAM: There are some things she can't know. HODGINS: Clarissa and I were engaged. She and Terry started something up and it unfolded the way those things do. I haven't contacted or heard from either of them in eight years. Then Terry got k*lled... BOOTH: And like every other rich guy in the world, you decided the rules just didn't apply to you. HODGINS: Hey! The guy used to be my friend, all right? And Clarissa... CAM: You tampered with evidence. HODGINS: The glass and frame were evidence. The photograph I removed was not. I wanted to work Terry's m*rder. CAM: Obviously you're off the case. BOOTH: Should be off the job. BRENNAN: That is not your decision, Booth. HODGINS: I apologize. I will deal with this however you see fit. ACT THREE (Cut to: Courtroom. Caroline Julian, prosecutor, is standing before the jury. Mr. Barron, the defense attorney, is seated with Mr. Robert Fraiser.) CAROLINE: Ladies and gentleman of the jury. My good friend Mr. Barron is going to give you a long speech about what reasonable doubt is. He's mostly going to be right. But facts are facts, ladies and gentleman, and the fact is Mr. Robert Fraiser k*lled Mr. Terrance Bancroft for a few pounds of heroin. (Cut to: Mr. Barron, defense attorney, addressing the jury) MR. MR. BARRON: They've got anthropologists, and psychiatrists, and particulate experts, and blood experts. The whole weight of the Jeffersonian Institution all interpreting the facts for you. And I stress the word "interpret", because you, as the jury, are the arbiters of common sense, that gets lost in all the science. (Cut to: Caroline Julian, addressing Dr. Camille Saroyan on the stand) CAROLINE: Would you describe how the victim was k*lled? CAM: Mr. Bancroft died when a sharp instrument was thrust into his jugular. (Cut to: Dr. Zack Addy on the stand) ZACK: This is a dried fleck of India ink left in the victim's trachea. It matches the ink on a Scrimshawed letter opener the FBI found at the scene. (Cut to:Dr. Camille Saroyan on the stand) CAM: Postmortem the vicious att*ck on the victim continued. MR. MR. BARRON: Objection! Categorization of the att*ck as vicious is prejudicial. CAROLINE: Fourteen times a man was s*ab. How many s*ab does it take to be vicious, exactly? JUDGE: Sustained. (Cut to: Angela Montenegro on the stand) ANGELA:Using a 2-D image from a stereo microscope, I was able to create a three dimensional model... (Cut to: Dr. Zack Addy on the stand) ZACK: These kerf marks are congruent with a double-edged blade, one side serrated, the other not. (Cut to: Special Agent Seeley Booth on the stand, viewing a Kn*fe, held up by Caroline Julian) BOOTH: Yeah, that's the Kn*fe we found in a toolbox in Robert Fraiser's truck. CAROLINE: That would explain the prints found by the FBI forensics lab? BOOTH: It would explain the prints, but not the victim's blood. (Cut to: Booth holding up the muskrat coat) BOOTH: Yeah, this is the coat Robert Fraiser was wearing at the time of his arrest. (Cut to: Dr. Temperance Brennan on the stand, motioning to a screen to her left) BRENNAN: Hair on the left came from the victim's larynx. The hair on the right came from the jacket. CAROLINE: And they came from the same jacket? BRENNAN: They came from the same muskrat. CAROLINE: How did this hair get into the victim's larynx? (Cut to: Angela Montenegro on the stand) ANGELA: The larynx and the trachea were both punctured by the m*rder w*apon. And that was most logically achieved by the m*rder approaching the victim from behind, putting the choke hold on him, and plunging the m*rder w*apon into his throat. (She demonstrates this on a volunteer from the court) (Cut to: Cam on the stand, holding the Kn*fe) CAM: In doing so, the m*rder inadvertently s*ab through his own jacket, thus depositing muskrat hair in the victim's throat. (Cut to: Booth on the stand, with the leather b*mb jacket, his finger pushed through a hole.) CAROLINE: Let the records show that the witness is wiggling his finger through the jacket in a very convincing manner. MR. MR. BARRON: Objection to the use of the phrase "very convincing manner". JUDGE: Sustained. CAROLINE: Why? BOOTH: Why what? CAROLINE: Why was Terrance Bancroft k*lled? Did you discover a motive, Agent Booth? (Luiz, a young man from the youth centre pokes his head into the courtroom, catching Booth's eye. He motions to him to come outside.) BOOTH: I need five minutes, your Honor. (Cut to: Hallway of the Courthouse. Booth is talking to Luiz.) LUIZ: Look, man. I saw Terry take the dope from Julio. I don't see how this is gonna help burn Fraiser, though. BOOTH: It's called chain of evidence. It'll help, okay? Trust me. LUIZ: I'll say what I saw. Terry was a good man. BOOTH: So are you. (Cut to: Courtroom. Luiz is on the stand.) LUIZ: Terry was like "open that bag, Julio. CAROLINE: What did Julio do? LUIZ: Just stood there. Terry went over and took the bag from him, and opened it up. It was packed with pounds of blast. CAROLINE: Tell the jury what that means. LUIZ: Heroin. At least two bricks. And like, everybody knows what happens if Terry catches you holding. You get sent out for 72 hours. CAROLINE: And the drugs? LUIZ: Straight to the police. CAROLINE: You believe Robert Fraiser k*lled Terrance Bancroft for that heroin. (Cut to: Booth on the stand.) BOOTH: Yes. Robert Fraiser turned out to be a junkie. That's why he wore that jacket all the time. MR. MR. BARRON: Objection. Assuming facts not in evidence. CAROLINE: What do you mean? The defendant has every needle disease in the book, except HIV. MR. BARRON: Same objection! Plus, Ms. Julian seems to deeply desire to testify herself. CAROLINE: Yes, I would like to testify, because then I'd know what answers I was getting. JUDGE: All right, settle down. This is a m*rder trial, not a night at the improv. (Cut to: Cam on the stand.) CAM: The victim was k*lled and left for between ten and fifteen hours. The m*rder returned, and forced him into the chair. This is also when he was s*ab fourteen times. (Cut to: Booth on the stand.) BOOTH: That ten to fifteen hours gave the m*rder time to soak Julio Diaz's sweatshirt in the victim's blood, in order to put the blame on either Mr. Diaz or the drug suppliers. CAROLINE: But you do not believe that the defendant k*lled the boy. BOOTH: No. But he might as well have. MR. BARRON: Objection! JUDGE: I'll hear it. BOOTH: Terrance Bancroft intended to give that heroin to the police in order to keep Julio Diaz square with his suppliers. CAROLINE: Thank you. BOOTH: Julio Diaz was fourteen years old. MR. BARRON: Your honour! CAROLINE: The prosecution apologizes, your honour. And rests. (Cut to: Street near the Royal Diner. Angela and Brennan are walking together.) ANGELA:Wait. You still haven't slept together? BRENNAN: I know the problem. ANGELA: His religious upbringing? BRENNAN: His penis. ANGELA:What's wrong with it. BRENNAN: Apparently it's small. ANGELA: (laughing) Well, that maybe explains why he hasn't made any moves on you yet. He's insecure. BRENNAN: So I should make the first move, right? Angela; Yeah. Take Sully for a little test drive. Maybe he's got unlimited mileage. That'll make up for the fact that he's a sub-compact. (Cut to: FBI - Booth's Office. Booth and Gordon Wyatt are in the office, sharing food in tiny Chinese food take out boxes.) BOOTH: Hey, Doc, what we're doing here, would that be considered therapy? WYATT: Absolutely. Especially since I'm about to inquire whether you've experienced any outbursts of temper since I requested you alter your dress code. BOOTH: Yeah. One of the Squints - Hodgins - decided the rules, they didn't apply to him. He got entitled and jeopardized my m*rder case. WYATT: Ah, and you confronted him physically. BOOTH: Physical confrontation - that's my main skill. WYATT: "Entitled," you said. Is he a wealthy man? BOOTH: Yeah, like the guy who got k*lled. WYATT: The m*rder victim ... who tried to help a child and then died for it? And your ... uh ... Squint? BOOTH: Yeah, Squint. WYATT: Extraordinary. Your Squint tried to help a friend. So they both endeavored to do good. BOOTH: With no clue of the way things are. WYATT: The way things are, as defined by a working class lad from Pittsburg. BOOTH: That's right. Pittsburg, where I'm from, all right? From the streets. Where you get a sense of how the world really is. WYATT: Yes, I'm sure that's true. But has it occurred to you that without the distortion of reality provided by a privileged upbringing, there'd be no such thing as the Sistine Chapel, the Taj Mahal, the Three Rivers Stadium, home of your beloved Steelers? BOOTH: The Three Rivers Stadium was demolished in 2000. But it was a great place, though, that Lambert... WYATT: No doubt. The point is, you rebel in your way, your friend rebels in his. We all of us have to overcome our upbringing, rich and poor alike. You know what? I'm going to ask you to go back to your bilious socks and your ostentatious ties, and your provocative belt buckles. BOOTH: What, you're saying that if I wear flashy socks, I'm going to forgive Hodgins? WYATT: Oh Lord, I'm not sure I'm that good. Well, perhaps I am ... hmm. (He gets up and begins walking toward the door) BOOTH: Hey, Doc, Doc, Doc ... um ... why is it that the belt buckle is provocative? WYATT: Oh, it's a modern day codpiece. It forced the eye to the groin. (Cut to: Courtroom. Mr. Barron is interrogating Brennan on the stand.) MR. BARRON: What process was used to match the India ink on the letter opener with the flake in the victim's trachea. BRENNAN: Hydropneumatic elutriation. MR. BARRON: Which involves dissolving the sample in a solution, correct? BRENNAN: Yes. MR. BARRON: Essentially destroying it. BRENNAN: Yes. (Cut to: Cam on the stand.) MR. BARRON: And how was the muskrat hair processed? CAM: Liquid chromatograph mass spectrometry. MR. BARRON: And did you perform this test personally, Dr. Saroyan? CAM: No. It was done by a specialist at the Jeffersonian. MR. BARRON: And who might that be? CAM: Dr. Jack Hodgins. MR. BARRON: The same man who used flies to estimate the time of death? CAM: Yes. MR. BARRON: The same Dr. Jack Hodgins who was once engaged to the victim's wife, Clarissa Bancroft? CAROLINE: Objection! Assumes facts not in evidence. JUDGE: Sustained. MR. BARRON: Quite right, your Honor. The defense calls Dr. Jack Hodgins to the stand. After which, we will be moving for dismissal of all charges. ACT FOUR (Cut to: Courthouse Lunch Room. Booth and Brennan are having coffee, discussing the case) BRENNAN: How do you think they found out about Hodgins and Clarissa Bancroft? BOOTH: Aw, it's a classic defense move. You just check out the wife for motive, run through the ex-lovers. (Caroline and Hodgins walk up to them) CAROLINE: Well, the judge didn't dismiss the case, which is a miracle. "Better you don't know, Caroline". Hmph! I figured it was something small, like a typo on a search warrant, but no. Turns out Hodgins had motive to k*ll the man himself. HODGINS: Eight years ago, maybe. But not now. I've got Angela. CAROLINE: Hello! If I might continue. The judge has allowed you twenty-four hours to come up with additional information that has never been seen, heard, smelled, touched, or considered by Dr. Hodgins. Twenty-four hours. (Cut to: Medico Legal Lab - Forensics Platform. Brennan, Cam, Angela, and Zack surround Terrance Bancroft's skeleton.) CAM: Hodgins was all over this case. We need something brand new. Or something that Hodgins didn't touch. ZACK: Uh, both w*apon, blood spatter evidence... ANGELA:Right, trace evidence from the scene, the heroin, the sweatshirt ... I mean, we've covered it all. BRENNAN: (leans down and studies the bones) The answer is here in front of us. Just like always. ZACK: Well... (Angela holds her hand up to stop him.) BRENNAN: The fungus! CAM: What fungus? BRENNAN: The fungus Zack found along the interior cervical vertebrae. ZACK: Typical cadaver mold. BRENNAN: Let's have it identified. ANGELA:That would usually be Hodgins' job. CAM: Not this time. (Cut to: Medico Legal Lab - Brennan's Office. Brennan is seated at her desk, Cam standing in front of her. Hodgins walks in with an envelope in his hand. He hands it to Brennan.) HODGINS: It's my letter of resignation. BRENNAN: Your science was d*ad-on perfect. That's all I care about. I don't need your resignation. (Hodgins hands the letter to Cam, who accepts it.) BRENNAN: He didn't actually tamper with evidence! CAM: Dr. Hodgins endangered a case by hiding his relationship with a suspect. HODGINS: I'm saving Dr. Saroyan the trouble of f*ring me. BRENNAN: Well, how much trouble is it? "You're fired", that's no trouble at all! I mean, a child could do it! CAM: (looks at Hodgins) I appreciate it. (Cut to: Medico Legal Lab. Brennan, Zack, and Angela are looking through various species of fungus on a computer screen.) BRENNAN: So we all agree it's Aspergillus. ZACK: But there are a hundred and eight five strains of Aspergillus. BRENNAN: Clavatus, glaucus, flavus ... ZACK: They all look totally alike to me. ANGELA:(points to the screen) No ... these two are different. BRENNAN: I don't see it. ANGELA:Well they're both ... puddly. ZACK: "Puddly?" ANGELA:Well, by "puddly", I mean the hyphae are septate and hyaline. And the conidiophores originate from the basal foot cell located on the supporting hyphae and ... terminate in a vesicle. ZACK: Aspergillus ustus. BRENNAN: You found it. Exactly how much time have you been spending with Hodgins? (Cut to: Royal Diner. Booth is seated at the counter eating a slice of pie and reading a paper, when Hodgins walks in and approaches him.) HODGINS: Pie good? (Booth ignores him and continues reading his paper.) I quit. Handed in my letter to Cam. BOOTH: Idiot. You should have got fired. Now, no severance package. HODGINS: I figure, a guy like you, I resign that puts things right between us. Do we need to discuss it past that? BOOTH: What are we, girls? (Looks to the server) A piece of pie for my friend... (Cut to: Courtroom. Caroline is addressing the jury) CAROLINE: I will remind the jury that they have heard previous testimony from Dr. Clifford Lonsdale, a clinical expert in drug addiction. (to Brennan) Why should the jury care about some Latin infections? BRENNAN: We found a fungus on the victim called Aspergillus Ustus. CAROLINE: Is that not very common? (Cut to: Cam on the stand) CAM: The fungus in the victim matches exactly the strain Dr. Lonsdale found in the defendant. CAROLINE: What are the chances of that occurring? (Cut to: Zack on the stand) ZACK: Incalculable. Which is something I've never said before. (Cut to: Angela on the stand) CAROLINE: Miss Montenegro, how did this happen? ANGELA:When the defendant punctured the victim's jugular he nicked himself... (Cut to: Cam on the stand) CAM: ... thus introducing the bacteria directly into the victim's bloodstream. (Cut to: Brennan on the stand) BRENNAN: The fungus developed only where blood from the fatal s*ab pooled ... (she points to a diagram on a monitor beside her) Here, along the spinal cord. It did not spread throughout the body. CAROLINE: Which means? BRENNAN: That only Mr. Fraiser could have infected the victim. And only within moments of the victim's death. CAROLINE: And who found this fungus? BRENNAN: Dr. Zack Addy. CAROLINE: And who identified it? BRENNAN: Miss Angela Montenegro. CAROLINE: And who realized the significance of it? BRENNAN: I did. (Cut to: Barron interrogating Brennan on the stand) MR. BARRON: Dr. Jack Hodgins participated in no way whatsoever? CAROLINE: Objection! The implication is offensive. JUDGE: That objection has no standing in law, Ms. Julian. The witness will answer. BRENNAN: Despite the fact that I have absolute faith in Dr. Hodgins' integrity and objectivity, in this instance he was not involved. JUDGE: Then the evidence stands. (Cut to: Courthouse Lunchroom. Brennan, Hodgins, Zack, Angela, and Booth are standing and sitting around tables, and Brennan is watching Caroline talk to Barron in the distance.) BRENNAN: I don't understand how they could do that. ZACK: Who? BRENNAN: Lawyers. ANGELA:Do what? BRENNAN: Be all friendly. CAM: The only people lawyers like are other lawyers. BOOTH: Well, they were married ... (everybody turns to look at him) Well, they have a daughter, second year at MIT. HODGINS: Does anyone else see the irony here? (Caroline approaches the table.) CAROLINE: Listen up you people. The verdict is gonna come down any minute. Maybe we'll win, maybe we'll lose. But this I do know. You people have got to get your sand together, do you hear me? Booth, and you scientist android brainiacs - you got something very special here, but you are losing it. (Looks at Booth) Dropping serial K*llers off balconies, and (looks at Angela) blabbing suspects names to vengeful fathers. (Looks at Cam) Cuttin' into heads before their times, getting' poisoned, (looks at Zack) getting' blown up because you go grabbing for things you shouldn't ought. (Looks at Hodgins) Taking photographs from frames. (Looks back at Booth) Gettin' a perfectly good car smashed to bits for no good reason. Get it together! Start using your oversized heads. This is the real world. Now, I know bug man here handed in his resignation. My official Justice Department recommendation is the following: We win the case, he gets his job back. We lose, Booth sh**t him. (Baliff approaches)BALIFF: The jury's returned with a verdict. CAROLINE: Okay, let's go face the music. (Cut to: Courtroom. [Music: Tears & Laugher by Tall Tree 6ft Man]) JUDGE: Will the defendant please rise? Madam Foreperson, please read the verdict. JURY FOREPERSON: We, the jury, find the defendant guilty. JUDGE: This court is adjourned. (Booth approaches Caroline and pats her on the shoulder, Hodgins meets Clarissa's eye and smiles, and Cam holds up Hodgins' resignation letter and tears it in half. He mouths "thank you" to her.) (Cut to: Royal Diner. Booth shares some of his ties with Wyatt.) (Cut to: Sully's basketball game: Sully walks off the court and Brennan rushes to him, greeting him with a kiss.) (Cut to: Medico Legal Lab. Hodgins shows Angela a variety of photographs (presumably of him and Terry Bancroft in their youth). (Cut to: Medico Legal Lab - Hallway - Next Morning. Brennan and Sully walk into the lab and share a passionate kiss. Angela, who is standing nearby, watches in awe. She approaches Brennan.) ANGELA: You look happy. BRENNAN: Uh-huh. ANGELA: Oh, you look really happy. (Brennan laughs) You made the first move. BRENNAN: Well you told me I should! ANGELA: How was it? I mean, I don't mean "it" ... no, no ... I do! I mean "it". BRENNAN: I discovered something very interesting about cops and nicknames. ANGELA: Anthropologically interesting? BRENNAN: Anatomically interesting. They call the bald guy "Curly", and the fat guy "Tiny". It's ironic. ANGELA: So when they call Sully "Peanut"... BRENNAN: He doesn't like to shower with the other guys because he diverges from the quantifiable morphological norm. (Brennan and Angela reach Brennan's office, where Booth is waiting in a chair, his feet up on Brennan's desk.) BOOTH: What? What's that mean? BRENNAN: Stands out from a crowd. ANGELA: Do you have a nickname, Booth? Something the other cops call you? BOOTH: Why? What have you heard? ANGELA: Congrats, Brennan. (Angela walks out of the room.) BRENNAN: Wow. Those socks. Those are...amazing. BOOTH: That's right. The socks, the tie, the belt buckle - all escape valves for my socioeconomic rage. BRENNAN: I hate psychology. BOOTH: Oh, you know, they help me deal with the day-to-day irritations of dealing with people that are more privileged. BRENNAN: I slept with Sully last night. BOOTH: Oh. I thought you already, uh ... BRENNAN: No. Last night. BOOTH: Ah. It's really none of my business. BRENNAN: Except we're partners. BOOTH: Yeah, there's that- BRENNAN: And you...told me about your socks. BOOTH: Mhm. Sex. Socks. Pretty much the same word. BRENNAN: Do we have a case, or are you just visiting? BOOTH: Yeah, I'll fill you in on the way. It's messy, better get some protection. BRENNAN: Let me get my gumboots. (Brennan leaves the office and Booth stands up, looks at his watch and begins fidgeting with his tie.) BOOTH: Yeah. I'm gonna need a flashier tie. END

{"type": "series", "show": "Bones", "episode": "02x14 - The Man in the Mansion"}

foreverdreaming

"The Bodies in the Book" Episode 2x15 Written By: Karine Rosenthal Directed by: Craig Ross, Jr. Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open with the rustling of sheets and chuckling followed by heavy breathing and the phone ringing. Sully and Brennan are in bed together.) SULLY: No, no, no, no no. Don't answer it. BRENNAN: (Brennan comes out from under the covers) Oh, it's probably the publicist for my book. (Phone continues ringing) SULLY: Shh. Pretend it's the ocean. (Sully covers them back up again) (Ringing stops) SULLY: See that? God loves us. (They both laugh and kiss) (ringing resumes) BRENNAN: (throws the covers off again) Ugh. She'll only keep calling. SULLY: I thought you hated publicity. BRENNAN: Well, it's part of my contract. The book's getting a lot of attention. I'm just trying to do my job. (She strains to reach for the phone) Hello? Hi Ellen. SULLY: Of course, you did look hot on The View. I think Rosie had a little thing for you. (Brennan covers his mouth while he rolls her over and starts trying to distract her by kissing her) BRENNAN: (on phone) That seems - that seems like a lot. Well, it's two interviews and a book signing in one day. I - I don't - I don't know about Tuesday. (she takes the phone away from her ear and kisses Sully back then goes back to the phone) Just, um, send the schedule to the Jeffersonian. We'll discuss it then, okay? I'll see you. I'm leaving right now. (She hangs up, kisses Sully and rolls him over) (Cut to: Jeffersonian - Platform - Hodgins is with Brennan's publicist and her assistant, Ellen Laskow and Hank Beldin and a bug is pinned to the table on its back and he cuts into it) HODGINS: (to Hank) Now this is something you don't normally get to see in the publishing house. ELLEN: Oh, dear Lord. HODGINS: The jelly looking stuff that oozes out turn into the ootheca. HODGINS: Can you smell that? (Hank gags) Yeah. (Brennan arrives) BRENNAN: Sorry I'm late. ELLEN: Oh, thank God. Hank. You know, dear, your book is on the best sellers list. You don't have to work in this place anymore. BRENNAN: This is my real love, Ellen. ELLEN: I know a therapist, dear, who could really help you. (Brennan gives her a look) Okay. Um, the reading and the book signing are this Wednesday night. Hank has arranged for transportation. HANK: Yes. A car will pick you up here at the lab, Dr. Brennan. ELLEN: And then there's that radio interview next Tuesday. That's an early one, so just tell Hank what you would like for breakfast. BRENNAN: Um, that's not necessary. ELLEN: Oh honey, don't worry about it. That's what Hank is for. Right Hank? HANK: Sure. Um, I - I wanted to tell you, Dr. Brennan, I'm a huge...fan. I thought this book is even better - ELLEN: You know, as far as your photo sh**t is concerned - (Booth enters, interrupting) BOOTH: Okay, Bones. We gotta go. They found a floater in the marina. (he grabs her arm) BRENNAN: Uh, my partner, Seeley Booth. This is the publicist for my book, Ellen Laskow and her assistant Hank - ELLEN: Hello. Now I see why Temperance writes those dirty little scenes in her books. BOOTH: That - That's not me - BRENNAN: It's not him. BOOTH: Not me. No. ELLEN: Right. You must let me get you that therapist's number, dear. BOOTH: Oh, no, seriously. She's got someone. BRENNAN: Booth. BOOTH: Well, it's nothing to be ashamed of. He is kinda short. BRENNAN: He's not short. Just because he's not freakishly tall like you are- BOOTH: He's short, okay? BRENNNA: Didn't you say you had remains for me to examine? BOOTH: Oh, right. Come on. Let's go. (he grabs Brennan's arm and starts to drag her out) BRENNAN: Well, thanks for the schedule, Ellen. (Cut to: The marina. There is law enforcement everywhere.) BOOTH: So is it just me or is this, ya know, kinda weird? BRENNAN: What? BOOTH: Well, in your new book, they found a body at the marina, right? BRENNAN: You read my book? BOOTH: Of course. Anyhow, a guy docked the boat, saw something floating in the water thought it was a d*ad fish - it ended up being a decomposed hand. The dive crew just located the rest of the body. BRENNAN: I didn't think you'd have time to read my book. BOOTH: You have time to write it, I have time to read it. Besides, you can't avoid the damned thing. Your book is everywhere. DIVER: Okay, bring it up. BRENNAN: Booth. BOOTH: Yeah. BRENNAN: Look. (she points to the body bring raised.) BOOTH: Wait. (to an FBI Forensics's Agent) Body on the anchor? FORENSICS AGENT: Yeah, tied to the chain. Body's not tied with rope. The diver said they used- BRENNAN: Red tape. (They pull the body out of the maria - wrapped with red tape) FORENSICS AGENT: How did ya know? BRENNAN: Because that's how I wrote it. ACT I (Cut to: Medico Legal Lab - Forensics Platform. Cam, Zack & Brennan are examining the remains.) BRENNAN: Victim was male. Mid 40's. Estimated time of death is 5 days ago. CAM: Only 5 days? This is an extreme rate of decomp. HODGINS: Blue crab season. They'll feed on anything, d*ad or alive. Vegetation, fish, flesh. CAM: Ugh. Opportunistic little bastards. ZACK: Elliptical wounds on the frontal bone with reverse beveling. He was sh*t. BRENNAN: Is there a b*llet? ZACK: No. Irregular exit wound on the occipital. Looks like a through and through. CAM: Dr. Brennan. Exactly how similar is this situation to your book? BRENNAN: The victims in my book are bound and gagged with red tape, sh*t, and then fed to various animals. CAM: Cheery. HODGINS: I loved the symbolism of the red tape. Perfect way to dispose of bureaucrats. BRENNAN: Thank you. ZACK: The first body in the book is tied to an anchor and dropped in the water at a marina. BRENNAN: I prefer not to jump to conclusions. HODGINS: I don't think it requires a jump. Just a little hop. Little teeny - BRENNAN: In this lab, we are concerned with science, not fiction. (Cut to: Medico Legal Lab - Angela's office. Angela is trying to reconstruct the face of the victim on her computer. The team is gathered round.) ANGELA: This is a sketch based on tissue markers on the skull. HODGINS: TCB's and lead we found in the collegian means the victims from the North end of the Chesapeake. Probably outside Anapolis. ANGELA: Did you have to whisper that in my ear? HODGINS: Just seemed right. BOOTH: (leaning in to whisper in Angela's ear) Okay, check the image against the DMV photo's from Maryland. (Angela starts to check through DMV images) BOOTH: Bones. (he takes her towards the back of the room) How ya holding up? BRENNAN: What do you mean? Fine. BOOTH: Ya know, something like this, it's understandable if you're upset. BRENNAN: It's probably a coincidence. (Sully enters) SULLY: Hey, How's it going? BRENNAN: What? What are you doing here? BOOTH: Uh, yeah. SULLY: Well, I heard we had a copy cat k*ller using your book as - BRENNAN: That hasn't been established. BOOTH: Yeah, I got it covered here, Sully. SULLY: Well, two hands are better than one, Booth. BOOTH: Well, last time I looked, I have 2 hands, see? (he holds up his hands) Thanks. ANGELA: Testosterone spill on aisle 4. BRENNAN: We don't' know that my book is the cause. So far what we do know is - SULLY: Someone died exactly the way described in your book. Do you keep any of your old fan mail? BRENNAN: No. I don't read it. The publicist deals with all that. BOOTH: Yeah, I mean, why are you asking, Sully? I'm in charge of this investigation. SULLY: Well, Booth, I was a profiler for two years. I have a lot of experience with these cases. This could be someone showing what big fan he is or someone trying to get close to her. Too close. BRENNAN: I don't need to be protected... BOOTH & SULLY: (in unison) Yes. You do. SULLY: (to Booth) Look. You still call the sh*ts. I just think I'd be an asset to the team. BOOTH: Okay, Fine. We send all the fan mail to Sully - in his office. BRENNAN: Fine. I'll call Ellen. SULLY: We could be dealing with a real sicko here. ANGELA: Jim Lopata. Not the sicko, the sicko's victim. BRENNAN: 43. Married. No kids. From Glen Burnie - outside of Annapolis. (Cut to: FBI - Conference Room. Booth sits with Connie Lopata and Greg Braley, Connie's brother.) BOOTH: So your husband never called you? CONNIE: I thought, uh, he was suppose to be on a business trip. BOOTH: And you haven't seen him since last Tuesday. CONNIE: Oh, no, His trips - he worked so hard. Morning to night driving hundreds of miles. BOOTH: Greg. Did, uh, you and your sister's husband get along? GREG: Well enough. BOOTH: Mmm. Any idea if he had, uh, any enemies? GREG: Wouldn't come as a shock. Jim liked to drink. He could turn into a real jerk sometimes. CONNIE: We were working through it. GREG: Right. CONNIE: Greg. GREG: I'm sorry, but part of me thinks you're better off, Connie. BOOTH: Are you better off, Miss Lopata? CONNIE: How can you say that? My husband's d*ad. BOOTH: Of course. I'm sorry. It's just - one more thing. I realize this is gonna sound a little strange, but do either of you two read, uh, mystery novels? GREG: What the hell does this got to do with anything? CONNIE: Just answer him, Greg. (to Booth) Greg likes them. Why? BOOTH: It's just something I gotta ask. (Cut to: Medico Legal Lab - Forensics Platform.) HODGINS: The tape actually managed to preserve particulate matter that was present on the body before it was dumped. CAM: Any hair? Other goodies that can give us DNA? HODGINS: No. But I did find sand. CAM: Victim was in the ocean, Hodgins, lotta sand there. HODGINS: Yeah, but the sediment distribution doesn't match. The sand came from some place else. CAM: Okay. Try to locate the source. What about the tape itself? Composition, brand - HODGINS: Working on it. CAM: Cool. (Cam starts to walk away as Hodgins stops her again with a question) HODGINS: Do you really plan on reading Dr. Brennan's book? CAM: What? Of course. I only - I bought it - ya know it's on a pile I'm waiting - No. I don't. (Hodgins laughs) Please don't tell her. It's just after dealing with m*rder all day, I can't bring myself to go home and read about it for kicks. HODGINS: So, for kicks you read... CAM: Feminist trash. You know. Woman finds her power, leaves her oppressive husband, discovers freedom and fulfillment with an artist who knows how to cry and make love like an animal. HODGINS: So, sex books. CAM: Pretty much, yeah. HODGINS: Hm. CAM: Let me know if you find any organics on that tape. HODGINS: Yup. (he laughs) (Cut to: Medico Legal Lab - Brennan & Zack are examining remains in one of the rooms) ZACK: So, is the FBI aware of the situation. BRENNAN: What do you mean? Booth and Sully are both working the case. ZACK: I meant the other m*rder in your book. The marina victim is the first of three. BRENNAN: Let's, please, concentrate on the remains, Zack. ZACK: It's just the later dump sites are far less specific. How could the FBI prevent - (Booth enters, cutting Zack off.) BOOTH: Because we're the good guys, Zack, don't you forget that. (to Brennan) Okay, possible motive for Jim Lopata's m*rder. BRENNAN: Connie Lopata's medical records? BOOTH: Check out the ER visits. BRENNAN: Broken rib, concussion, severe bruising - someone was abusing her. BOOTH: Her husband. BRENNAN: So the wife's brother, Greg, knew about it and k*lled the husband to protect his sister. BOOTH: Made it look like a copy cat, cover his tracks. (Hodgins enters) HODGINS: I got more info on the red tape. It's a thermo setting silicon adhesive with glass cloth backing. Secures materials under high temperatures. Also used for electrical and industrial applications. ZACK: Is this Greg person an electrician? BOOTH: He works at Regan National Airport, he's a baggage handler. ZACK: But glass tape is used on aircraft too- HODGINS: To secure cargo holds. (Cut to: FBI - Interrogation Room.) GREG: Didn't take a genius to figure out he h*t her. BRENNAN: You wanted to protect her. GREG: She's my sister. Of course I did. Tried to get her to leave him, but she was so - I don't know. It was messed up. BOOTH: So, you decided to handle things your own way. GREG: What? Meaning what? I k*lled him? No way. I'm not saying I didn't want him d*ad, but I never touched him. Swear on my mother's grave. (He puts up his hand. Brennan realizes that two of his finger are connected together) BOOTH: Sorry, Greg. But that particular oath is no longer recognized in a court of law. GREG: Listen, if you're going to charge me with something, do it. If not- BOOTH: Where were you last Wednesday when your brother in law was k*lled? GREG: In the mountains. I went camping. BOOTH: I'm assuming you were alone. GREG: There were other people at the camp ground. If you can find the other people- BOOTH: Alright, alright. You know, just stay close, alright? Don't go anywhere any time soon. Alright, Greg? (Cut to: FBI - Booth's Office. Booth and Brennan are entering) BRENNAN: Booth. BOOTH: Yeah. BRENNAN: Did you see his right hand? BOOTH: Sure...not, not really. Why? BRENNAN: His 3rd & 4th phalanges - they're fused together. Greg has syndactally. BOOTH: Syndactally. Yeah. Of course. Is that relevant? BRENNAN: Well, it can indicate the presence of other birth defects - things that might affect his range of motion. We should look into that. BOOTH: Would - Would, he be able to, uh, sh**t a g*n? BRENNAN: What? BOOTH: Well, if his fingers, ya know, were - were fused like that, would he still be able to, ya know, pull the trigger? BRENNAN: Yes. I don't see why not. BOOTH: Okay, that's good enough for me. BRENNAN: If it's not him - Booth. There are two other m*rder in the book. BOOTH: I know. (Hank appears in the doorway) Hank. BRENNAN: What are you doing here? HANK: Ellen sent me out. Said you needed all your old fan mail. Plus, she needs a half caf soy latte everyday at 10. Uh, half caf soy latte with a dollop of foam and a sprinkle of chocolate shavings - everyday- (Brennan and Booth just look at him as he rambles.) Um, I'm looking for an Agent Sullivan? BOOTH: Oh, yeah. He's uh, down the hall in his office. (Booth's phone rings.) BOOTH: Booth. (he listens for a second to the other person) Yeah. (he hangs up) BRENNAN: What's wrong? (Cut to: Store - Night. Booth and Brennan are brought into the room by a Police Officer) POLICE OFFICER: Someone must have broken in Saturday night. Stores closed Sundays and Mondays. Clerk comes in this morning, gets an eye full of this. (He brings them over to a glass t*nk where there's a body wrapped in red tape inside, being gnawed on by rats) BOOTH: Isn't this how you k*lled the second victim in your book? BRENNNAN: Yeah. ACT II (Cut to: FBI - Booth's office. Brennan enters.) BRENNAN: Sadie Keller. 28, lived in Chevy Chase. BOOTH: Wow, that was fast. Her face was chewed off. BRENNAN: Aside from bite marks on her parietal and sphenoid bones, skull was intact enough for Angela to do a facial reconstruction. BOOTH: Yeah, uh. Sadie Keller. Recently married Ashton Keller, 29. No work history, went to some pretty fancy schools though. BRENNAN: She was rich. BOOTH: Right. So we got a d*ad traveling salesman and a prep school socialite. What the hell is the connection? (Sully enters) SULLY: Not Greg Braley. His story checks out. He was camping the night Lopata was k*lled. Two Rangers recognized him. BOOTH: (to Brennan) Ah, great. So the only connection we have is the tape and the fact that they were both fed to animals. BRENNAN: So we're back to me. SULLY: No. Your book. BRENNAN: Well, I can only deal with what's before me. Two discreet cases. Physical evidence - BOOTH: Look, Bones-I know it's probably easier for you to, uh, believe that the cases - they aren't linked- BRENNAN: No. There is nothing that would make the loss of two lives easier for me, Booth. BOOTH: I'm sorry, but- BRENNAN: Look, I'm not burying my head in the sand here. I wanna catch whoever did this as much as you guys do, but I have a method and the method doesn't change. I'll be back in my lab (she storms out of the office) BOOTH: She wasn't this emotional before you came in the picture. SULLY: Ah, I thought you weren't interested. BOOTH: Ha. Alright, look, I don't need that, okay? Believe me, okay? I'm gonna go talk to Sadie Keller's husband and why don't you just go back to your office there and, uh, sort through the fan mail, alright? Bye. (Sully laughs) (Cut to: Medico Legal Lab - Forensics Platform) HODGINS: Got some phaenicia sericata stuck in the tape. Means she's been d*ad less than two days. CAM: Rats sure made quick work of her. So all the victims in Dr. Brennan's book go eaten? HODGINS: Yeah, it was part of the metaphor. The victims were all corrupt politicians who'd been feeding for years on the good will of the people so... CAM: I got it. Lots of gore with a splash of social commentary. No wonder it's a best seller. Ooh good. Lots of tissue left over here. ZACK: There's no exit wound. CAM: So we've got a b*llet? ZACK: Eh, I don't see it. The tissue was too badly scavenged. HODGINS: But if the b*llet was still inside Sadie Keller when the body was dumped in the cage... CAM: We need to X Ray us some rodents. (Cut to: FBI - Conference Room. Booth is talking with Ashton Keller) ASHTON: She was suppose to be visiting a friend. BOOTH: And when she didn't return your phone call? ASHTON: I just assumed...She was very independent. Still kinda wild. I mean she was used to getting whatever she wanted. BOOTH: Like what? ASHTON: Let's just say she wasn't the wifely type. And since she had all the money, she - she thought she could, uh, you know. BOOTH: Do you know any of the men she might have been seeing? ASHTON: I didn't want to know. I just wanted it to blow over. I loved her and I know it sounds pathetic but I just loved her. BOOTH: Forgive me, Mr. Keller, but uh, you stand to inherit quite a lot of money, from your wife, don't you? ASHTON: Yes. I do. I guess I shouldn't be surprised that you suspect me, but I was out of town the night that Sadie disappeared, at a golf tournament. BOOTH: I'm gonna need the details. ASHTON: Of course. BOOTH: Yeah. ASHTON: Sadie meant everything to me, Agent Booth. And I know she loved me. Whatever happened, she did. I know that. (Cut to: Medico Legal Lab - Hodgins, Angela and Zack are all looking at rats in a cage.) ANGELA: They're cute...for rodents. HODGINS: Yeah, well, don't grow too attached. These little guys - are destined to be snake snacks. ANGELA: But now that we've confiscated them, shouldn't they be safe? I mean, they're material witnesses. HODGINS: It's not like they know sign language, Angela. ZACK: In Grad school, I developed a more efficient method for k*lling rats prior to dissection. It involved a warm dish of water and the clever use of a ball peen hammer. ANGELA: Zack... HODGINS: Uh, found something. (An x ray of one of the rats is shown with the b*llet inside of it) ANGELA: Wow. HODGINS: mhmm. ANGELA: Now what? ZACK: Warm water soothes them like a bubble bath, then- ANGELA: Can't we just wait 'til nature takes it's course? HODGINS: Do you have any idea how tight a rat's rectum is? ANGELA: Please tell me you don't. (Cam appears at the door) CAM: Locate the a*mo thief? ZACK: Yes, but we're debating the method of b*llet retrieval. CAM: Well, I fed them all a mixture of extra strength laxative and soft tissue dilator when they arrived, so...shouldn't be long now (she leaves) HODGINS: She fed all of them laxatives? ANGELA: I need to go to my - office.... (she leaves too and Hodgins goes after her) (Cut to: Medico Legal Lab - Brennan's office. Brennan is working on paperwork when Sully enters.) SULLY: Lunchtime, ho! (he tosses a sandwich to Brennan) BRENNAN: I'm not hungry. SULLY: Oh, come on. It's meatball! It's the perfect food. BRENNAN: Shouldn't you be working? SULLY: I went through the fan mail and gave the likely candidates to Booth to check out. BRENNAN: (dismissively) Yeah, I'm busy, Sully. I'm cataloging injuries the two victims suffered. SULLY: Hey. I am on your side, Tempe. I know what you're going through... BRENNAN: (challenging him) Okay, what? What, Sully? What - what am I going through? SULLY: Okay. You feel responsible. You feel that somehow if you didn't write that book those two people would still be alive. And you're terrified cause you know that someone else dies in the book. BRENNAN: I don't put much credence in psychology. SULLY: Yeah, well neither do I. I'm basing this on knowing you. Well. Knowing how much you care about your work and if trivializing it in the book caused this then - but it just - but it doesn't work like that, Tempe. BRENNAN: Statistically, the m*rder would have happened whether - the book was written or not. The method might be different is all. SULLY: Right. Now if you only believed that. BRENNAN: You - you don't know me as well as you think. We're just having a fling, so don't get carried away. (Sully leans over and reaches for her hand) SULLY: When you can't stop thinking about someone when they're not around..that's not a fling. When you remember their touch just like they were still right next to you? That's not a fling. If you need to be alone with this, fine - but we both know what we have. (He turns and leaves and Brennan looks after him, visibly shaken. A few seconds later, Zack enters.) ZACK: We have the b*llet. (Cut to - Medico Legal Lab - Brennan and Zack are looking over x rays) ZACK: The b*llet was jacketed showing little deformity. BRENNAN: And you've compared it with the wounds on both victims? ZACK: Lack of shattering around the exit wound of the first victim suggests a jacketed projectile. BRENNAN: And Angela's rendering also matches the b*llet we recovered from the rat. (Booth enters) BOOTH: Zack... (noticing that Brennan is there too) Hey. Bones. Thought that you and uh, Sully were having lunch? BRENNAN: Not hungry. Zack thinks both victims were sh*t using the same g*n. You- you said that Ashton Keller was going get a large inheritance? BOOTH: Right. But his alibi's air tight. He was at Briarwood in Maine at a charity golf tournament. ZACK: So much for that theory. BOOTH: Yeah. What about the red tape? I mean, Did Hodgins uh.. ZACK: The same. BOOTH: Same g*n, same tape, no relationship between the victims. I'm tell ya, we're dealing with a serial k*ller. He's just picking random targets. Nothing else makes sense. BRENNAN: Serial killlers have a pattern, a method of k*lling. The first victim has numerous defensive wounds including a fractured manubrium and trauma to the temporal bone. There was quite a struggle before he died. BOOTH: Well, what about the second victim? ZACK: Nothing. Only the g*n sh*t. BRENNAN: Did you have something to show me? BOOTH: Oh. New suspect. (Cut to: Medico Legal Lab. Booth & Brennan are heading into Brennan's office) BOOTH: Alright, Sully narrowed the fan mail down to the people most likely to act out in obsessive or dangerous ways but- (he laughs) look who I found. Huh. (He show Brennan a picture of Oliver Laurier - the same guy from Season 1) Your number 1 fan. BRENNAN: Oliver. I haven't seen him in a while. BOOTH: Oliver Laurier. The guy who stalked you when we first started working together. BRENNAN: He used to come to all my readings, follow me around afterwards. BOOTH: Well, it says here your publicist gives his picture to security guards at every signing. BRENNAN: Must by why I haven't seen him. BOOTH: I think it's time for me to go see what our buddy, Oliver, has been up to lately. (Cut to: Outside Olivers Apartment (#206). Booth is knocking on the door) BOOTH: Oliver. You home? OLIVER: (from inside) Who is it? BOOTH: Ah, it's an old friend. (Oliver opens the door a crack - the chain is still on - and he looks out) OLIVER: Special Agent Seeley Booth. You work with Dr. Brennan. Why are you here? BOOTH: Well, ya know. Someone loves Dr. Brennan's new book just a little, uh, too much. Ya know and such since you're such a big fan - (Oliver slams the door shut in his face) Oh. Okay. (he pounds on the door again.) You know what? Not a good idea, Oliver. OLIVER: Go away. BOOTH: Ugh. Alright. You know, this is probable cause. I'm gonna give you 5 seconds. Oliver! (As he counts, he starts to walk away) Five....Four.... OLIVER: I didn't do anything. BOOTH: (counting quickly) Three. Two. One.(then fires his g*n at the door knob) Oh, my shrink is gonna be pissed. (he holsters his g*n and kicks in the door, entering the apartment to find dolls hanging from the ceiling - wrapped in red tape - just like the m*rder victims were.) OLIVER: I didn't do anything. BOOTH: Of course you didn't. (he walks over and handcuffs Olive) Come on. Yup... OLIVER: Ow! BOOTH: Sick. (he leads him out of the apartment) Let's go. (Booth looks back at the hanging dolls one more time) ACT III (Cut to: FBI - Interrogation Room. Booth is interrogating Oliver.) OLIVER: It was just a game, kay? BOOTH: If it was just a game, why did you slam the door in my face? OLIVER: I'm not stupid. I heard about the m*rder and I knew you wouldn't understand CRP. BOOTH: CRP? OLIVER: Creative Role Playing. Sometimes I like to pretend. I act out scenes from my favorite books. BOOTH: Exactly how do these "games" of yours go, Oli? Do you ever get tired of playing with your little dolls? Maybe try acting it out on other people? OLIVER: Dr. Brennan's book signing is tonight. I wanted to see her again. BOOTH: Let's stay on point here, Oli. OLIVER: I am on point. I want to see Dr. Brennan. BOOTH: This isn't like going to see Santa. It's more like the principals office, you see. I'm in charge. I call the sh*ts. OLIVER: Did you read Dr. Brennan's new book, Agent Booth? BOOTH: Why do you care? OLIVER: Merely wondering if you know how many victims are in it? BOOTH: What's this about, Oli? OLIVER: I wanna see Dr. Brennan. Santa. (Cut to - Medico Legal Lab - Brennan's Office. Angela is helping Brennan get ready for her book signing) BRENNAN: Sully asked Booth to double security for my book reading. ANGELA: Hot! BRENNAN: No. I don't need that kind of 'hot'. Being treated like a damsel in distress? ANGELA: Sully cares about you, honey. It's a good thing. BRENNAN: We've only been seeing each other for a month. You know, he doesn't know me - not really. ANGELA: And if he does he won't like you? BRENNAN: I've already given up too much to him. It's - (she hold up 2 earring) This one or this one? ANGELA: (she points to one) This one. BRENNAN: Okay. (she puts the earrings on) Most relationships end badly. I just think its important to - to be reasonable. To stay in control. ANGELA: (puts Brennan's necklace on) Don't use your brain so much, sweetie. You have other organs that can give you far more pleasure. BRENNAN: I'm just saying that the odds are not in favor of lasting relationships. (she turns back to face Angela) ANGELA: Look. It might end with Sully. Sure. But I don't think you want to rush the process. Look at Hodgins and I. We're running on sex and laughing. The only thought comes when we order take out in bed. BRENNAN: And you're happy? ANGELA: Hey, we did it in the storage locker an hour ago...I am thrilled. (Brennan smiles) (Cut to: Medico Legal Lab - Autopsy Bay. Cam is examining a body. Brennan stands in the doorway.) BRENNAN: Cam? I have a book signing tonight. CAM: Oh, right. You think that's safe? BRENNAN: (enters) Well, there haven't been any thr*at on my life. CAM: No thr*at on these victims either. BRENNAN: Is that the soft tissue sample from the second victim? CAM: Sadie Keller. Found something irregular. Oxygen saturation levels in the blood were extremely low. I think she might have been unconscious before she was k*lled. BRENNAN: That would explain the lack of struggle but there was no skeletal evidence of a head injury. CAM: I know. My guess would be drug induced. I'm about to run a tox screen. The thing is - why would the k*ller render this victim unconscious? BRENNAN: Doesn't follow. Serial K*llers are consistent. (Hodgins enters) HODGINS: (to Brennan) Wow. New dress code? Cause I didn't get the memo. (Brennan pulls at her skirt) Okay. Sand I collected from the first victim..It's from feldspathic rock. BRENNAN: That's widely occurring, right? HODGINS: Right. 60% of the earths crust is composed of feldspar. CAM: So...this is no help to us. HODGINS: Actually, it is. These particles are way to finely graduated to have occurred naturally. (Brennan's phone starts to ring) This is manufactured sand. BRENNAN: (answering phone) Hi. Booth. CAM: Can we trace the manufacturer? HODGINS: I've requested samples from every quarry that distributes to the DC area - see if that narrows it down. BRENNAN: (into phone) Okay, I'll be right there. (she hangs up) HODGINS: (to Brennan) Hey. Be careful tonight. BRENNAN: I'm not going to the signing yet. Booth has a suspect. (she heads out) (Cut to: FBI - Observation Room. Booth, Sully & Brennan are watching Oliver sitting in the Interrogation Room) SULLY: Serial K*llers like to show off and boast about their crimes. (to Brennan) You might be able to get him to open up. BOOTH: (to Brennan) But you don't have to talk to him if you don't want to. BRENNAN: What? I'm not afraid of him. BOOTH: I'm not saying that you are, I'm just saying - BRENNAN: I'll be back. (She walks past Booth and heads out the door to go into the Interrogation room) BOOTH: She'll be back. That means... Everything with you two, uh - (Sully motions for him to be quiet). You know what, never mind. (Cut to: FBI - Interrogation Room. Brennan is questioning Oliver.) OLIVER: Wow. It's like you dressed up just to see me again. BRENNAN: I can assure you, Oliver, that- that's not the case. OLIVER: But that's what it feels like. To me. BRENNAN: Did you k*ll those people, Oliver? OLIVER: I- I can't answer that yet. I wanna talk a while first. The d*ad bodies, is it true? Did they really get eaten, like in the book? BRENNAN: Yes. They did. OLIVER: Ah! I knew it. Some of the Brennanites were skeptical that the deaths were realistic, but I told them - (Cut to: FBI - Observation Room. Booth & Sully - watching Brennan & Oliver.) BOOTH: Did he say "Brennanites"? (Cut back to: FBI - Interrogation Room. Brennan is in with Oliver.) BRENNAN: Did you say "Brennanites"? OLIVER: m*rder mystery chat room members. See, all chat room members have to identify themselves with their favorite author. I'm a Brennanite - of course. But there are also, uh, Patterstonians and Graftonadas. BRENNAN: Okay, Oliver, I understand. What did you tell them? OLIVER: That you couldn't make those things up. That everything you write is based in fact. It could really happen. BRENNAN: Oliver, I want to talk about the m*rder. OLIVER: You look - so beautiful. Maybe I could get a picture of us together... BRENNAN: The m*rder, Oliver. OLIVER: I know you just dismiss me as another fan but once you get to know me, you realize I'm an interesting man (he reaches his hand out to touch her cheek but she pulls away) BRENNAN: No touching, Oliver. (Cut to: FBI - Observation Room. Booth & Sully - watching Brennan & Oliver.) BOOTH: Okay, end of interview. SULLY: Seems like a good call. (Cut back to: FBI - Interrogation Room. Booth & Sully enter.) BOOTH: Let's go. (Booth goes over to Oliver while Sully goes by Brennan) OLIVER: No. We want to be alone. BOOTH: No, you blew your chance for that. Okay, you can sit in the cell 'til you're ready to talk. OLIVER: Wait, don't leave yet. Not yet. (He reaches for Brennan and she punches him in the nose) BOOTH: Okay.. OLIVER: Oh, my nose. BRENNAN: See? I can take care of myself. BOOTH: (to Sully - under his breath) Yeah, you better watch it, dude. OLIVER: Oh my god. There's so much - (he faints at the site of the blood) (Cut to: FBI - Booth's Office. Brennan, Sully and Booth are talking.) BOOTH: The guy faints at the sight of blood. BRENNAN: He has vasovagal syncope. SULLY: Wait, there's no way he's the k*ller. He just wanted your attention. BOOTH: Alright, so we're back to square one, alright. The uh, the book is the only connection to these m*rder. SULLY: It sold 400, 000 copies already. That's a pretty big pool of people to question. BRENNAN: I'm going to be late for my reading. SULLY: Wait, there's still potentially one more victim. I - I think you should cancel. BRENNAN: What? The - the K*llers not after me, Sully. If he is using the book that makes me the object of these actions not the target. I mean, you're the profiler, right? SULLY: I'm just trying to help. BRENNAN: What?! (Booth starts to back away slowly) You're making this - this personal! You got yourself assigned to this case just because of me! SULLY: Absolutely! What? You're gonna give me more crap because now because I care about you? BOOTH: Be over here making a few calls... (They both turn to him) SULLY: A little help, Booth. Do you think she should go alone? BOOTH: No, no. Not at all. But there seems to be other stuff going on here, I don't wanna get involved - BRENNAN: No. You agreed with him. You are involved. SULLY: Alright, so let Booth take you and that way it won't be personal between us. BRENNAN: Fine! SULLY: Fine. BRENNAN: Fine. SULLY: Fine. (they turn to both) BOOTH: Fine. (Cut to: Outside Landon & Mason Booksellers. Hank is waiting outside when Booth & Brennan arrive in Booth's car) HANK: Oh. My. God. Ellen is going to be so upset you didn't take the car. BRENNAN: No, it's okay. I wanted to go with Booth. You're not going to get in trouble. BOOTH: Man, you're shaking. Are you okay? HANK: Oh, yeah, I'm fine. It's my fault. I'm diabetic and I have not have time to eat and Ellen's not here yet. BRENNAN: (to Booth) Wha- do you have any food? Candy? BOOTH: Yeah. I think I got a half eaten chocolate bar, caramel center (Brennan takes it) Wooow. BRENNAN: (she hands Hank the chocolate bar) Here. Eat. You - you need the sugar. Where- where is Ellen? HANK: I don't know. She went home two hours ago to change her clothes. Left me to handle everything. God, there was almost a riot over the seating arrangements... BOOTH: Well, did you call her? HANK: Who, Ellen? I can't. She left her blackberry, as usual, for me to answer so I would actually be calling myself. This is not like her, she's never late. BOOTH: Alight, look. I'll send a car by her place, check things out, alright? HANK: Thanks. I'll go in and get them ready for you. You can use the back entrance to avoid the nuts. Uh, um, the candy was a little linty, but thank you. BOOTH: Linty? BRENNAN: He - BOOTH: Linty. BRENNAN: He's diabetic. (Cut to: Back lot of Landon & Mason Booksellers. Booth is escorting Brennan through the parking lot.) BOOTH: Quite a line of people there. Lotta fans, Bones. (Booth notices someone approaching them and he turns around and pulls out his g*n.) BOOTH: Alright. Whoa, whoa, whoa. Hold it right there. FAN: Whoa. BOOTH: FBI. Hand in the air. FAN: I just wanted an autograph! (the guy is scared.) BOOTH: Kay, just wait 'til the Doc gets inside. Okay pal? (The fan turns and runs away) FAN: (while running) I'm sorry!! BRENNAN: Was that necessary? BOOTH: Just doing my job, okay Bones? Are you gonna come at me like you came at Sully? BRENNAN: What is that suppose to mean? BOOTH: Look, far be it for me to stick my nose into your bedroom but I've known Sully a long time and believe me, he's one of the good guys. BRENNAN: Well, I know Sully, Booth. BOOTH: And I know you. Alright, somebody gets too close, you just wanna push them away. BRENNAN: I think you're taking your therapy a little too serious... (she sees something in front of her that makes her stop talking) BOOTH: Maybe, maybe not. Come on, let's go. (He realizes that something caught her attention.) What? (he turns around and trail of ants) What the hell is that? BRENNAN: Oh. Booth. They're f*re ants. Just like the book. BOOTH & BRENNAN: (in unison) The third body. BOOTH: Okay there is it, alright. BRENNAN: Careful, Booth. Don't let them get on you. (They follow the trail of f*re ants to a shed. They open it and inside find a body, wrapped in red tape.) BOOTH: Ohhh. BRENNAN: Oh god. It's Ellen. ACT IV (Cut to: Medico Legal Lab - Forensics Platform. Hodgins & Zack are cleaning the ants off the body) HODGINS: You have to be careful with f*re ants. They're extremely dangerous. ZACK: I think the victim would agree with you. (Brennan and Cam are approaching the platform) BRENNAN: I asked them to pull the book, but according to my contract, I don't have that right. CAM: I heard sales are increasing because of the m*rder. (they enter the platform area) BRENNAN: That's sick. These are real people, not characters. CAM: Just remember, at the end of your books, Kathy Reichs always gets the m*rder. (to Hodgins) How long will this take? HODGINS: As long as it takes to get every last one of them. Introducing f*re ants to the ecosystem around here would be extremely devastating. BRENNAN: What about the crime scene? It was covered. HODGINS: Yeah. I had to fight f*re with f*re or in this case, f*re ants with f*re. CAM: Meaning... HODGINS: Had to scotch it. Huge flame thrower. Dude, it was like Ghost Busters the way they all went up- CAM: We get the idea, thanks. BRENNAN: A b*llet hole is visible now, around the C2 vertebrae. Close range. CAM: Each sh*t in a different part of the body. Very unusual for someone who executes his victims. (Cut to: FBI - Observation Room. Sully & Booth are talking.) SULLY: Data retrieval went through Ellen Laskow's blackberry. Found a text messaging address used once about 6 months ago. Former work number of Ashton Keller, Sadie Keller's husband. BOOTH: Oh, wait. Our 3rd victim knew our 2nd victims husband. SULLY: Well, Ashton Keller said his wife was fooling around, maybe Ashton was fooling around with Ellen. BOOTH: But he was a good looking young guy, she was a - scary publicist. SULLY: No accounting for taste. (Hank is lead into the interrogation room) BOOTH: Well, I'll uh, see what the publicist's assistant knows. They're always covering for their bosses, right? SULLY: Well, let's hope so. I'll look for any other connections between Ashton, Keller and our 1st victim. BOOTH: Okay. (he starts to head out to the interrogation room) SULLY: Hey, uh, how is Brennan holding up? BOOTH: Why don't you ask her yourself? SULLY: Um, I'm not sure she's exactly receptive right now. BOOTH: Listen. Don't let her bully you into leaving, man. Alright? SULLY: Yeah. (Booth leaves the room) (Cut to: FBI - Interrogation Room. Booth is talking to Hank.) HANK: I - I woke up this morning and picked up her cleaning like always. Stupid huh? I just - I can't get used to the fact that she's not here anymore. BOOTH: You need a candy bar or something? HANK: No, I'm okay. Thanks. So is it the same person who k*lled the other two? BOOTH: We don't know yet. HANK: When she didn't show up I should have driven back to get her- BOOTH: Was she, uh, having an affair? HANK: She had...lovers. Women. I don't know why she was so secretive in this day and age but I was the only person in the office who knew. BOOTH: Did she know Sadie Keller? HANK: The other victim? We're they - BOOTH: If you can think of anything that might connect them... HANK: Of course. I'll go through my old records and date books. BOOTH: Great. Thanks. (Cut to: Medico Legal Lab. Brennan is looking at pictures of a b*llet) BRENNAN: The ridging along the edges is almost identical. ZACK: I'd say the 3rd b*llet was definitely sh*t from the same barrel as the first two. HODGINS: Same glass cloth tape used on body #3. BRENNAN: So why are all the att*cks different? (she goes over to the first set of remains) The first victim, Jim Lopada, shows signs of a physical att*ck before he was sh*t and look at the angle of the g*n sh*t. CAM: Through the forehead, execution style. BRENNAN: And the second victim (she walks over to the second victims remains), Sadie Keller, shows absolutely no sign of struggle as if she were drugged. CAM: Well, the toxicology screen came back negative. ZACK: And the g*n on this body was straight through the heart. HODGINS: Like the k*ller didn't want to see his victims face get blown off. BRENNAN: And Ellen was sh*t at close range in the back of the neck. CAM: I've never seen a pattern like that. BRENNAN: I don't think it is a pattern. I think there were three, separate K*llers. (Cut to: FBI Corridor. Booth and Sully are walking) SULLY: Any more leads off the third vic? BOOTH: Yeah, I'm working on it. Brennan called. The publicist took a sh*t to the back of the neck. She thinks we have three separate K*llers. SULLY: That's a hell of a coincidence. BOOTH: Or one hell of a conspiracy. You know, she sounded pretty certain and I trust her when she's all calm and relaxed. SULLY: Well, I'll remember that. Uh, so the text message. Uh, Ellen Laskow writes Ashton Keller, comes clean about her and Sadie. Ashton is enraged- BOOTH: No, it was Hank. SULLY: The assistant? What, what about him? BOOTH: He said that he always carried Ellen's blackberry. SULLY: So maybe it wasn't Ellen who knew Ashton. BOOTH: That's right. It was Hank. (Cut to: Medico Legal Lab - Hodgins Desk.) HODGINS: I found a quarry sample that matches the sand found on the first body. It was distributed by the Irving Company of West Virginia, used exclusively by country clubs nation wide. Only a few clubs in this area though so I've got a list. BRENNAN: Why do country clubs need sand? HODGINS: For golf courses. (Booth enters) BOOTH: Alright, Bones. You're right. We're dealing with three separate K*llers and somehow they all know each other and they're using your book to make it look like one person. BRENNAN: What are we talking about? BOOTH: Motive, Bones. Okay. Motive. Victim #1 was beating his wife, second victim left her money to her lazy ass husband.. BRENNAN: Victim three is Ellen who - seemed lonely, so... BOOTH: Bones? Don't try the psychological stuff. It's really not a pretty sight. HODGINS: Ellen was hated by Hank who was also next in line for her job. BOOTH: Heeey. Good work, Hodgins. HODGINS: Thanks. BRENNAN: So, are suspects agreed to k*ll for each other so they'd each have an alibi? BOOTH: All I need from you people is some proof, okay? HODGINS: Oh. Oh, is that all. BRENNAN: Wait. Sand. Didn't you say that Ashton Keller was a big golfer? BOOTH: Yeah, he plays 9 holes at least everyday at the uh, Rockville Country Club. (Hodgins searches he list to see if the club is listed as a recipient of the sand) HODGINS: Yup. Rockville Country Club. It is the only golf course in Maryland that gets their sand from Irving. BOOTH: Okay. So if Ashton k*lled Jim, that would mean Hank k*lled Sadie. What do we know about Hank? BRENNAN: Not much. Hard working, smart, diabeti-diabetic.That's it. (She runs off to find Cam) Cam! Cam! (Cut to: Medico Legal Lab - Autopsy Bay.) CAM: The k*ller injected Sadie with and excessive amount of insulin to render her unconscious. Being a diabetic, Hank would have easy access to insulin. BOOTH: Kay, well why didn't that show up in tox screen? BRENNAN: Because insulin is a naturally occurring substance in the body. We were only looking for analgesics and depressants. BOOTH: Yeah, okay. What about the third body? Ellen's? CAM: Taken the ants, did a great deal of damage to the epidermis, it's been difficult to get narrative of the injuries. (Cam picks up an ultraviolet light.) BOOTH: Kay. What's that? BRENNAN: Cam is going to examine the body with a reflective ultraviolet lens. See if that gives us anything. CAM: I filtered the lens so that it only allows UV wavelengths of less than 400 nanometers. That way we can see bruises and injury patters that are normally invisible. BOOTH: Kay, (his phone rings) you have fun with that. (he answers) Booth. BRENNAN: A long bruise there - as if the k*ller has his arm around her neck. CAM: And these marks on the arms - they look like hand prints. Like her k*ller grabbed her repeatedly all along her arms. BRENNAN: Hands. Wha - may I? BOOTH: (now off the phone) Well, Sully got confirmation of the connection between the K*llers. CAM: Which is? BOOTH: The Brennanite chat room that Oliver mentioned? The FBI tech squad traced the screen names. Greg Braley, Ashton Keller, Hank Beldon - they're all members. BRENNAN: Look. (she points the UV light on the arm) Syndactally, on the right hand. We can link Greg Braley to Ellen Laskow's death. CAM: All three m*rder. Each one linked forensically to one of the three suspects. Not bad. What are you waiting for, Booth? Go get the bad guys! BOOTH: That's a good idea. I'll be back. (Cut to: FBI - Corridor. Booth and Brennan walk the three suspects - Greg Braley, Ashton Keller, Hank Beldon - to the Interrogation room. They all sit looking at each other, knowing that their 'game' is over. Brennan & Booth look at them all sitting there and then walk away, closing the door behind them.) (Cut to: Medico Legal Lab. Brennan's office. Booth and Brennan are talking.) BOOTH: Tell ya something, alright? Sales of your book are gonna sky rocket after this. (Booth sits in a chair opposite Brennan) BRENNAN: The only problem is our ending is a lot better than the one I wrote in the book. BOOTH: What, are you kidding me? Huh? Kathy Reichs and the FBI guy in the back of the AMG? (they laugh) BRENNAN: The arrest. BOOTH: Oh, yeah. There's that. (Brennan sees Sully standing in the doorway of her office) BRENNAN: Sully. BOOTH: Yeah, you know you really should apologize. I mean, you were really ragging on the guy. He seemed a little frail. SULLY: Eh, I'm a lot strong than I look. BOOTH: Oh, you were - (Booth gets up and stands by the desk) Hey, Sul. SULLY: Hey. So, congratulations. You guys, make a great team. BOOTH: mmhmm. It's true. ( he looks at Brennan - she looks back at him) So true. BRENNAN: (to Sully) Thanks for your help. SULLY: Sure. (Sully and Brennan are lost in their own world and Booth seems a bit uncomfortable) BOOTH: You know, I should run. Bones, ya know, I - I got stuff. (Brennan continues to stay focused on Sully, not hearing a thing Booth is saying.) See ya at work, Sul? SULLY: Yeah, I'll see ya man. (Booth tries once more, unsuccessfully, to get Brennan attention and then leaves her office. Sully moves closer to where Brennan is sitting.) BRENNAN: I - (she stands up in front of him) I did feel responsible, Sully. Do. SULLY: And you thought if I saw you, vulnerable, needing me- that I'd run. BRENNAN: I've been alone my whole life. It's all I know. SULLY: Eh, don't worry. You'll learn fast. (Sully and Brennan kiss. As the scene fades out, we see Booth outside of Brennan's office talking to Hodgins. Hodgins walks away as Booth turns back, looking through her office window, and sees the two of them kissing. He appears to be dejected, drops the folder down on the nearest desk and heads out the door.) --END--

{"type": "series", "show": "Bones", "episode": "02x15 - Bodies in the Book"}

foreverdreaming

"The Boneless Bride in the River" Episode 2x16 Written By: Gary Glasberg Directed by: Tony Wharmby Transcribed by: tracie Disclaimer: The characters, plot lines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open - Brennan and Booth arrive at the crime scene - a River) BRENNAN: I'm supposed to be on vacation? You know, spending time with Sully. BOOTH: Oh, that's a good lesson for Sully then, huh? Next time he actually takes you 'away' on vacation, you should go away. You know, leave town. BRENNAN: Ha! You had a vacation and never left town. BOOTH: It wasn't a vacation, it was a suspension. BRENNAN: Plus compulsory therapy... BOOTH: Dude, don't' knock therapy, okay. Dr. Wyatt has help me realized that there are certain pressures that build up on the job and I need creative ways - BRENNAN: (Interrupting) We do everything together - BOOTH: ..of dealing with them. BRENNAN: What? What exactly do you have to contend with on the job that I don't? BOOTH: (laughs) You Bones. You don't have to contend with you. AGENT CHARLIE: So we've got a trunk. Looks like it's been wrapped with chains. Battered up pretty good. Most likely came thought the sluice ways upstream in Maryland. BRENNAN: Is it locked? AGENT CHARLIE: Not anymore, it isn't. BOOTH: Is there a body in there? AGENT CHARLIE: Sort of. (He opens the box to reveal what appears to be a flattened d*ad woman) Beats the hell out of me what the deal is with this one. BRENNAN: Head looks flat. Like the skulls been totally pulverized. AGENT CHARLIE: Maybe she got run over by a steam roller? BOOTH: Whoa. What are you saying, that she was k*lled by Wile E. Coyote? BRENNAN: Okay, I want the whole kip and canoodle transported to the Jeffersonian. BOOTH: Kit and caboodle. RBENNAN: Whatever. BOOTH: Why don't we just wrap this up fast so we can get you back on your 'vacation'. BRENNAN: (sarcastically) Thank you. I'd appreciate that. (Cut to: Jeffersonian - Autopsy Room- Zack and Angela are standing around the body while Cam examines it.) ANGELA: You have GOT to be kidding.. CAM: What's with the tone? ANGELA: You want me to take this - face - and build a skull for it? CAM: Can you do it? ANGELA: No. ZACK: You're always taking skulls and putting on faces. Can't you simply reverse the process? ANGELA: No. CAM: Why not? ANGELA: Because I am a human being. (they all look at each other) Is she missing every bone in her body? CAM: Her skeleton was removed. ANGELA: (she cringes) Oh. Alright. Leaving the third circle of Hell. But before I go, I think she's Asian. CAM: Don't base that on skin tone. She was boiled which is why we could only get partial finger prints. ANGELA: I'm not going off skin tone. I'm going off her hair. ZACK: I have an idea for the face, if you can remove the head from the rest of the skin sack. ANGELA: Please, God. I am not out of earshot yet. (Cut to: Jeffersonian - Brennan's Office) CAM: The victim was boiled and a number of incisions were made from the top of the skull, around her right ear and down her right side. Then from the left foot, along the outside of the body, to her left hip. BRENNAN: Someone with medical training? CAM: Definitely not. An untrained hand, but a very sharp instrument. BOOTH:(looking queasy) Boiled? CAM: The entire skeletal structure removed. Then the skin was sewn back around the organs. BRENNAN: It doesn't fit any kind of ritual k*lling I've ever heard or read about. CAM: The organs are damaged, due to the clumsy cutting, but everything's there. Except the brain and the eyes. BOOTH: Oh, God. BRENNAN: It must have been difficult to remove all those smaller bones - like the phalanges. CAM: Well, it's all gone. I didn't even find one bone. (Hodgins enters) HODGINS: The algae in the trunk is Cyanobacteria called Microcystis aeruginosa (Brennan gets up from her chair and heads towards the door) the size of the...scum colony indicates 8 days submersion....Dr. Brennan? (she stops and turns back towards him) Have I offended you in some way? BRENNAN: Dr. Saroyan said no bones, so you know what that means? I'm back on vacation. No bones, no Bones. (she turns to head out, but stops and turns back) I was the second "bones". CAM: Very witty. (Cut to: Jeffersonian - Room) ZACK: Essentially, all we have to do is fill the empty head. HODGINS: Like a balloon. ZACK: Which is literally what we did. CAM: Oh, no. You did not. HODGINS: Put a bladder inside the head and inflate it very slowly. (head starts to inflate) CAM: This is..it's....absolutely... HODGINS: Brilliant? CAM: Useless. You need the exact shape of the skull to get a likeness. Not just a....this is...turn that off. ANGELA: Oh. My. God. You guys are perverse CAM: Dr. Brennan was right. Bone people, should only do bone things. ACT ONE (Cut to: Marina - day - Brennan is on the docks approaching "Dreamer") BRENNAN: Hello. SULLY: Hey. Dr. Brennan! BRENNAN: Agent Sullivan, I presume. SULLY: So, what do ya think? BRENNAN: I think you're very dirty. SULLY: Ooooh... BRENNAN: (points to cheek) You've got something SULLY: Oh. Oh. Uh, Come on aboard, here. So, I didn't think I'd see you for a couple of days. BRENNAN: I know it's strange, but I actually rather spend time with you than work. SULLY: Well, I'm flattered. BRENNAN: So, um, you renting it? SULLY: Well, uh, thinking about buying her. BRENNAN: Wow. Can you afford it? SULLY: Well, If I liquidate everything and borrow heavily? Not at all. BRENNAN: So you'd - you'd live on it? SULLY: Her. Ya know, live on Her. But before I commit, I want to spend the night on her with you. BRENNAN: What would that prove? SULLY: Call it sexual feng shui BRENNAN: I don't think that's a real thing.. SULLY: If it doesn't work for us, I don't want this boat - (Brennan cuts him off by kissing him) Wow. Apparently, you do think it's a real thing. (she kisses him again and the scene fades out) (Cut to: Jeffersonian - Autopsy Room) CAM: I can't find anything on how to estimate the height of a body without bones. Does the skin stretch or contract without a skeleton? ZACK: Uh, boiled leather, immersed in water, would tend to stretch then contract as it dries. Maybe the principle applies. CAM: I'm finding bruising on the torso. I'll subject the tissue to reflectent spectroscopy to get a rough idea of when the blows were sustained and whether they were fatal. ZACK: Dr. Sayroyan? The face debacle taught me a lesson. I'm strictly a bone guy, like Dr. Brennan. CAM: Which is exactly why I called for you, Bone Boy. (Cam give a metal tray to Zack with a piece of bone on it) ZACK: A patella? CAM: Yes. X-rays showed it was lodged in the fatty tissue of the leg. ZACK: A bone! Something we can work with. CAM: It's just a knee cap, Zack. Don't get too excited. ZACK: To you it's a knee cap. To Dr. Brennan? It's the best part of a human being. CAM: Good to know. (Zack takes the tray and leaves) (Cut to: Marina - day - noises are coming from inside the boat as Booth approaches) BOOTH: Hey? (laughter is emitted from below deck) Ahoy the boat? SULLY: Booth? BOOTH: Yeah. I need Bones. Permission to come aboard or what? (he makes his way on deck as Sully's head pops out from the cabin) SULLY: Hey. Man. Uh, Is this important? BOOTH: Yeah. We got a bone. SULLY: Tell me about it. BOOTH: It's from the boneless girl.. (Brennan appears from the cabin) BRENNAN: Uh, what kind of bone? (Booth looks at the two of them as they look back at him, disheveled) (Cut to: Jeffersonian - Lab) BRENNAN: (pointing to the screen) Here and here (she points to the screen) ZACK: Frontal spurring. BOOTH: Mhmm. What's that mean? BRENNAN: Zack? ZACK: A lot of time spent on the knees. BOOTH: Oh. She's either a nun or a prost*tute. ZACK: No. The tendon attachments on the inside of the patella also suggest squatting. Which is not nun like behavior. BRENNAN: You didn't need to interrupt my vacation for this, you know. BOOTH: Well, you know. You said to call if a bone showed up and this is a bone. ZACK: The density of secondary osteon structures, suggest the victim was in her early 20's at the time of her death. BRENNAN: See, Zack is capable. You don't need me. (they all look at the computer monitor) An interesting shape. ZACK: Square rather than triangular. Classic nail-patella syndrome. BRENNAN: It's a genetic defect. Also known as Falling's disease. BOOTH: Falling's disease. Right. What's that? ZACK: Angela said the victims hair suggested Asian. BRENNAN: Our victim may have grown up in a non industrialized, rural environment. BOOTH: Well, early 20's, Asian, rural area? I'll check with immigration. BRENNAN: Zack will do an osteological profile on the bone, see if we can focus geographically, while I get back on vacation. (Booth looks like a lost puppy as he watches her walk away) ZACK: Wow. Dr. Brennan really likes that boat. (Cut to: Jeffersonian - Angela's Office - Angela is going through faces in the Homeland Security Database) BOOTH: I thought you said you couldn't make a face. ANGELA: Did you hear about Zack and Hodgins and the balloon in the head? BOOTH: Ha. Was it as bad as it sounds? ANGELA: Yes. The least I could do was try to get her a face, poor woman. So, a boat, hmm? BOOTH: Oh, Sully? Yeah. Hmph. Last month, he wanted to live in a tree house. ANGELA: Hm. He's like me. BOOTH: Yeah. (he pauses and thinks) Ya know, I don't see that. ANGELA: Well, he's not really made for all this m*rder and corpses and empty eye sockets crap. He's a romantic. BOOTH: Unlike me? ANGELA: No. You're a romantic of a narrow kind. You live to catch bad guys. Sully lives wide. Hey, I got a h*t off the Homeland Security Database. BOOTH: Li Ling Fan. ANGELA: Yeah, she's here on a fiancée visa from mainland China. BOOTH: Well, the fingerprints, it's a match. Print this up for me. ANGELA: Yeah, this is the victim. BOOTH: Okay, I'll got visit her fiancée tomorrow...and I, I live wide too. Far and wide. Alright? There's nothing wider than Seeley Booth. ANGELA: Okay then. My Bad. (Cut to: Drew Harper's House) HARPER: Ling Fan is d*ad. Are you certain? BOOTH: When was the last time you saw you're wife, Mr. Harper? HARPER: Fan wasn't my wife. BOOTH: Well, she immigrated here on a fiancée visa and you're listed as, uh, the fiancée. HARPER: We called it off. Mutual thing. BOOTH: Well, you see, I - I don't believe that. I mean, a poor girl from China travels thousands of miles away from her family to be with the man that she loves. Not like she has many options. So uh, when was the last time you saw her? HARPER: About a month ago. How did she die? BOOTH: Yeah, we're still, uh, we're still looking into that. HARPER: Foul play, right? I mean the FBI wouldn't be asking so many questions if it was an accident. BOOTH: So you, uh, you get off on all this uh - Asian stuff, huh? Martial Arts, w*apon.. HARPER: I've dedicated my life to it. BOOTH: She had some bruising, your fiancée. HARPER: I don't know anything about that. BOOTH: These uh, w*apon here, are they uh, genuine? HARPER: Knock offs. I can't afford the real thing. BOOTH: Really? Since when does a fence, worry about affording things? Details, like a criminal record, they tend to uh, come up during m*rder investigation. HARPER: m*rder? BOOTH: Homicide. See, I've, uh, dedicated my life to it. (Harper springs up and jumps out the window as Booth chases him onto the roof) Booth: Whoa, whoa, whoa. (he watches as Harper flies off the building to the street below) BOOTH: Hey! ACT TWO (Cut to: Marina - day) BRENNAN: I've been on Arab dhows about this size, but I don't think I could handle one all by myself. SULLY: This is a lot more high tech than a dhow. BRENNAN: Why...why didn't you ask me to go out with you? I'm a good sailor. SULLY: Well, ya know, I've got to be able to handle her by myself. I'd much rather have a crew, you in fact, but what if you got conked on the head and ran off with a pirate? (Brennan laughs as booth appears behind them) BOOTH: Ahoy the boat. BRENNAN: (annoyed, scoffs) Booth. SULLY: Don't tell me. You found another bone. BOOTH: Well, I got this uh, Chinese book that needs translating. Maybe you, uh, got someone at the Jeffersonian we could, uh, talk to.. BRENNAN: No. I'm on vacation. SULLY: Well, he'll just keep showing up. Might as well pitch in and get the case solved. (Cut to: Jeffersonian - Lab - Professor Shi Jon Chen ) PROF. CHEN: It's a ledger for buying and selling w*apon. BOOTH: Illegal w*apon. PROF. CHEN: Hm. One entry refers to this. (he points to a sword) It's a Jian, double edge sword.(he continues reading) A dergu....this fellow's not Chinese, correct? SULLY: How can you tell? PROF. CHEN: His characters are labored, overly formal. BRENNAN: Professor Shi Jon Chen is a highly respected cultural anthropologist who specializes.. BOOTH: Yeah. He's one of you. Yep. I get it. PROF. CHEN: You definitely didn't get all the w*apon, including this - the Xing Shuang - Flying Horse - a very rare, ornate, dagger. BRENNAN: So what do you think, Jon Chen? PROF. CHEN: Obviously, he has a fetishistic slant towards all things Asian. A mail order bride would have been a thing to him, like these w*apon. BRENNAN: What about the ritualistic removal of the bones? Could it be Minghun. PROF. CHEN: No. Definitely not. BOOTH: What's that, huh? PROF. CHEN: It's an ancient belief, in rural China, that if a young, unmarried male dies - his family should rebury his bones with the bones of a woman. BRENNAN: A bride for the afterlife. SULLY: Like a burriage or a marrial. BOOTH: Deading? (Sully & Booth laugh while Prof. Chen seems to be less than amused.) PROF. CHEN: But, I've never heard of anyone committing m*rder to get these bones. BOOTH: Well, then. We should, ah, pursue this avenue of investigation. BRENNAN: If you come across a Minghun, in which the origin of the bride's bones is unclear? You let us know. PROF. CHEN: Of course (he hands the book to Brennan and leaves) BOOTH: Alright, Sully, look. I want you to look into buying one of those ancient Chinese w*apon. Leaping... Donkey? BRENNAN: Flying Horse? BOOTH: Yeah, whatever. See if Harper surfaces long enough to, uh, make the sale. (Cut to: Booth & Brennan in Booth's car - driving ) BOOTH: Homeland Security says the fiancée visa was, ah, expedited by a lawyer on a retainer into a smaller bride agency here in town called "The Perfect Wife" BRENNAN: Well, that sounds archaic. BOOTH: Well, ya know, in therapy I learned that superlatives like 'perfect' are, uh, meaningless. BRENNAN: Not in science. A perfect number is a number who's divisors add up to itself as in one plus two plus three equals six. BOOTH: Well, in therapy I learned that definitive statements are by their very nature, wrong. BRENNAN: Isn't the statement, '"definitive statements are by their very nature, wrong" defintive and, thus, wrong? BOOTH: You hate psychology! BRENNAN: You haven't said anything to change my mind. BOOTH: You know, this is exactly why I sometimes do think like sh**t up an ice-cream truck. BRENNAN: Well, it's a good thing you had therapy. BOOTH: You know, we talked about you in therapy. BRENNAN: You did? BOOTH: mmhmm. BRENNAN: What did you say? BOOTH: Well, you know, since it was, uh, my therapy, I don't have to share details. Sorry! (Cut to: FBI / Interrogation Room - Booth and Brennan sit with Jackie Burrows, owner of the Perfect Wife, bridal agency) BOOTH: So you specialize in bringing brides over from Russia, Romania, China & Thailand? JACKIE: I've had over 500 marriages since I opened shop. I match the happy couple using an empirical system of reciprocal attributes. BRENNAN: You can't match humans empirically because the variables number in the tens of thousands. JACKIE: I never recommend a match with less than 200 points of compatible commonality. BRENNAN: Tens of thousands is way more than 200. BOOTH: That's great. Were Drew Harper and Miss Fan - BRENNAN (interrupting): Miss Ling. JACKIE: In Chinese nomenclature the last names first.. BRENNAN: ..and the first name is last. BOOTH: Great. We're they a good match. JACKIE: Sadly, I'm sorry to say, in the end, no. They decided not to marry. BRENNAN: Wha- What happened to Miss Ling after that? JACKIE: On a fiancée visa, the couple has 90 days to marry and if they don't, the bride is required to return to her country of origin. So, if Ling Phan is missing, it's probably because she went back home. BOOTH: Miss Fan is- (Brennanclears her throat, obviously annoyed and interrupts Booth) BOOTH: Li Ling Fan is d*ad, Miss Burrows. She was beaten. BRENNAN: Drew Harper may have k*lled her. Did that possibility show up in your 200 points? JACKIE (visibly shaken): Um, this is my background check on Drew Harper. You'll find that my screening process exceeds the minimum set by the Marriage Broker Act. BOOTH: Thank you, Miss Burrows. You can leave. (Jackie leaves) BOOTH: Well, Harper provided a completely false background. BRENNAN: Is that possible? BOOTH: A career criminal, fence? I mean, yeah. He can bring himself a whole identity based on false documents. I'm telling ya, this is definitely not a match made in heaven. (Cut to: Jeffersonian - Brennan's Office) PROF. CHEN: I've been worming my way into observing the ceremony first hand, for two months. Through the grooms family. BOOTH: That'd be the d*ad groom. PROF. CHEN: Yes. Overtures are always made by the grooms family. Now I hear they will pay $25,000 for a bride. BOOTH: That would be the d*ad bride.. BRENNAN: Booth. You're being very judgmental. BOOTH: I apologize. I just think it's a little - (Brennan glares at him) PROF. CHEN: Apparently, they found our bride. BOOTH: Well, who is she..was she? You know, because she..she's d*ad. PROF. CHEN: My sources don't know anything about the bride. BRENNAN: Well, who got the $25,000? PROF. CHEN: Most likely, the brides family. BOOTH: Most likely? BRENNAN: My understanding is that before the Minghun, the bones are spread throughout the family members and then brought together for the reburial ceremony. PROF. CHEN: That's correct. BRENNAN: If you could get me a sample of one of the bones. Could check the DNA, see if it Li Ling Fan? BOOTH: Do you know where any of these bones are, Professor Chen? PROF. CHEN: I might know where maybe one bone is being kept. BRENNAN: If you could get me to a place where I could just look at the bone, you're subjects will never know I was there. PROF. CHEN: Alright. But you'll have to pretend to be....my girlfriend. (Booth smirks. Prof. Chen then turns to Booth) ..and her brother. BRENNAN (scoffs): Yeah, right. (Cut to: House of Mei Zhang - a relative with the d*ad son's bones) MEI ZHANG: (in Mandarin) You should have given me more warning that you would be bringing guests into my home. BRENNAN: What did she say? PROF. CHEN: Just hospitality stuff. MEI ZHANG: (in Mandarin) The young woman, she seems very nice and she is very beautiful, but your family would much prefer you find a girl more suitable. BOOTH: I don't need to speak Chinese to get that. She don't think Bones is good for you. BRENNAN: You just made that up! PROF. CHEN: Ah, Nailed on the head. BOOTH: Ha. PROF. CHEN: (to Mei Zhang in Mandarin) Perhaps some more biscuits? (Before heading into the other room, Mei Zhang goes over to Booth and pinches his cheek) MEI ZHANG: He is... You are very handsome. I've said, Caucasians don't usually look very prosperous but he has very special characteristics. PROF. CHEN: She said your face has character. BOOTH: Yeah, well all the older ladies say they like me. (Brennan gets up and looks on the mantle) BOOTH (whispering): Bones, what are you doing? Bones. Bones! BRENNAN (looking through the pots): These are traditional storage pots. PROF. CHEN: Please, Dr. Brennan. Whatever you find you promised not to disturb it. BRENNAN: No. I promised not to disrupt your study. Oh! (She finds the bone she was looking for and throws it towards Booth) BOOTH: Whoa, what is this? Is that human? BRENNAN: It's an ilium. Part of the hip bone. BOOTH: Ah. What am I supposed to do with this? PROF. CHEN: Dr. Brennan. Quickly, put it back. (She reaches in her bag and pulls out a replacement bone and puts it back into it's box right as Mei Zhang re-enters the room) MEI ZHANG (to Prof. Chen in Mandarin): What is she doing?! BRENNAN (in Mandarin): Your pots are very beautifully made. BOOTH: Did Bones just speak Chinese? (Cut to: Jeffersonian - Bone Room ) BRENNAN: Definitely human. No sign of any cut marks. BOOTH: Well, is it Li Ling Fan? BRENNAN: No. It's male. CAM: So what? You got a part of the groom instead of a piece of the bride? BOOTH: Bones stole it. BRENNAN: Uh, not stole: swapped. BOOTH: From an old Chinese lady's mantle. BRENNAN: I brought a bunch of chimpanzee bones and pulled the old ah, switchamacallit. BOOTH: Switcheraroo. CAM: Whatchamacallit. BOOTH: Two different things. BRENNAN: These anomalies...whoever this was died of cancer. I'll get Zack to find the details, but this is definitely not Li Ling Fan. BOOTH: Maybe it's the groom? CAM: Makes sense. Especially if this is a - d*ad people bone marriage thing. (There is a knock on the doorway - it's Sully) SULLY: Uh, Temperance? Hey, um, ya got a sec? BRENNAN: Excuse me. (Cut to: Jeffersonian - Cat Walk - Sully dangles a set of keys in front of Brennan) BRENNAN: You bought the boat. SULLY: Finalized this morning. BRENNAN: Wait. Sailboats have keys? SULLY: Well, no. Not, not really. These are the keys to the marina but ya know, it's symbolic. BRENNAN: Congratulations. SULLY: So I'm gonna tell you something and I want you to think about it a while before you answer. BRENNAN: Okay. SULLY: Well, you say okay, but it takes you microseconds to think things though. So this time I'd appreciate it if you, ah, took a breath 'cause - it's big. BRENNAN: What is it? SULLY: I'm headed south, in the boat to the Caribbean. BRENNAN: When? SULLY: When this case is done. BRENNAN: You quit the FBI? SULLY: No. No, not yet. I'll take a couple of months to get used to the boat. Ya know, really check it out and then I'll start running charters - probably for the Turks & Cacaos which is - BRENNAN: Your..You're really talking a lot. SULLY: I know. And I haven't even gotten to the main part. Which is, um, I really, really want you to come with me. BRENNAN: You do. SULLY: I do. (he moves closer to her) Look, take a sabbatical. There's more to life than, than corpses and m*rder. You know, we do this job for too long, we get warped. I, I can feel it happening already and maybe you can too. Let - Let's run away together. (Brennan just looks at him and gives no reply) Well, ya know. Think about it. (she still doesn't say anything) Wanna hug? (she takes a step back) Okay, no. God, that's, that's a lot - lot to process, so just, ya know, I don't know, ya know let me know when you think that maybe - (she falls into him and hugs him, both seem to not want to let the other one go.) Okay. **ACT THREE** (Cut to: Jeffersonian - Angela's Office ) ZACK: Stage three sarcoma, M1 metastasis. ANGELA: Like Brennan said, caner. ZACK: Yes. Most likely it spread from prostate or testicular cancer. ANGELA: So it's definitely a guy. ZACK: If this is the groom, then he's Chinese. And according to Dr. Shi, most likely related, in some way, to the old lady - who kept him in a pot. ANGELA: Which should be enough to identify him through hospital records. (Zack leaves as Cam enters) CAM: None of Harper's w*apon show any sign of being used to dissect a human being. No protein residue even under ALS. ANGELA: Is there any way to tell what kind of blade was used on the skin? CAM: Only that it was sharp and straight edged but I did find evidence of toxicity damage to the kidney. ANGELA: Wait? The victim was poisoned? (Cam nods.) I thought she was beaten to death. CAM: Well, the bruising could have been a result of Falling's disease. Toxicology identified the toxin as a root called lei gong teng. In small doses, it's an anti-inflammatory. In large - it has another name. Loosely translates as "walk seven steps and die". I'll have Booth check out Chinese herbalists. (As Cam exits, Brennan enters from another door) ANGELA: Want me to bring you up to date? BRENNAN: No. (she sits down - looking distraught) I want you to tell me what to do. ANGELA: About what? BRENNAN: Sully wants me to run off with him. ANGELA: Go. BRENNAN: For a year. ANGELA: Go. BRENNAN: He wants to run a charter boat around the Caribbean. ANGELA: Go. BRENNAN: He says I should take a sabbatical. ANGELA: Go. What is the downside? He's a great guy. This is a great idea. BRENNAN: I'll miss you guys. ANGELA: Oh, we'll meet you in Barbados. Look. You have been working every day since I met you. It's time to let another part of yourself out into the sun. With a bare chested man and a tropical breeze. (Brennan and Angela laugh - Zack re-enters the room) ZACK: William Cheng. Single. Age 27. Died 2 years ago of metastasizing prostate cancer. Great nephew of Mei Zheng. ANGELA: (looking at his picture) He looks nice. BRENNAN: (takes the file) Booth will want to talk to his parents. Fine out where they got the female bones in case it's Li Ling Fan. ANGELA: Listen to me, Brennan. Go. They'll still be m*rder and mayhem when you get back. (Cut to: FBI - Observation Room - Brennan & Shi Jon Chen watch as Booth questions two relatives of William Chang) PROF. CHEN: They're going to know this information came from me. You ruined my study. BRENNAN: They won't know for sure it was you. Their son's bones are spread all over the city. PROF. CHEN: They let me in on something very precious to them and now this. I broke the first rule of anthropology - minimize your affect on the study. BRENNAN: Do you really believe that your study is more important than catching a m*rder? PROF. CHEN: You used to be dedicated to a much larger, timeless, truth. Now you're just a tool for those who have smaller concerns. (Prof. Chen leaves Brennan alone. She is stunned.) (Cut to: FBI - Interrogation Room) BOOTH: You buried your son, William, three years ago. My condolences. (neither parent says anything.) We have, uh, come into possession of one of his bones. You have no idea how this happened? (both parents still say nothing) Maybe you're planning on reburying your son with the bones of a younger woman to provide him love and company in the after life? (both parents continue to remain silent) Well, you see we need to know who this woman is because it's possible that she's a m*rder victim. (still nothing) You wouldn't want that, would you? (they remain silent - Booth sighs) Okay, well you give me no choice but to get an order of exhumation. (Cut to: Graveyard. Booth & Brennan watch as the casket is exhumed) BRENNAN: Sully bought that boat. BOOTH: Yeah? Ha. Next thing you know he'll be shipwrecked on some island talking to a volleyball. BRENNAN: He's leaving for the Caribbean. BOOTH: Really. (she nods) Look, I'm - I'm sorry, Bones. I - I know that the two of you were kinda hittin' it off - BRENNAN: He wants me to go with him. BOOTH: (looks a bit thrown) Oh. Oh..yeah... BRENNAN: He - he says I should take a year off, a sabbatical. He says it'll be fun. BOOTH: Yeah, it would be. BRENNAN: But you just said he'd be shipwrecked with a volleyball. BOOTH: Well, he's got you. He doesn't need the volleyball. BRENNAN: You think I should go? BOOTH: (he takes a moment) Yeah. (it's obvious that he wants to say no) Yeah. Yeah. I mean, you know it's, uh, one year out of your life, huh? I mean a persons gotta - live wide. And this is kinda narrow. (The excavator hits the casket- makes a crunching noise) BOOTH: Oh. The coffin already? BRENNAN: It can't be. We're only two feet down. BOOTH: Oh, easy! Careful! (The coffin is opened up and money comes flying out of it) BOOTH: Is this fake money? (Brennan looks down into the coffin) BRENNNA: There's no body in this coffin. (Cut to: Jeffersonian - Platform) HODGINS: There was a body in here. It was removed. BOOTH: What's with the fake money? BRENNAN: Chinese tradition. Send a loved one off to the after life well funded - at least symbolically. How long ago was the body removed? HODGINS: This little darling, this Phaenicia sericata, also known as the common green bottle fly. Now William Chang was buried in January, 3 years ago. Since the green bottle fly is only active in the summer months, I contend he was dug up last July or August. Which allowed maggots to be laid in casket to feast on... BOOTH: Okay, I got it. HODGINS: Oh, I can be a lot more specific.. BOOTH: No. No, ya know, "dug up last summer and distributed to the family" is specific enough for the FBI. HODGINS: He would have decomposed quickly. Buried in a pine box. Improperly sealed. Buried only two feet below the surface. Chang should sue that mortuary. BRENNAN: Because of the shallow burial? HODGINS: Yeah, and the decomp seepage into the fake money is um, au naturale. BOOTH: What does that mean? BRENNAN: The body was not embalmed. BOOTH: Alright, none of this is helping us solve the mystery of what happened to Li Ling Fan. BRENNAN: The funeral home was in on it. They wanted the body to decompose as quickly as possible. HODGINS: Full service mortuary. They perform funerals AND weddings for d*ad people. (Cut to: FBI - Booth's Office - Booth & Brennan speak with Joseph Han & his grandson, Nelson Han) NELSON HAN: Mortuary records show that we buried William Chang in a lead-lined casket. If you found another casket - BOOTH: Pine box. It was a pine box. JOSEPH HAN: Obviously, Mr. Chang was dug up and reburied. BRENNAN: Who embalmed William Chang? JOSEPH HAN: The records show that, ah, my grandson and I had that honor. BRENNAN: You're lying. BOOTH: William Chang was never embalmed. JOSEPH HAN: But you yourself said there was nothing but fake money in the casket. So how can you tell? BRENNAN: We can tell from the residue left in the empty casket. JOSEPH HAN: (he says something to his grandson in mandarin then - ) I'm sorry, but we can not help you. BOOTH: Whoa, whoa, whoa. Mr. - Mr. Han. Please. Sit down. Please just..(the two men sit) Here's what I think, okay. I think that you have some old Chinese traditions alive which are illegal in this country - BRENNAN: The minghun reburial ceremony. BOOTH: Well, I'm not concerned about - what I care about is if the bride was m*rder. JOSEPH HAN: m*rder? BRENNAN: Our understanding is that Mr. Chang's family paid $25,000 for her bones. BOOTH: And people have k*lled for much less. So, uh, what part of that , uh, 25 grand came to you? NELSON HAN: Did the Chang's admit to paying that money? BRENNAN: No. BOOTH: We found a cash withdrawal that they can't explain. JOSEPH HAN: But you are not even certain that William Cheng's minghun bride is this - m*rder woman? BOOTH: No, sir. BRENNAN: But we can't know for sure that it isn't her without looking at the bones. JOSEPH HAN: If the bride were not this m*rder woman, would you allow the ceremony to proceed? NELSON HAN: Grandfather! BOOTH: What ceremony? (Cut to: Graveyard. They watch as people - including Mei Zhang - place items in the casket for the minghun) BRENNAN: (to onlookers) We're very sorry to disturb you.. BOOTH: (to onlookers) FBI. I need to see the coffin. (the people start to move out of the way) We're sorry. (to Brennan) Take a look, Bones. Take a look. BRENNAN: Okay.. (she looks inside) Indications of cancer. I believe this is William Chang. Here's the chimpanzee ilium that I left. BOOTH: What about the girl? BRENNAN: Lots of score marks on the bones, congruent with flesh being removed from the skeleton with blades. I believe this is Li Ling Fan. (They look around - but everyone has left) BOOTH: Where is everybody? I guess we really broke up the party? Huh? **ACT FOUR** (Cut to: Jeffersonian - Platform) ZACK: Positive I.D. On both sets of remains. William Chang and Li Ling Fan. ANGELA: Wow. They kinda go together. CAM: Because they're deceased? ANGELA: Yeah. But more than that. They're exactly same level of hotness. CAM: Which is zero because they're skeletons. ZACK: The cut on the skeletal structure by the removal of soft tissue match the implements the FBI confiscated from the mortuary. ANGELA: She was ill, and he was ill. It's really too bad they never actually met. CAM: The mortician's lawyer advised him to clam up. The Chang's now say the $25,000 was used to pay off a family debt. ANGELA: You ever think they're spirits actually did meet and are working to get their bones together her on the psychical plane? CAM: You mean like we're possessed and doing their bidding? ANGELA: (sighs) You know what you people lack? Whimsy. It's a genuine handicap. CAM: Ther are four mortician's working at that mortuary and a half a dozen assistants. ZACK: Any one of them could've removed the bones and sank the skin in the river. Personally, I would have cremated the remaining skin and organs. CAM: No crematorium at that mortuary. ANGELA: I am gonna draw them a wedding picture. CAM: Okay. Well, you do that. We should find out who poisoned the victim and arrest him for m*rder. ZACK: Probably the, uh, bouncing, flying mail order husband. (he turns back to Angela) Does that count as whimsy? ANGELA: Well, you're handicapped, Zack. Someone really needs to throw a telethon for you. (Cut to: Booth and Brennan in a car watching as Sully prepares to meet Harper in the alley) BRENNAN: How did Sully find Harper so quickly? BOOTH: He didn't say. You know, Sully's a nice guy. BRENNAN: You sound condescending. BOOTH: I'm just trying to be nice, okay? I'm complementing the fact that you got a good one this time. BRENNAN: Thereby implying I'm incapable of making my own judgments. BOOTH: The physicist who couldn't tie his shoes? Oh, the former professor who was, uh, jealous of your own success. Should I stop? BRENNAN: Yes - BOOTH: Oh, the guy that you found on the Internet and ended up being some kind of recruiter for a cult. Oh, and this is my favorite - the guy who cut off his own brother's head because he thought he was possessed by a witch. BRENNAN: You made your point. BOOTH: Look I'm just saying a guy who wants to take you away from all of this on a sailboat - that's a step up. BRENNAN: Condescending. (Harper approaches Sully) BOOTH: That's our guy. BRENNAN: Okay, So when do we take him off? BOOTH: Down. We take him down when Sully puts his cap in his back pocket. (Sully put his cap in his back pocket) BOOTH: Now. Freeze! (Harper throws Sully over his shoulder and takes off running) BOOTH: Freeze! Harper! Geez, I told you he was fast. BRENNAN: (leaving over Sully) Are you okay? SULLY: Yeah. BOOTH: Great. Great. Fine. Sully, you chase him. I'll head him off, Okay? SULLY: Okay, okay, okay. (he and Brennan start to chase after Harper. While climbing up the fence in the alley - ) SULLY: Have you thought about my offer? BRENNAN: Yes. SULLY: What do you think? BRENNAN: This is not the time to discuss it. (They land on the other side of the fence and continue to give chase - Harper keeps alluding them) SULLY: The guy must be on meth. BRENNAN: Martial arts. SULLY: FBI! Freeze right there! (Harper grabs onto something and starts swinging over their heads and escape their capture) I said freeze! Freeze! Damn it! (They start chasing him again and then climbs up a f*re escape) What is he, on wires? (Harper looks down at them and smiles. He thinks he's going to get away until Booth sneaks up behind him and hits him and knocks him down ) BOOTH: He ain't bouncing around anymore now, is he? (Sully and Brennan look up at Booth) See that? HARPER: I did not k*ll Ling Fan. BOOTH: Ah, then why did you keep running away, huh? HARPER: I'm a criminal, you're police. SULLY: Ling Fan didn't know anyone, that makes you a good suspect. BRENNAN: Sell her bones for $25,000. SULLY: Make up for the loss. HARPER: What loss? BOOTH: You paid $25,000 to The Perfect Wife Agency to bring her over. Probably another eight grand for the round trip ticket. SULLY: That's a lot of Kn*fe sales. HARPER: You people got it completely wrong. Chick doesn't work out, you get a full refund or a swap. I took the money back guarantee. BRENNAN: Really? SULLY: Oops. HARPER: I didn't lose a cent. It's the mail-order agency that's out all that dough. BRENNAN: What was wrong with her? HARPER: What? BRENNAN: Why did you send Ling Fan back? HARPER: Chick was defective, man. I'm a very active person. She moved slow, like an old lady. (to Booth) You meet the Flying Horse. BOOTH: Yeah. HARPER: That is a very good item. Maybe you still want to buy it? I'm gonna need bail money. (Cut to: FBI / Interrogation Room - Booth is interrogating Jackie Burrows while Sully and Brennan watch from the observation room.) BOOTH: So you wanna know what your first mistake was? JACKIE: Thinking you wouldn't find out about the refund? BOOTH: No. Your first mistake was k*lling Ling Fan. Your second mistake was keeping the poison the you used in your refrigerator. The third mistake was thinking that once we had you that the grandson at the mortuary, Nelson Han, that he wouldn't cooperate. I mean not only did he - (Sully walks over and turns off the speakers) SULLY: You know, Booth, uh, is a really good guy. BRENNAN: He says the same about you. SULLY: Really? 'Cause I figured he was the one talking you out of going with me. BRENNAN: No. He told me to go. Angela did too. Everyone thinks it's a great idea. SULLY: Everyone except you. But you're not gonna go, are you? (She shakes her head no) Why, Brennan? Sailing around warm oceans with someone who loves you? Please. Tell me what is holding you here. Look. I don't - I don't want to sound conceited but, um, I think I'm worth the risk. BRENNAN: You are. You definitely are. SULLY: Alright, well, you're the logical one. What's your thinking? BRENNAN: Rationally- (Brennan exhales) Rationally thinking, I want to go. And I know I should go but...I can't. SULLY: What you're doing, it's important. But it's not important enough to be your whole life. (He kisses her and then turns and walks out the door - leaving Brennan alone. She wipes a tear away from her eye as Booth - still in the interrogation room - gives her the thumbs up and leads Jackie out - they got their guy.) (Cut to: Jeffersonian - Brennan walks up on the platform and sees the skeletons of William Chang and Li Ling Fan laid out - side by side. She pauses to look at them - obviously affected - then heads over to the 'wedding picture' that Angela painted for them and picks it up - tears start to form in her eye again) (Cut to: The Marina - Sully, on his boat, looks back at Brennan - who is on the docks - and waves. She watches as he goes and waves goodbye back to him. Tears well up in her eyes - saying goodbye to him is hard for her - she really did care about him. As the camera pans, it reveals the name of Sully's boat "Temperance". Brennan turns to head home - only to see Booth on the docks behind her) BRENNAN: What are you doing here? BOOTH: I'm waving goodbye. See? (he waves) BRENNAN: What do you want? BOOTH: Breakfast. BRENNAN: I'm not hungry. BOOTH: Oh, come on, huh? What are ya gonna vomit when we come across one of those, uh, horrific cases? BRENNAN: I don't vomit. BOOTH: Give it time, Bones, okay? Give it time. Everything happens eventually. BRENNAN: Everything? BOOTH: All the stuff, okay, that you think never happens - it happens. You just gotta be ready for it. (Camera pans out as the two of them continue to walk up the dock together) (Fade to Black)

{"type": "series", "show": "Bones", "episode": "02x16 - The Boneless Bride in the River"}

foreverdreaming

"The Priest in the Churchyard" Episode 2x17 Written By: Lyla Oliver Directed by: Scott Lautanen Transcribed by: eloisatoabelard Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (EXT: Churchyard cemetery. BRENNAN, ZACK and FATHER MATT are walking through it) FATHER MATT: This cemetery has been connected to our parish for almost 200 years. At 3AM the water main broke. Felt like an earthquake. Coffins were bursting out of the ground. (he winces) BRENNAN: Are you alright? FATHER MATT: I've had some stomach problems lately... this isn't helping. The last person was buried here over fifty years ago, I don't know how you're gonna figure out who's who. BRENNAN: With burial records, identification should be pretty straightforward. (she crouches down to a coffin) Alright, let's see. Female, forty to fifty years old, severe osteoporosis. Dress and jewellery place burial around the late 19th century. (spots another skeleton) This one's in pieces. FATHER DONLAN: What's going on here? Lorraine said you're giving them church records. FATHER MATT: The burial records, Father, so they can identify and re-inter the remains. FATHER DONLAN: Those records are my responsibility, Father Sands. You're to go through me before allowing their release. FATHER MATT: I'm sorry, Father, I saw no harm in it. FATHER DONLAN: I still run this parish. FATHER MATT: I understand. (BRENNAN approaches them holding a skull) FATHER DONLAN: I'm Father William Donlan. FATHER MATT: This is Dr Brennan, from the Jeffersonian, and this is... FATHER DONLAN: They can't speak for themselves? ZACK: I'm Dr. Addy. Are you one of those priests who smacks school children with rulers? FATHER DONLAN: That's not allowed anymore. BRENNAN: We do need those burial records, Father, and since this is a federally protected historic site... FATHER DONLAN: Fine. But I'll expect you two to show some respect for where you are. This is consecrated ground. BRENNAN: When did you say the last person was buried here? FATHER DONLAN: 1951. BRENNAN: This is a male, buried no more than five years ago without a casket. FATHER DONLAN: That's impossible. ZACK: There's evidence of trauma to the frontal bone. Looks like a fatal as*ault. BRENNAN: Arrange for a forensic team - Hodgins will want to collect soil for bugs and particulates. I'll call Booth. I'm afraid your ground was consecrated as a crime scene, Father. (INT: Jeffersonian, Medico Legal Lab) BOOTH: You know, the priest made a complaint. He said that you made fun of consecrated grounds? BRENNAN: No, I didn't. Perhaps I was a bit... colourful. BOOTH: Colourful? BRENNAN: Writerly. I'm a best selling author, Booth. ZACK: The victim is thirty to forty years old. BOOTH: He's an old-school priest, Bones. BRENNAN: What, so I'm supposed to walk on eggshells because someone believes that a plot of earth has supernatural properties because they waved a wand over it? BOOTH: It's not a wand, it's a... the church doesn't use wands... BRENNAN: Fine, magic wand. BOOTH: Magic? Holy water. BRENNAN: The terminology makes it real? BOOTH: Okay, you know what, I can't work with you on this case. BRENNAN: What, what do you mean? The victim was clearly m*rder; we investigate m*rder. Together. ZACK: There's evidence of blood pooling on the frontal bone, and an absence of concentric fractures. That requires investigation. BOOTH: I'm not working the whole case with you attacking my beliefs. You should have just sailed off with your boyfriend. BRENNAN: Funny, a man who believes in an invisible super-being wants to run my personal life. ZACK: Death would have followed quickly, caused by cranio-cerebral trauma. BOOTH: By the way, 90% of the world believes in God. BRENNAN: And at one time, most people were certain that the sun revolved around the earth. BOOTH: You see what I mean? I don't think this is about religion at all. We obviously have issues, okay, that are affecting our working relationship. And you're afraid to deal with them, so you just lash out at my religion. BRENNAN: Can't you just be satisfied that if I'm wrong about God, I'll burn in hell? BOOTH: It's tempting. BRENNAN: Good. How about we get back to work? You know, I think we both still want to find out who k*lled this man. (CREDITS) (INT: Jeffersonian, Medico Legal Lab) (CAM and HODGINS are examining the water main pipe) CAM: So... a shovel h*t the water main? HODGINS: The shovel was found a few feet from where the water main burst, buried in a colony of worms. CAM: And they say Christmas only comes once a year. HODGINS: The metal shavings here match the shovel. Someone was digging in the cemetery and broke the water main, resurrecting the d*ad. CAM: And why was someone digging up the cemetery at 3 in the morning? HODGINS: Maybe he came back to dig up the victim. CAM: Move him to another location. ANGELA: Yeah, or bury someone else. HODGINS: Dark! ANGELA: Yeah, and this place is always so sunny. Here's our victim. HODGINS: Found casings from Eastern caterpillars in his eye sockets, means he was buried about three years ago. He has kind eyes. How do you know he had kind eyes? ANGELA: I had to make a choice, so, I chose kind. HODGINS: And you wonder why I love you. Is she not fantastic? CAM: You aren't seriously asking me to be a part of this. Get your rendering over to Booth so they can show the priests. I am gonna go re-saturate the dried blood, see if it's of any value. (EXT: Church gardens) (FATHER DONLAN is gardening) FATHER DONLAN: m*rder? I don't believe it was m*rder. BRENNAN: It's not a matter of faith, Father, the injuries were definitive. FATHER DONLAN: You ever hear of the sin of pride, young woman? You could be wrong. BOOTH: Dr Brennan here, she's the best in her field. BRENNAN: He would have been buried about three years ago. FATHER DONLAN: I've been here forty-one years. I would know if someone had k*lled and buried a man in my cemetery. BRENNAN: You seem quite proud yourself. FATHER DONLAN: I don't need to be insulted. BOOTH: (whispering) Knock it off. BRENNAN: (whispering) What, the rules don't apply to him? (LORRAINE approaches) LORRAINE: Have you offered your guests any tea or snacks, Father? FATHER DONLAN: Isn't that why you're here? LORRAINE: I see someone wants his roast dry and overcooked tonight. Hi, I'm Lorraine. I'm the parish administrator. I have some refreshments inside, and Father Matt is there if you need to talk to him. FATHER DONLAN: Nicknames for priests. Last Sunday, he had the whole congregation holding hands. No wonder there's no respect anymore. BOOTH: Would you mind just taking a look at the sketch we have here, please? So do you, uh, recognize him? FATHER DONLAN: No, no I do not. BRENNAN: You're sure? FATHER DONLAN: I'm not senile. I can name every child I've baptised, every person I gave the last rights to. Every plant on these grounds, over 200. That's aconite, and this is origanum vulgare, and over there are yew trees. BRENNAN: You know, it was the Druids who first thought of the yew tree as sacred. The Christians adopted the belief, claiming it as their own. BOOTH: (whispering) Stop! BRENNAN: What? I'm just making friendly conversation. FATHER DONLAN: If there's nothing else, I'd like to finish pruning. You go have tea with the hippie priest. LORRAINE: Follow me. (INT: Church lounge) FATHER MATT: I've been here three years. The archdiocese was thinking of closing the parish, sent me here to try and breathe some life into it. I started a sports program for the boys, organised singles' dances... none of this has been easy for Father Donlan to accept. BRENNAN: So, you don't believe in all the supernatural mythology he does? FATHER MATT: Well, if you're talking about the holy trinity, the transubstantiation of the host, and the Resurrection, I certainly do. BRENNAN: But you seem like such an intelligent man... BOOTH: You have to excuse her, Father. FATHER MATT: No need. God has a soft spot even for the atheists. BOOTH: (eating cake) I'm telling you, this is fantastic. What is it? BRENNAN: She's trying to concentrate, Booth. LORRAINE: It's an orange berry pound cake. I'm sorry, I don't think I recognize him. BOOTH: How long have you been here? LORRAINE: I've been here 23 years next month. My mother died when I was twelve, the parish took me in. I've been the administrator for seven years now. FATHER MATT: Father Donlan basically raised Lorraine. BOOTH: Right, um, you're not going to eat that, are you, Father? FATHER MATT: No, it's okay. My stomach hasn't been too fond of me lately. BRENNAN: Then let's get out of your way. FATHER MATT: Perhaps a nap wouldn't be a bad idea. BOOTH: Is there anyone else that we can show the sketch to? FATHER MATT: Why don't you bring it to Mass on Sunday? We could pass it around. Some of the parishioners have been there a long time... you might have some luck. BOOTH: Are you sure? FATHER MATT: Agent Booth, I'm trying to build a community here. If we can't work together to help solve a crime like this, then I'm not doing my job. (INT: Car) BOOTH: You know, it doesn't help the case for you to insult the priest. We're supposed to be gaining their trust so they'll help us. BRENNAN: Matt wasn't thr*at, you were. BOOTH: We're definitely not working well together. BRENNAN: Because you are bossy and judgemental. BOOTH: Problems between people, it's never just one person's fault. BRENNAN: What about h*tler? He did pretty well on his own. BOOTH: Bones, just... come with me to go see Dr Wyatt, once. BRENNAN: No. Therapy is a vague and inexact process. The man shouldn't even be called a doctor. BOOTH: Well, he helped me. I mean, are you so thr*at that you can't even do a favour for someone you call a friend? BRENNAN: I will speak my mind, Booth. I will speak my mind. BOOTH: Okay. (INT: Jeffersonian, Medico Legal Lab) ANGELA: It's 7.30, Hodgins. HODGINS: I thought maybe the same shovel was used as the m*rder w*apon. The metal residue on the skull is some sort of silver alloy. ANGELA: You said you were going to be finished in a minute. That was an hour ago. HODGINS: If I can narrow down the smelting process of the silver, I might be able to figure out what kind of w*apon we're looking for. ANGELA: I love it when you talk about smelting. HODGINS: You do? (They kiss) HODGINS: Move in with me. ANGELA: What? HODGINS: We already live together, just... just move in. ANGELA: No, we don't. HODGINS: You've taken over my closet. It's over half full. And over half is the common law definition of living together. ANGELA: I have my own place, Jack. I need my place. HODGINS: I need you. CAM: (clearing throat) Do I have to throw cold water on you two? ANGELA: We were, uh, just... CAM: Oh I know, just try to keep it off the internet, okay? So, I have bad news. We've all been exposed to coccidiodomycosis, a fungal infection from the graveyard dirt we've been breathing. Symptoms include nausea, weakness, fever... HODGINS: I feel fine. ANGELA: Yeah, me too. CAM: ... decreased libido... HODGINS: I'm listening. CAM: (laughs) We're all gonna get sh*ts. ANGELA: Yeah, that sounds good. HODGINS: Very good. Yeah. CAM: Thought so. (INT: Diner) BOOTH: She refers to God as my invisible friend. BRENNAN: You're talking to somebody who isn't there. I'm sure that the doctor questions your little fantasy. WYATT: My beliefs aren't at issue here, Dr Brennan. BOOTH: Clearly, she's intolerant, and it's affecting our working relationship. BRENNAN: Yes, he's very difficult to work with. (to Wyatt) Booth said that you could fix us, so... WYATT: What now is proved was once only imagined. The rat, the mouse, the fox, the rabbit, watch the roots; the lion, the tiger, the horse, the elephant, watch the fruits. The system contains, the fountain... overflows. BOOTH: What? WYATT: Oh come now, surely you get the reference. BRENNAN: William Blake. WYATT: Yes, Blake is telling us that we're all at the mercy of our fundamental natures. Nonsense of course, but when we understand our natures, we understand the resulting conflicts. BOOTH: What? BRENNAN: I hate psychology. WYATT: As do I! It applies a patina of science over what is essentially a dark and complex set of roiling unknowables. BOOTH: You see... what? WYATT: You weren't fighting about religion. BRENNAN: But that's what Booth said. WYATT: No, religion provided the flashpoint you needed to expose an underlying issue. I will find out what that issue is, help you resolve it, and set right the balance of dark and light in the universe. BOOTH: Isn't he great? (INT: Church) FATHER MATT: Oh merciful Christ Jesus, wash away our sins... ANGELA: Shouldn't Brennan be here with you instead of me? BOOTH: We're dealing with a few work issues. ANGELA: Trouble in paradise? BOOTH: Just spending some time apart. Now if you don't mind, I'd like to pray. Thank you. ANGELA: Did you two sleep together? BOOTH: Do you see where we are? You don't talk like that in church. ANGELA: Okay. I... BOOTH: (shushes her) What does that lab do to you people? ANGELA: It's just that... this feels like a couples' thing. And now that Sully is gone... BOOTH: It's not. It's a work thing. So is us being here, so stay focused. FATHER MATT: ... joy, and eternal peace. Amen. I have an... unusual request, before I dismiss you today. We have Special Agent Booth and Miss Montenegro from the Jeffersonian with us, and they need our help identifying a victim found in our cemetery. (BOOTH and ANGELA pass out copies of her sketch) FATHER MATT: Now, I know none of us want to get involved in something so ugly. But as Jesus said, 'whatever you do for the least of these brothers of mine, you do for me.' So please, if you recognize the sketch, let them know. How about you, Enzo? Enzo never misses mass, right Enzo? ENZO: Sorry Father, I can't help you. JAMES: Excuse me? Could you give him a beard, make him... heavier? ANGELA: Yeah. I think I can manage that. FATHER MATT: James was an altar boy here when he was younger. (ANGELA finishes altering the face) JAMES: Uh, I think... does this look like Father McCourt to anyone else? WOMAN: Yeah, that could be him. YOUNG WOMAN: Someone k*lled a priest? FATHER MATT: Thank you, James. (to BOOTH) Father McCourt was here before me. I replaced him three years ago. I was told he left the priesthood. (INT: Church lounge) FATHER DONLAN: I suppose it might resemble Father McCourt. BOOTH: So much for that sharp memory. LORRAINE: Father McCourt wasn't here for very long. FATHER DONLAN: And the eyes are wrong. That's how you recognize someone. Father McCourt's eyes were hollow... cold. BOOTH: I take it you two didn't get along. FATHER DONLAN: I was his confessor. You know I can't say anything. BOOTH: (to LORRAINE) Can you tell me anything? LORRAINE: Just... he was very secretive. He'd disappear for hours at a time. Some nights he wouldn't even come back to the rectory. One day he was gone. Left a note saying he was leaving the priesthood. BOOTH: Great, thanks. (INT: Jeffersonian, Medico Legal Lab) ZACK: I've identified some odd post-mortem injuries on the old bodies. Snapped fingers, fractured wrists, abrasions on the ligamentum flava. HODGINS: I found traces of gold in some of the fractures. CAM: I don't get it. ZACK: The person who ruptured the water main that night was a grave robber. Dr Brennan told me she saw injuries like this in Tibet. Broken bones and bone markings from yanking jewellery and valuables off the remains. HODGINS: Yeah, which means McCourt could have been struck by a shovel, but also he could have been struck by one of the valuables the grave robber found. CAM: So our grave robber comes to a nice quiet graveyard, next to a nice quiet church, whenever he's in need of some extra cash. HODGINS: Only to be surprised one night by Father McCourt, who gets his head bashed in for his trouble. (INT: FBI Building, conference room) FATHER MATT: During the 19th century, it was customary to photograph the deceased before burial. BRENNAN: We have identified these two people. Gertrude Waters died 1873, and Horace Rutlidge died 1901. FATHER MATT: And their valuables were missing? BRENNAN: Yes. Dr Hodgins believes the grave robber is working in sections, focusing on the oldest first, where the artefacts would have the most value. BOOTH: Listen, who takes care of the cemetery? A landscaper? Janitor? FATHER MATT: Father Donlan does all the gardening. It's, you know, sort of his obsession. Other than that, the occasional parishioner will rake leaves or shovel snow. (he winces) BOOTH: You alright? FATHER MATT: You know, I can't quite shake this bug. And I've got a wrestling team to coach, so... do you mind? BRENNAN: You were in close proximity with remains - you were probably exposed to a fungal infection. FATHER MATT: Is that bad? BRENNAN: No. BOOTH: (at same time) Yeah. BRENNAN: It's nothing to worry about; I'll have my office arrange for treatment. FATHER MATT: Thank you. (INT: Jeffersonian, Angela's office) HODGINS: That is some serious bling. ANGELA: FBI's trying to track the jewellery to pawn shops and fences. I'm checking online auction sites. This stuff could net a fortune. HODGINS: Enough to k*ll a priest? ANGELA: Apparently. Hey, have you noticed anything going on between Brennan and Booth? HODGINS: This sounds good. ANGELA: There's tension. Ever since Brennan let Sully sail off into the sunset without her. HODGINS: Nah, I didn't notice. But then again, I didn't notice that you didn't want to live with me either. ANGELA: Hodgins. HODGINS: If you are getting cold feet... ANGELA: You would be the only one that would feel them. HODGINS: Angela. ANGELA: We'll discuss it at lunch. HODGINS: The Egyptian place? CAM: (entering room) Just got off the phone with the CDC. The fungal infection that we were exposed to from the graveyard is rare enough that they'd have records of anyone who was infected. But I need your samples for the strain. HODGINS: You got it. (INT: Jeffersonian, Medico Legal Lab) BOOTH: Yeah... you know, I got no problem with this place. It's where Bones and the Squints get their answers. See? WYATT: Thumbs in the belt. That's a very aggressive stance... very male. (BOOTH crosses his arms) WYATT: Crossed arms. Defensive. (BOOTH shoves his hands into his pockets) WYATT: Disdain. But let's not worry about what you do with your hands. What you must do is recognize your negative feelings for what is, after all, Dr Brennan's domain, and verbalize them. BOOTH: Verbalize them? What, now? WYATT: Mm-hmm. BOOTH: This place is too... it's too shiny. It's bright. It's clean. WYATT: Clean is bad? BOOTH: Death isn't clean. Especially m*rder, which is our business. This place is completely fake, it's bogus. WYATT: You'd like to destroy the entire edifice? BOOTH: Oh, I'd like to rip the whole edifice down with my bare hands or set it on f*re. Except, you know, there's nothing in this place to burn... all the plastic and the metal and the flashing lights, you know, and the arithmetic. I mean, where is a guy, a normal guy who believes in intuition and the soul and good and evil... WYATT: And God? BOOTH: Yes, and God too. Where is a guy who doesn't believe in all this arithmetic supposed to stand? WYATT: So your problem with Dr Brennan is that you don't know what will or will not catch f*re, or where you stand. BOOTH: Heh. What? WYATT: That's good. Now that's, that's very good. (INT: FBI, interrogation room) BRENNAN: CDC shows that you contracted coccidiodomycosis three years ago. The only case in the area. ENZO: Well, you know, I used to... I used to do a lot of odd jobs around the parish. I'd help Father Donlan in the garden. I'm sure that's how I contracted it. BOOTH: Nice try, Enzo, but your name also came up on the auction site that was selling jewellery from the graves. BRENNAN: Which you might have gotten away with if you hadn't h*t the water main. ENZO: I want a lawyer. BOOTH: Yeah, nice way to get him to clam up, thanks. BRENNAN: What? So why'd you k*ll Father McCourt? Did he catch you? ENZO: I didn't k*ll anybody. BRENNAN: Ah, there you go, he's talking again. ENZO: What the hell is wrong with you people, you think that I'd k*ll a priest? BRENNAN: Your record also shows that you were assigned to court appointed drug counselling. ENZO: Okay, look, I had a drug problem, and I needed money. I saw these pictures in the rectory - jewellery just buried, you know. I figured no one would miss it. I didn't k*ll anybody, okay? Father McCourt and me, we never had that problem. I wasn't his type. Too old. BOOTH: What the hell is that supposed to mean? BRENNAN: I'm pretty sure it's an implication of paedophilia. BOOTH: I know, Bones, it's... who, Enzo? Who was his type? ENZO: Talk to James, okay? The kid who ID'd him. (INT: Jeffersonian, Egyptian room) (HODGINS and ANGELA are in one of the beds) ANGELA: So is this really Cleopatra's bed? HODGINS: Perfect replica. For the new exhibit. We're just making it a little bit more authentic. Your feet aren't cold anymore. ANGELA: Nice try. HODGINS: Hey, I thought I was successful, but if you want me to try harder... (They kiss) HODGINS: We can't keep our hands off each other. I think about you all the time. ANGELA: Mm-hmm. HODGINS: Moving in is the next logical step. ANGELA: I have a lease. HODGINS: I have an estate. I'll buy out your lease. ANGELA: We only have fifteen more minutes. HODGINS: You said we would talk. ANGELA: Yeah, well, guess what? I got distracted. (INT: FBI, Booth's office) JAMES: I can't believe Father McCourt's d*ad. I mean, I thought he just took off. BRENNAN: You two were pretty close? JAMES: Yeah. I was an altar boy. BOOTH: Yeah, so was I. I liked our priest, but um... JAMES: What? Oh, you think what everyone else does, don't you? BOOTH: I don't know, what does everybody else think? JAMES: Because we spent so much time together, he was... touching me and stuff. BOOTH: Really. Because, you know, if he did, and you got mad one day... JAMES: And k*lled him? You think I k*lled Father McCourt? He never touched me, not even once. He was my best friend. My dad bailed on us when I was three. Father McCourt came to my ball games, he yelled at me about my grades, he was the only one who actually cared. It doesn't matter what you think. Father Donlan didn't even believe me. BRENNAN: Father Donlan? JAMES: Yeah. About a month before Father McCourt disappeared, Father Donlan came to my house. He said he knew what Father McCourt was doing to me, he wouldn't listen. He was screaming that Father McCourt was going to pay for his sins. I'm telling you, it was scary. That old priest was crazy. He was just crazy. (INT: FBI, interrogation room) FATHER DONLAN: Yes, I was strict with Father McCourt. I'm strict with all the priests who are assigned to my parish. BOOTH: How strict, Father? FATHER DONLAN: I'm not a New Age priest, like Father Matt. The church should be firm and act as an immovable bulwark in the face of change. BRENNAN: Actually, organized belief systems which fail to adapt to changing ways are demoted from religions to acknowledged metaphoric myth systems. I mean, no one worships Odin anymore, or Zeus. BOOTH: Thanks, Bones, I can take it from here. BRENNAN: You're kicking me out? BOOTH: Yes! All he can think about now is giving you catechism. I need him to answer some questions. BRENNAN: Wyatt's psychology isn't working. (BRENNAN leaves) BOOTH: Father, I contacted the archdiocese about St Agatha's and they said that quite a few priests have come and gone during your tenure. FATHER DONLAN: Given who they've sent me, I've done well. BOOTH: Who do they send you? FATHER DONLAN: Priests who need firm guidance, for the most part. BOOTH: In 1997, a complaint was sworn against you for as*ault. Is that your idea of firm guidance? FATHER DONLAN: It was not as*ault, it was corporal punishment. I found an altar boy drinking sacramental wine from the chalice. BOOTH: And you caned him? FATHER DONLAN: The charges were dropped. I learned my lesson, and I have never struck anyone since. BOOTH: Father Donlan, in your opinion, did Father McCourt pay too much attention to James Levay? FATHER DONLAN: You should ask James. BOOTH: I did. James told us that you suspected the worst. He was frightened at how angry you were. FATHER DONLAN: I regret scaring him. He's only a child. (INT: Jeffersonian, Medico Legal Lab) ZACK: There are greenstick fractures on the victim's left ulna, as well as his fibula and some ribs. CAM: Probably defensive wounds received in the struggle. ZACK: There's no evidence of a struggle. These seem to have occurred post-mortem when he was dragged, probably for burial. But even getting dragged over rocks shouldn't have caused those fractures. The matrix of the bone was weakened. The cause could be genetic. CAM: Or it could be some chemical or medicine that compromised the tissue. I'll need samples to run some tox screens. HODGINS: Alright, see these tiny metallic fragments embedded in the victim's skull? It's silver. CAM: Then I'll assume he wasn't struck by a shovel. HODGINS: The silver was smelted using the lead reduction method. The flexes used indicate that it's from the early 1800s, probably during the Napoleonic wars. CAM: One of our old skeletons was ID'd as a bishop. Bishop Jersik. Died 1889. ANGELA: Yeah, his robes were worth a fortune. CAM: Let's find out if he was buried with something silver. A sceptre or a shepherd's crook or something else suitable for skull cracking. (INT: FBI, interrogation room) BRENNAN: Booth kicked me out of here. WYATT: For you to say kicked out means that you've acquiesced in the idea that this is his domain. BRENNAN: Domain... yes. He's good at questioning people. He can... he can tell when they're lying. WYATT: Can you? BRENNAN: I've learned a lot from him about people. WYATT: But? BRENNAN: It's not that Booth has a sixth sense. There is demonstrably no sixth sense to have. Obviously he reads minutiae of body language, pupil dilation... WYATT: Yes. You don't sound very satisfied with your own argument there. BRENNAN: Booth likes to say: there are more things in heaven and earth, Bones, than are dreamed of in your science. That's, uh, a bastardization of a writer named Shakespeare, from a play called 'Hamlet'. WYATT: Yes, yes, I was... uh, I was aware of that. So, if you're so uncomfortable here, why come? BRENNAN: Because something goes on in here. He does something. WYATT: And you want to find out what it is, dissect it, so that you can do it yourself. BRENNAN: Yes! WYATT: So that you can do it without Booth. So that you won't need him anymore. BRENNAN: No. WYATT: No? BRENNAN: No! I just want to observe. WYATT: Surely if you want to observe, you can do that on the other side of the mirror there; instead of insisting on being in this room, with him, out of your element. BRENNAN: Observation isn't just seeing, Dr Wyatt, it's experiencing. Ideally I prefer being inside Booth's head. You know, seeing and feeling things the way he does. Then maybe I'd understand. WYATT: Be one with him. BRENNAN: In a scientific sense. (Her cell phone rings) BRENNAN: Booth needs me. Hodgins has a line on the m*rder w*apon. WYATT: Ta-ta then. We're done here. BRENNAN: Thanks. (INT: Church) BRENNAN: We need to know what artefacts were buried with Bishop Jersik. BOOTH: You see, there was no photograph of his burial in the paperwork that we received. LORRAINE: Well, I'm not allowed to pull interment records with Father Donlan's permission. Where is she going? BOOTH: Bones! You are approaching the altar - very sensitive area. BRENNAN: Right. BOOTH: Listen, you must have known Father McCourt pretty well. Did him and Father Matt have similar tastes? LORRAINE: Look, the only similarity I know of is that they were from the same seminary. BOOTH: Same seminary? LORRAINE: Agent Booth, there's so much suspicion and innuendo these days. This is a good parish. The Father makes sure of that. BRENNAN: What's that? LORRAINE: It's the chalice! BOOTH: Oh no, it's the vessel in which the wine is transformed into the blood of Christ... don't touch it, no... BRENNAN: It is going to be touched, Booth - it's silver and these little eagles are a common Napoleonic motif. BOOTH: You're saying that it's possible that this could be, uh, a m*rder w*apon? BRENNAN: Yeah. Can we take this with us, or do we need to serve a warrant on God? (INT: Jeffersonian, Medico Legal Lab) HODGINS: It's a match. The silver fragments in Father McCourt's skull came from that chalice. ANGELA: Well that officially looks the least like a m*rder w*apon than any m*rder w*apon I've seen. ZACK: The green bone response indicated that the injury was inflicted peri-mortem. That means he might have already been d*ad when he was struck. HODGINS: So, we have no cause of death? CAM: Yes we do. McCourt was poisoned. An alkaloid called taxine. ANGELA: Could it have been accidental? CAM: Not at these concentrations. HODGINS: Alright, I'll go compile a list of possible sources of the poison at the church. (INT: Church, hall - wrestling practice) BRENNAN: So what if they went to the same seminary? BOOTH: Well, then why didn't Father Matt mention it, huh? What else is he not saying? BRENNAN: This is intuition, right? You're subconsciously recalling pupil dilation, or some pheromones? BOOTH: You know what, we're not talking the same language here. FATHER MATT: No, no, no. That's not a butcher. Come here, Tony. TONY: Why do you always pick me, Father? Take Sam. FATHER MATT: Let's go. Watch. (He shows the boys how to perform a wrestling move) FATHER MATT: Now from here, Tony can reach around to my right arm, uses his left knee against my left hip, and... see? Tony's in control. I'm helpless, and he can score some back points. Good job, Tony. Let me up. That's the butcher. Learn it. Love it. Use it to smite your enemies in the name of our loving Lord. Pair up, get it right. (FATHER MATT joins BOOTH & BRENNAN) FATHER MATT: Phew. Kid took me down for real. That sh*t must not be working, Doc. So... what can I do for you today? BOOTH: Yeah, Father, I... BRENNAN: You and Father McCourt were in seminary at the same time. FATHER MATT: Right. But I told you, I never met Father McCourt. BOOTH: What, you guys never got together, compared wrestling moves? FATHER MATT: I didn't know him there. Did you know everyone who went to your college? BOOTH: You do know why Father McCourt was sent here? FATHER MATT: Yeah, I've heard the rumours, that's all. Do you base all your investigations on rumours, Agent Booth? BRENNAN: He has a point, Booth. BOOTH: You know, St Agatha's has been a dumping ground for troubled priests for some time, so it's reasonable to suggest that... you're one of them? FATHER MATT: I told you why I was sent here. I got work to do. (INT: Diner) BRENNAN: So you still think Father Donlan is the k*ller? I mean, Matt could have k*lled McCourt and taken his post? BOOTH: Why? BRENNAN: Because McCourt was going to come clean about being a paedophile, maybe accuse Matt if they knew each other? Of course, there's no evidence of that. I have no intuition. BOOTH: None. Zilch. BRENNAN: You have no analytical skills. I mean, you're all about emotion and feeling. BOOTH: Well... BRENNAN: They say that means you have a well developed feminine side. BOOTH: Who says that? BRENNAN: Psychologists. BOOTH: Oh... BRENNAN: What? You're the one who believes in them. BOOTH: Let's just stick to the case. We know that Father Donlan is this harsh, judgemental guy who keeps being sent these problematic priests. There's McCourt, there's Father Matt... BRENNAN: No proof. BOOTH: Yeah, but Bones, it happens, alright? Anyways, Father Donlan, he's getting old, he can't deal, so he takes action. BRENNAN: Old Testament action? BOOTH: Alright, there you go again, you're attacking God. BRENNAN: I am not attacking God, he doesn't exist, so how can... religion is part of... BOOTH: (speaking over her) Unbelievable, you know, God is not... WYATT: Quarrelling? Yes, of course you are. Uh, cup of coffee please, dearie darling. I am here to put right what has been rent asunder. BOOTH: Great, he's figured out our problem. WYATT: Yes. BRENNAN: From three meetings? WYATT: I knew what your problem was right off the bat, if you'll forgive the cricketing metaphor. The meetings were for fun. Booth never knows where to stand when he's in the lab, feels like teats on a bull whenever he's there. Ditto Dr Brennan in the interrogation room. Simple geography, sense of belonging, et cetera. BOOTH: But that's not the main problem. BRENNAN: He can't possibly know. WYATT: Yes I do. You're both afraid that the reason Dr Brennan didn't sail off into the sunset with her boyfriend Sully might have been because of her ties to Agent Booth. You are both quite wrong. BRENNAN: Why didn't I go with Sully? BOOTH: How's he supposed to know? BRENNAN: Sully is perfect! We communicated well, the sex was incredible, he invited me to sail around the South Seas in a beautiful yacht for a year. I mean, why would anyone turn that down? WYATT: In my opinion, you are unable to lead a purposeless life at this stage in your psychosocial development. Which, by the way, is an issue you should address, because a certain amount of purposelessness is necessary to lead a full life. BRENNAN: I hate psychology. BOOTH: You don't like it because he's saying that all this tension between me and you is... your fault. WYATT: Mmm, on the contrary. If anything, your issues are more pronounced, given that your behaviour is being affected by what turns out to be a quite irrational fear of being responsible for someone else's destiny. BRENNAN: That makes sense. BOOTH: Oh, now you like psychology. WYATT: I think you'll both be able to work together just fine, now that your minds have been set at ease. And thank you, dear. Ta-ta then. (WYATT leaves) BOOTH: You, uh, feel anything? BRENNAN: Feel? BOOTH: Yeah, you must... feel something. BRENNAN: I do. You know what I feel? Father Matt has been sick a long time. BOOTH: He got treated for the fungus. BRENNAN: But he hasn't shown any sighs of recovery. BOOTH: So? BRENNAN: I feel that's weird. I mean, his symptoms should have cleared up by now. I feel that since Father McCourt was poisoned... BOOTH: We should have Father Matt checked for the same poison. Ahhh. BRENNAN: What? BOOTH: We're back! BRENNAN: We're back! (INT: Jeffersonian, Medico Legal Lab) FATHER MATT: Poisoned? CAM: Yes, Father, by something called taxine. FATHER MATT: Father McCourt was poisoned? HODGINS: The poison's easily derived from boiling yew tree needles. FATHER MATT: We have yew trees at St Agatha's. CAM: Symptoms include nausea, vomiting, increased salivation, stomach ache, diarrhoea, spasms and death. FATHER MATT: Well, I have all of those. Except for death. HODGINS: So far. CAM: We suspect the poison weakened him, made him unable to defend himself. FATHER MATT: Defend himself from whom? HODGINS: Someone much weaker than himself. CAM: Say, an old man. (HODGINS tests a sample) HODGINS: Yellow. FATHER MATT: Yellow, what does that mean? CAM: The good news is, we know how to make you feel a lot better. HODGINS: The bad news is someone's trying to k*ll you. (INT: Jeffersonian, floor area) ANGELA: So things are alright? BRENNAN: According to the psychiatrist, we were both concerned that Booth was the reason that I didn't run off with Sully. ANGELA: It wasn't? BRENNAN: No, it's because I'm currently unable to live a life without tangible focus, so, you know, sailing around paradise with a man I adore... ANGELA: And you believe that? BRENNAN: Well, if I expect people to defer to me as an anthropologist, I have to concede to their fields of expertise. ANGELA: Right. BRENNAN: And our working relationship has definitely improved, so... ANGELA: Mmm. Maybe I should talk to this guy. BRENNAN: Why? ANGELA: Hodgins asked me to move in with him, but I'm... I'm not sure. I mean, what's the problem? Hodgins is perfect. I'm nuts about him. BRENNAN: I'll call the doctor. (INT: FBI, conference room) FATHER DONLAN: I'm certain that I'm innocent of whatever it is you think I did this time. BRENNAN: Can you identify this clipping, sir? FATHER DONLAN: Taxus baccata. European, or common, yew. BOOTH: Then you're aware that it's poisonous? FATHER DONLAN: Did you bring me here to test my botanical knowledge? BRENNAN: Both Father McCourt and Father Matt suffered yew poisoning. FATHER DONLAN: The hell, you say. BRENNAN: Is he allowed to say that? BOOTH: Dr Brennan's people can prove that the poison from the yew tree came from your own yard. FATHER DONLAN: Both Fathers McCourt and Sands? BRENNAN: It's why Father Matt has been so sick. BOOTH: Can you think of anyone else who'd want to poison these two priests, aside from you? FATHER DONLAN: No. No one. I'm going to need a lawyer. That damn Jesuit would be best. BOOTH: Are you confessing, Father? FATHER DONLAN: Yes. I did it. (BOOTH just stares at him) BRENNAN: What? BOOTH: When this goes to trial, Father, you're going to have to place your hand on the Holy Bible and swear to God to tell the truth. Are you going to be able to do that? BRENNAN: What's going on? FATHER DONLAN: Get me my lawyer. BOOTH: See, I don't think you will. BRENNAN: Why? BOOTH: You didn't do it. See, it's time to render unto Caesar. FATHER DONLAN: On one condition. I take the confession. (INT: FBI, interrogation room) LORRAINE: I never set out to k*ll Father McCourt. FATHER DONLAN: You poisoned him. LORRAINE: I saw the way he looked at James Levay. I tried to give him just enough poison to make him too sick to want to... but he, he fell and h*t his head. He wasn't breathing. I had to make sure he was d*ad. I couldn't bury him without making sure. (BRENNAN and BOOTH are watching from behind the glass) BRENNAN: The heaviest thing she could find was the chalice. FATHER DONLAN: And Father Matt? LORRAINE: Wrestling! The boys were all over him. And I knew better this time. FATHER DONLAN: Less poison. LORRAINE: Father McCourt was a mistake, Father, I... FATHER DONLAN: Lorraine. There was no proof that Father McCourt touched anyone. Only rumours. And Father Matt... LORRAINE: But you - you were so angry at Father Matt. I see the way you look at him. FATHER DONLAN: Because he was sent here to replace me. What you saw was my own pride, my own weakness. Father Matt is a good man. LORRAINE: I was trying to help. I was just trying to help. Do you absolve me, Father? FATHER DONLAN: We're not alone with God, Lorraine. This is not that kind of confession. (INT: Diner) (BRENNAN and ANGELA find DR WYATT) BRENNAN: Dr Wyatt? We need you to do it with her. WYATT: W-would that I could, but uh, unfortunately my heart belongs to another. ANGELA: No, it's actually my boyfriend... asked me to move in with him, and I need to know if I should or not. BRENNAN: I told her to come talk to you. WYATT: Look, I absolutely refuse to be relegated to the role of some sort of advice columnist, or daytime television shrink. ANGELA: Well, Brennan says that you are the only psychological type who's ever made any sense to her. WYATT: Yes, well, now of course you're flattering me, so obviously I'm helpless. Alright, so, what made you think you should move with him in the first place? BRENNAN: The closet test. ANGELA: Over half of his closet is filled with my things. WYATT: I see, and what about your own closet? It overfloweth with his things, does it? ANGELA: Uh, no. It doth not. WYATT: Well then, I suggest you wait until it does, thus rendering you manifest equals. Tabling until that day, the vexed question of who should move in with whom. ANGELA: He is good. BRENNAN: I told you. WYATT: As a stopgap, you should remove enough clothing from his closet, so as to occupy less than thirty percent of the space. ANGELA: You know, the accent makes everything that you say sound really smart. (to BRENNAN, in a fake British accent) "Stop-gap". (BRENNAN gets up) WYATT: Oh, you're not leaving, are you Dr Brennan? BRENNAN: Uh, Booth and I have to put our notes together for the prosecutor, so... WYATT: And so, you and Booth, you making any further assumptions about each other? BRENNAN: No. No assumptions. Thanks. (she leaves) WYATT: Good. ANGELA: Look at that. You fixed them too. WYATT: Hmmm. ANGELA: Alright, listen up, Monty Python. You got it right with Hodgins and I, that's fine. But we both know that you are full of it on the other thing. WYATT: I have no idea to what you refer. ANGELA: Brennan didn't run off with Sully because she cannot live a life without focus. She stayed because of Booth. WYATT: Ah, now you're projecting, Ms Montenegro. Agent Booth and Dr Brennan are not you and Dr Hodgins. I stand by my diagnosis. ANGELA: You stand by the FBI. Your first priority is to get agents back into the field, solving m*rder. WYATT: Mmm. Your romanticism is endearing, but as the Bard says, "lovers and madmen have such seething brains, such shaking fantasies, that apprehend more than cool reason ever comprehends." ANGELA: He also says "journeys end in lovers meeting, every wise man's son doth know." (Behind them, outside the diner, BRENNAN gets into the car with BOOTH) WYATT: Hmmm. Excellent. ANGELA: You betcha. Monty. WYATT: You are good. (END)

{"type": "series", "show": "Bones", "episode": "02x17 - The Priest in the Churchyard"}

foreverdreaming

"The k*ller in the Concrete" Episode 2x18 Written By: Dean Widenmann Directed by: Jeff Woolnough Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Brennan and Booth arrive at concrete expanse in Baltimore, MD) BOOTH: So, you ever been here before? BRENNAN: No. BOOTH: I don't mean here, here. I mean Baltimore. BRENNAN: Yeah, I've given several lectures to the Baltimore Homicide Division. BOOTH: Oh, god. BRENNAN: What's wrong with your mouth? (she pokes at him) BOOTH: I got a tooth situation. BRENNAN: Well, go to to a dentist. BOOTH: I - I will if it doesn't get any better. Ow! Man. BRENNAN: Are you afraid of the dentist? BOOTH: I'm not afraid of the- COP: Welcome to Baltimore. This is, uh, actually a federal flood abatement project, which is why we called you. K-9 unit was using it for an exercise, and one of the cadaver dogs went beserk. We dug up the cement- BRENNAN: No. That's concrete. Cement is an ingredient in concrete. BOOTH: Yeah, that's a real important distinction to make at this juncture. So, what do we got, Bones, huh? Do your thing. BRENNAN: Nothing. BOOTH: Nothin'. Nothin? BRENNAN: I can't see enough of the skull, the tibia, the pubis- Nothing. (she walks away) BOOTH: Nothing? Wait a second. Nothing - (to cop) Sorry. (he starts after Brennan) Now we drove all the way here so you could just tell me "Nothing"? Alright, so what do ya, what do ya want me to do? Uh, get the whole slab of cement- BRENNAN: Concrete. BOOTH: Concrete, whatever - shipped back to the Jeffersonian? BRENNAN: Yes. Yes. (Cut to: Medico Legal Lab - Forensics Platform. The remains in the concrete are laying on a examining table - the concrete has been chipped away.) CAM: Sex? ZACK: The mandible suggests male and the tibia suggests he was between 5'6" and six feet tall. HODGINS: Waffle-soled training shoes and a tracksuit. CAM: You know who wears tracksuits? ZACK: Athletes? CAM: No. Huge tubs of lard or retired people. HODGINS: (chuckles) And rap stars. ZACK: The teeth suggest early middle age. CAM: So, not a retiree. ZACK: Uh, calcified holes with radial fractures in the left clavicle and scapula are consistent with ballistic damage. CAM: He was sh*t to death? ZACK: And s*ab, but neither k*lled him. The wounds healed. HODGINS: sh*t, s*ab but lived to die another day? Rap star. ZACK: There's a small hole in the back of the cranium. CAM: Dig the skull out first to establish cause of death then give Angela something to work with to ID the guy. Where is Angela? (Cut to: Eternal Spring Memorial Gardens. Angela and Brennan are standing at her mother's grave.) BRENNAN: I'm really not good at this kind of thing, you know? I don't - (sighs) I don't get the significance. ANGELA: One year ago, today, you buried your mother. You laid her to rest, here. You're marking the anniversary (she hands the bouquet of flowers to Brennan) BRENNAN: Angela - I simply don't believe my mother retained sentience (sentions) beyond death. ANGELA: Well, part of you is made up of your mother, right? BRENNAN: In a manner of speaking. ANGELA: So, honor that part of yourself. Visualize a memory of her. See what it brings up. BRENNAN: I have very few distinct memories of my mother. ANGELA: I'll wait in the car. (She walks away. Brennan bends down and places the flowers on her mother's grave which says: "In Memoriam: Christine Brennan. Beloved Mother of Russ and Temperance. April 1948- Dec. 1993." She stands, sighs and closes her eyes) MAX: Hiya, honey. (he walks towards her) I was hoping you might show up. (Brennan picks up her phone and dials a number) BRENNAN: I don't- I don't want to talk to you. MAX: You're standing here in front of your mother's grave. Obviously, you've come for some kind of answer. Maybe I can provide 'em. BRENNAN: You're a k*ller. You burn people. (into phone) Yeah. I'd like to report a sighting of Max Keenan atEternal Spring Memorial Gardens. He's a wanted fugitive. MAX: (quietly) I love you. (he walks away) BRENNAN: Yes, I'm sure. (she pauses) Because he's my father. ACT I (Cut to: Medico Legal Lab - Hallway. Booth and Brennan are making their way to the platform.) BOOTH: So, did you talk to your dad at all before you called the cops? BRENNAN: No. Why would I? BOOTH: Well, I mean, I haven't seen my dad in a long time and if I had the opportunity to talk - ow, god. (he touches his cheek) BRENNAN: Go to a dentist. BOOTH: Well, I will if it doesn't get any better. ZACK: Based on decomposition of the tracksuit, Hodgins is estimating a postmortem interval of two years. Based on bone deterioration, I like three years. BOOTH: Well, what k*lled him? ZACK: The victim was d*ad shortly after this hole was punched into his skull. BRENNAN: Hmm, too small for a projectile. ZACK: No radiating stress lines. BRENNAN: A slow entry. A piercing wound. BOOTH: Like a - a screwdriver? Nail g*n? Ice pick? ZACK: Yeah, something along those lines. BOOTH: (picking up his phone and dialing - but to Brennan) Oh, cold steel in the brain - would that k*ll him? BRENNAN: Depending on how far it penetrated. BOOTH: (into phone) Yeah, it's Booth. I need, um, all m*rder in which a penetrating wound to the back of the head figured. (he pauses) Great. Thanks. (he closes the phone) (Cut to: Brennan's Apartment. She enters and then closes her door, looking at her mail.) MAX: (O.S.) Don't freak out. BRENNAN: Oh! (she turns to see him standing near the kitchen) You broke into my house? That is not acceptable. (she picks up her phone) MAX: This, uh, little device here - it jams cell phone frequencies. (She gets nothing but static on her phone and yanks the phone away from her ear) BRENNAN: That is illegal. MAX: Unfortunately, illegal is what I do best. I'm not staying. I just want you to do something for me. I want you to look at my rap sheet. BRENNAN: Why? MAX: Why? Because I want a chance to talk to you- actually talk to you - without you calling in the 82nd airborne. BRENNAN: How is reading your police report going to change my mind? MAX: (He walks out and the door closes) (O.S.) Just do it. (Cut to: FBI - Booth's Office. Booth and Brennan are going over the case.) BOOTH: (holding up a picture and pointing to the notepad) I think our victim was k*lled by Ice Pick. Angela did a facial reconstruction of Cement Head. BRENNAN: "Concrete Head," you mean. BOOTH: No, "Cement Head." It's got a nicer ring. So I ran it through Interplus and I got a match. BRENNAN: (reading the report) "William Raymond 'Billy Ray' McKenna, West Virginia. as*ault, manslaughter, kidnapping, t*rture." BOOTH: This here? (holds up another picture) This here is, uh, Hugh Kennedy. Uh, I think he k*lled Cement Head. BRENNAN: Why? BOOTH: Well, West Virginia. Likes to use ice picks on his victims plus Ice Pick and Cement Head were both employed by a regional crime boss from West Virginia named Gallagher. (he holds up a picture of Gallagher) BRENNAN: Well, what are we gonna call him? BOOTH: Gallagher. What? He runs most of the, uh, prost*tute, strippers, gambling, bootlegging, meth, extortion in West Virginia. BRENNAN: (reading from a file) Five years ago, the West Virginia state police began pressuring Gallagher's criminal operation, making a lot of arrests. BOOTH: Including Ice Pick and Cement Head. Cement Head goes to jail. Ice Pick? Out on bail, babe. BRENNAN: You say that like it means something. BOOTH: Well, I talked to the officer in charge and he said that Ice Pick wouldn't say anything so they punished him by letting him out on bail. BRENNAN: How is bail punishment? BOOTH: 'Cause it makes Gallagher think that Ice Pick cooperated with the cops. Ah, it's criminal psychology, Bones, you know what? You wouldn't get it. Just - read. Just continue reading there, will ya? BRENNAN: (reading from file) Half a million dollar bond. Kennedy jumped bail. Hmm, k*lled in a car accident while fleeing a "bail fugitive recovery agent." BOOTH: Bounty hunter. BRENNAN: Car b*rned the remains to ashes. BOOTH: All they got was a severed leg. They didn't actually get Ice Pick's body. BRENNAN: So, we gonna talk to the bounty hunter? BOOTH: No, I am. You're gonna make sure that that severed leg actually belonged to Ice Pick. BRENNAN: Someone kept the leg? BOOTH: The severed leg was frozen as evidence. BRENNAN: So - you think Ice Pick might still be alive. BOOTH: As a friend of mine likes to say "Don't jump to conclusions until all the evidence is in." (he gets up) BRENNAN: But if the facts are in, then it's not jumping to conclusions. So I never said that. BOOTH: I never said that the friend is you, okay? (Booth walks out and Brennan sticks her tongue out at him) (Cut to: Medico Legal Lab - Autopsy Bay. Cam lifts the frozen leg out of the cooler and places it on the table) CAM: Does it have to be completely thawed for you to examine? BRENNAN: No. My interest lies only in the femur. CAM: I need to get some tissue for DNA testing. (Cut to: Royal Diner. Booth is sitting, reading the paper and attempting to eat oatmeal. He's approached by Veleska Miller - the bounty hunter. She takes a seat across from him at the table.) VELESKA: I'm the bounty hunter you want to talk to - Veleska Miller. (She throws her badge on the table and takes Booth's coffee.) You want to know about Kennedy's leg? BOOTH: Anything you want to tell me outside the official report, that's great. VELESKA: Sure. How it smelled, his body cooking over the f*re. Otherwise, I stand by the record. BOOTH: How'd you find him? VELESKA: Tip from someone I know who provides documents from fugitives. Tailed him. He made me, took off. Boom. Found his leg about 30 yards from the vehicle. BOOTH: And you saw him burn? VELESKA: Yeah. Why? (Booth picks up his paper and starts to read) That's it? BOOTH: That's it. VELESKA: I'm a little disappointed. I was hoping you'd keep me here a while, ask me some dumb ass federal questions, check me out. BOOTH: How's about I buy you a nice breakfast then? VELESKA: A guy like you must be going crazy in the FBI. BOOTH: What kind of guy is that exactly? VELESKA: I'm a bounty hunter, sport. I read people fast or I die. You are not standard government issue. Take a walk on the wild side. I have more fun, fewer rules and a lotta money. BOOTH: You know, you make a compelling case (his cell phone starts to ring) Booth. (Cut to: Medico Legal Lab - Autopsy Bay. Cam and Brennan are on speaker phone.) CAM: Coroner;s report said Kennedy's leg was severed in the car accident. BRENNAN: (to Cam) We don't call him "Kennedy." We call him "Ice Pick." (Cut to: Royal Diner. Booth, on phone) BOOTH: (to Veleska) Hold on for one second. Sorry. (He gets up and sits at the counter then to Brennan and Cam) Yeah, ah. Listen, I got the, uh, bounty hunter here. She was an eyewitness to the crash, saw him incinerated. (Cut to: Medico Legal Lab) BRENNAN: (to Cam) Tell Booth that Ice Pick's femur is sliced cleanly at 90 degrees. (Cut to: Royal Diner. Booth, on phone) BOOTH: I can hear you, Bones, okay? It's a speaker phone. Look, amputation like that could happen in a bad wreck. Right, Cam? (Veleska gets up and leaves) CAM: (V.O. On phone) Yes. BRENNAN: (V.O. On phone) There are kerf marks. CAM: (V.O. On phone) She's seeing evidence of a saw, Booth. BOOTH: I know what kerf marks are. (Cut to: Medico Legal Lab) BRENNAN: (to Cam) Booth should arrest the bounty hunter. BOOTH: (V.O. On phone) I can hear you, Bones. (Cut to: Royal Diner. Booth, on phone) BOOTH: What am I gonna arrest her for, huh? (Cut to: Medico Legal Lab) BRENNAN: For lying. For perjury. For aiding in a cover-up. (Cut to: Royal Diner. Booth, on phone. He turns to look for Veleska but sees her car driving away - out the window.) CAM: (V.O. On phone) If she's there with you, just detain her. BOOTH: Okay. I'll let you know how that works out. ACT II (Cut to: Medico Legal Lab - Autopsy Bay. Booth is now back at the lab.) BOOTH: (reading report) Hey, huh? Look at that, huh? DNA is a match. (Brennan comes up behind him and turns the report so that it faces the right way. It was upside down.) CAM: West Virginia state troopers got a DNA sample at Ice Pick's arrest. This is definitely his leg. Was she pretty? BRENNAN: Ice Pick is a male. CAM: I mean, the bounty hunter who gave Booth the slip. BOOTH: You know, she didn't get away 'cause she was pretty... BRENNAN: She was a she? BOOTH: No, she was a - (he reaches for his cheek again) Oh, God. CAM: What's wrong with your mouth? BRENNAN: (reaching for his face, but he pushes her hand away) I'm guessing the anterior molar on the left side is infected. The leg was surgically amputated. CAM: Go to a dentist. BRENNAN: He's afraid of the dentist. These kerf marks are consistent with a type of wire saw used to remove horns from heifers. BOOTH: Ah, so Ice Pick and his bounty hunter set up a car accident with a dummy victim so everyone stops lookin' for him. BRENNAN: Two years later he kills Conc- Cement Head. CAM: She hoodwinked you 'cause she was hot. BOOTH: Alright, look, ya know what? She wasn't hot. In fact, she looked like a man. BRENNAN: The amputation was probably performed by a livestock veterinarian. BOOTH: (he picks up a folder and lowers his voice) Hey, Bones. I got that other thing you want to discuss... BRENNAN: Oh. Let's (she looks at Cam) go to my office so we don't disturb Cam. (They head out) CAM: Booth - livestock amputation? That is on tough determined old criminal. Be careful. BOOTH: Yeah. (Cut to: Medico Legal Lab - Booth and Brennan are heading into her office.) BOOTH: You know, I was going through your father's criminal - BRENNAN: Shhhh! BOOTH: (quietly) criminal record, and he was right about one thing. Alright, he never ended anyone's life who didn't have it comin' to 'em. BRENNAN: He's a sociopath. BOOTH: Well, maybe, but at least he aimed in the right direction. Ow! God! BRENNAN: Let me take a look at your tooth. BOOTH: Alright, just - go easy. You promise? BRENNAN: Okay. BOOTH: Alright? BRENNAN: Open up. (She places her hand on the side of his face to look at his tooth. He keeps mumbling while she examines his mouth.) BRENNAN: What? (she lets his face go) BOOTH: In the Old West, he would have been considered a hero. BRENNAN: (she grabs his face again and pushes down his jaw) Yeah, well, the Old West was a time of chaos - BOOTH: Ow! BRENNAN: And v*olence that, anthropologically speaking, our country it still trying to recover from. (Booth grabs her shoulders. He's in pain) Yeah. I was right. Anterior molar on the left side - it's infected. BOOTH: You know, your father never k*lled any hard working, tax paying citizens or honest cops. Ow. BRENNAN: You still think that society should forgive him? BOOTH: Well, I'm saying, if I have the opportunity to arrest him, I will. But you know who maybe should forgive him? His daughter. (Booth's cell phone goes off) Oh. Look at that. Our small-town crime boss is here. Let's go have a little chat with him, shall we? (Cut to: Medico Legal Lab - Angelator Room. Cam, Angela and Zack are by it.) ANGELA: Billy Ray McKenna shortly before he was known as "Cement Head." ZACK: I like nicknames. They're universal mnemonic devices. CAM: Why are we doing this? Don't we know that cause of death was brain scrambling due to an ice pick? ZACK: The technical term is "pithing". ANGELA: And, it's not how he died. ZACK: It entered the medullary pyramids and beveling on the entry site suggests it was (he makes an up and down motion) - I don't believe there's an English word that adequately describes - ANGELA: "Wiggling." Up and down is "wiggling." ZACK: Okay, wiggled, thus paralyzing the victim and causing some difficulty breathing. But he would live for upwards of several hours. CAM: Smart. Very little blood spilled. How did the victim die? ANGELA: Ugh. This is the bad part. ZACK: It appears that the concrete was poured over him while he was still alive. CAM: Oh, God. ZACK: These chunks of concrete are in the shape of a sinus cavity, bronchial tubes, plus kind of a hollow around the middle finger.CAM: You said he was paralyzed. ANGELA: Well, if the ice pick was inserted and then waggled, it would affect the median nerve around the T1 never roots. ZACK: Which control the flexor carpi radialis. ANGELA: Anterior palm, thumb, index and middle fingers. ZACK: But if it was - ANGELA: wiggled - ZACK: The victim would lose the ability to move the ring and pinkie fingers. ANGELA: We think he wiggled instead of waggled. CAM: Because he could still move his middle finger. ANGELA: It's a terrible way to die. ZACK: One conclusion is that the was trying to swim to the surface using only his middle finger. (Cut to: FBI - Conference Room. Booth and Brennan are interviewing Melvin Gallagher and his lawyer, Clark Lightner.) GALLAGHER: The last time I saw Billy Ray McKenna, he was "So long, suckering" me from his F-150 and headin' off on a well earned vacation. BOOTH: Well earned by torturing a journalist who was talking too much. GALLAGHER: Well, I resent your inference. (to Lightner) Get him my - uh - whatcha call it: tax papers, employment records. Did I get that right? LIGHTNER: Not quite. You resent him implication. He is implying that you're a criminal. You're taking an inference from his implication. BRENNAN: Uh, according to this, Mr. Lightner is your flight instructor. GALLAGHER: That is correct. I have, uh, wide rangin' enterprises. Clark here is helpful in getting' me where I gotta get. BRENNAN: And William Raymond McKenna is down as a media liaison. BOOTH: Yep, by breaking journalist's fingers. You know, you never asked me about, uh, Billy Ray McKenna there, big dog. GALLAGHER: (laughing) Well, I assume, big dog, that Billy Ray is deceased. BRENNAN: Why? GALLAGHER: He was a valued employee. Disappears for three years, I gotta assume the worst. BRENNAN: His body was found encased in concrete. GALLAGHER: (to Lightner) (sighs) Tell you what. We're gonna claim his remains. We'll bury him proper. BOOTH: Where did you send him on vacation? GALLAGHER: Canada. BOOTH: Canada. GALLAGHER: Was it the, uh, mounties that found Billy Ray encased in cement? LIGHTNER: Concrete. GALLAGHER: Hmm? LIGHTNER: Not cement. It's a common error. BOOTH: Baltimore police. GALLAGHER: (to Lightner) Is Baltimore on the way to Canada? LIGHTNER: Well, the most efficient route is up through Detroit but Billy Ray - how he loved Vermont so. BRENNAN: Do you have any idea who might want to k*ll Mr. McKenna? GALLAGHER: (chuckles) Oh, well, yeah. He, uh - Well how would you put it? LIGHTNER: Aggressive. Both socially and sexually. BOOTH: How about Hugh Kennedy? GALLAGHER: Hugh Kennedy. BOOTH: Yeah. Handy with the ice pick. BRENNAN: According to this, you hired him as a "liquor license consultant" on a per-case basis. LIGHTNER: Yes, yes, yes, yes. I remember. Taciturn type, very dour. BOOTH: Right. In jail for m*rder once, manslaughter twice and suspect in four unsolved m*rder - all involving ice picks. GALLAGHER: You know, good old Hugh did not put none of that on his resume. LIGHTNER: If I recall, Mr. Kennedy was k*lled in a car accident fleeing a bail enforcement officer. GALLAGHER: Guess he got b*rned up. Well, (he goes to get up and sighs) you guys look us up if you're ever in western West Virginia. We're at Snackie's Roadhouse and Grill. LIGHTNER: Where the 119 hits the 64. BOOTH: I'll make a note of that. (Gallagher and Lightner leave.) 119 hits the - BRENNAN & BOOTH: 64. (Cut to: Brennan's Apartment. She hears a knock on the door and looks through the peep hole. She pauses a second before she opens the door. It's her father.) MAX: Hey, T, look. Snicker doodles. What are y- (Brennan closes the door on him) MAX: (through door) Oh, come on. You used to love 'em...when you were a little girl. I got a message for you from your brother. (Upon the mention of Russ, she opens the door) BRENNAN: What message? MAX: Uh, he says hi. (he walks past her into the apartment. She closes the door) BRENNAN: Have you turned Russ into a criminal too? MAX: Hey, I haven't committed a crime in over 15 years. I'm straight. BRENNAN: Except for k*lling, gutting and burning the deputy director of the FBI. MAX: He was tryin' to k*ll Russ and then he was going after you. It is not a crime to protect your family. BRENNAN: Well, some fathers do it without k*lling. MAX: Did, uh, you and Booth take a look at my, uh, rap sheet? BRENNAN: Yes. MAX: And? BRENNAN: He'll arrest you if he has the chance. MAX: What else? (he waits, but she says nothing) So, these snicker doodles - Come on. You don't remember? You loved them as a little girl. BRENNAN: I don't remember. MAX: I'd come home and then you'd be jumpin' around, you were five or six years old, and you'd say "Why don't you put on the 'trying song'? Put on the 'trying song'." BRENNAN: They "trying song"? MAX: It was my favorite song. I used to sing it. It was, uh, by Poco? The band? (Brennan still doesn't have any recollection, so Max starts singing a bit of the song - "Keep on Tryin'" by Poco)MAX: (singing) "I've been thinkin' about all the things you told me. I know you're full of doubt cannot let it be. But I know if you keep on coming back for more, then I'll keep trying. I'll keep on trying." (he stops singing) It's a good song. (Brennan seems a bit moved but doesn't let on if she remembers or not. Instead she moves past him to the kitchen. She places her hand by the notepad.) MAX: Hugh Kennedy - bad guy. But he's d*ad - about five years ago in a car crash in West Virginia. BRENNAN: Recent evidence suggests otherwise. How do you know him? MAX: Well, him and his 'Ice Pick' were pretty famous in some circles. I gotta go. BRENNAN: Now? MAX: Yeah. You speed dialed Booth. Now he's been listening to everything and the SWAT team's on its way. I mean, I'm just guessing - but there is something I do want to say to you. BRENNAN: Mom. MAX: It's not about mom. It's about you and it's about stuff that she wanted you to know. She never got the chance to tell you. (he places a hand on her arm, but she pulls away. Then directed at the phone-) Hey, Booth. There's a couple of things that you should know about this guy Kennedy. He's got an addiction to model airplanes. (picking up the bag of cookies - then to Brennan.) Try some of these again. You'll love 'em. (he drops the bag on the counter and starts to walk away) BRENNAN: Wait, dad. What's - what's the second thing? MAX: Mmmm. He's wily. You be careful, okay? (She nods and he walks out the door. Once the door is closed, she sighs and puts her phone to her ear.) BRENNAN: (into phone) Did you get that? (Cut to: A model airplane park. Booth is sitting in his car, on the phone with Zack & Brennan - who are back at the lab. The scene continues to cut back and forth between Booth in the car - on the phone - and Brennan and Zack in the lab - who have Booth on speaker phone.) BOOTH: (into phone) Well, I gotta tell you, you're right, Zack. Every model airplane freak from Baltimore is here. ZACK: We prefer the term "pilots". BOOTH: Yeah, okay. So you're into this stuff too, huh? ZACK: Forensic anthropology is only one of my doctorates. The other is in applied engineering. I'm extremely adept to practical aeronautics. BRENNAN: (to Booth) Do you see Ice Pick? BOOTH: A lot of these guys are kinda old (he looks around) You know, they're wearing those, ush - those sunglasses that wrap around their heads. BRENNAN: Well, how many of them only have one leg? BOOTH: Well, half of them are sittin' down. Okay, how am I gonna get them to stand up? ZACK: Crashes bring everyone to their feet. BRENNAN: Uh, sh**t down one of the planes. BOOTH: That's great, huh. Next thing you know I'm being evaluated by my shrink again. That's not gonna happen. ZACK: Drive onto the field. BOOTH: What? ZACK: Put your car where they like to land. Everyone will stand up and yell at you. BOOTH: (sighs) This better work. (he puts the car into gear) Now, just stay with me here. (he starts to drive onto the field) Oops. (he laughs.) Look at that guy! Look at that, huh? It seems to be working. Ha-ha. Ooh, they're mad. (A bunch of guys start coming towards Booth's car- shouting and protesting.) BRENNAN: Do you see him? BOOTH: They're all wearing long pants. I mean, how could I tell if any of 'em are wearing a prosthetic? ZACK: The prosthetic will cause a slightly unnatural alignment of the spine which will result in a compensating adjustment of- BRENNAN: (interrupting) Booth. The instinct will be for these men to step towards you. One man will be standing perfectly still. (He looks over to where all the men are but doesn't see anyone who's just standing still) MAN: Aw, forget him. MAN #2: Get off your phone! (Then he sees a man, just standing.) BOOTH: Okay. Yep, I got him. (to everyone outside the car) Sorry. Apologize. Just passing through. (Kennedy sits down and stares.) (Cut to: Halton Inn - Lobby. Kennedy is carrying his plane.) CLERK: Afternoon. KENNEDY: Anybody askin' after me? CLERK: Nope. (Kennedy heads upstairs in the elevator. As soon as the elevator door closes and it starts going up - Booth shoves his badge in the clerks face) CLERK: What the hell? BOOTH: I'm gonna need his room number. (Cut to: Halton Inn - Hallway. Booth is walking cautiously, g*n drawn. He approaches Room #106) Kennedy: (surprising, from behind) Maybe I can help you. (He punches Booth and he falls to the ground. Kennedy takes his g*n and drags him) ACT III (Cut to: Kennedy's Room. Booth is rolled up in a carpet, placed on the bed) BOOTH: What - what'd you h*t me with? Huh? The only reason I ask is my tooth, it doesn't hurt anymore. You know, you're the first guy who's got the drop on me in 10 years. KENNEDY: (throwing items into a bag) Yeah, I used to get that a lot. BOOTH: Can I ask you a question? KENNEDY: As long as you answer one for me then. BOOTH: Yeah. So what - what happened to you three years ago, huh? What's your story? KENNEDY: Billy Ray got in the back of my cab. Don't know which one of us was bigger surprised but musta been Billy Ray 'cause he's the one that ended up d*ad. (he turns on the TV) BOOTH: Okay, what's your question. KENNEDY: How you people find him under all that cement? BOOTH: A dog. KENNEDY: A dog, huh? BOOTH: Yeah. So why am I not d*ad? KENNEDY: I never k*lled nobody for fun. It was my job. And I'm retired. Now listen. I know you fellas get in trouble if you lose your g*n. I'm taking the b*ll*ts though, if you don't mind. BOOTH: Whoa! Oh, Well, what about me? KENNEDY: Settle down. BOOTH: Wha- KENNEDY: Settle down. Relax. (He stuffs a towel in Booth's mouth) Someone'll find you. (Booth tries to protest, but it's muffled) You have a good day now. (Kennedy leaves and Booth starts struggling and rolls to the floor) (Cut to: Royal Diner. Brennan is sitting at the counter drinking coffee. Max enters.) MAX: I just want to talk about your mother. BRENNAN: Booth is missing. (Max sees that she's distraught) It's been over 18 hours. MAX: He tried to take down Hugh Kennedy by himself? BRENNAN: He's only got one leg and he's old. MAX: Yeah. You know how he got old? By being fast and paranoid. He cut off his own leg. BRENNAN: Booth is tough. MAX: What does the FBI say? BRENNAN: Nothing. MAX: Yeah. "Need to know", right? BRENNAN: Mmhm. (she pauses) I want to do something but I don't - I don't know what. MAX: Are you asking? BRENNAN: You'd help find the man who's going to put you in jail? MAX: Well, Booth will - will do the best he can. I'll do the best I can and we'll see how it works out when we get there. Wh-where did he find Kennedy? BRENNAN: Baltimore. (Cut to: Kennedy's Room. Booth is still on the floor but someone is there with him and turns him over.) BOOTH: (muffled) Ow. God! (He looks up and sees Gallagher and Clark Lightner staring down at him) LIGHTNER: I'm afraid that's not Hugh Kennedy. GALLAGHER: What's that called when they wrap a sausage in a pancake? BOOTH: (muffled) Pigs in a blanket. LIGHTNER: Pigs in a blanket. (Gallagher pulls the towel out of Booth's mouth) GALLAGHER: Now, how'd you get here? BOOTH: How'd you get here? GALLAGHER: Um, Billy Ray was k*lled by an ice pick in Baltimore. We asked around. LIGHTNER: Was it Hugh Kennedy that bundled you up in a carpet? BOOTH: Look, I can't discuss ongoing investigations with civilians, alright so just cut me out of here. Hey, what are you doing with my g*n? Put that down! (Gallagher p*stol whips him.) (Cut to: Medico Legal Lab - Autopsy Bay. Hodgins, Angela and Zack are gathered around Cam.) CAM: Okay. Time to step out of your comfort zone, people. HODGINS: What comfort zone? CAM: We've stopped working. I'd like to start again. ZACK: We process evidence. There's no more evidence for us to process. HODGINS: He's right. We process. Booth interprets. ANGELA: I'd like to give it a try. ZACK: No, we suck at interpretation. HODGINS: We absolutely blow. ANGELA: Um, what do you want us to do? CAM: Work what we know. McKenna was probably k*lled by Kennedy. Booth ran afoul of Kennedy. ZACK: I'm with you. (Cam waits for an idea from him) I'm with you, not ahead of you. CAM: Okay, is there any forensic evidence on our victim that might lead to Kennedy and Booth? HODGINS: Well, I mean, I - I finished the inventory on McKenna's tracksuit. There were flakes of tobacco, fibers from the upholstery of a Crown Victoria, popcorn, chocolate, a host of other wool and cotton threads. CAM: Okay, what does that tell us? ANGELA: That the man was a pig? HODGINS: Look, there were also, uh, cellulose fibers consistent with newsprint, gum from a number of different mouths. Uh, he had dried chunks of human mucous, a half-dozen filaments of nylon consistent with women's hosiery- ZACK: Oh! Uh, Kennedy was a tr*nsv*stite. (They all sh**t him a disbelieving look) CAM: (to Hodgins) Keep going. HODGINS: The rest was just waxy buildup from soap or upholstery cleaner. CAM: (sighs) Let's assume, all this adds up to a place-crime scene. Close your eyes and imagine the smell of all those things. (clears through) Tobacco, snot, gum, popcorn, a lot of clothing, chocolate- HODGINS: p*rn movie theatre. ZACK: You can't smoke at the movies. I don't now about p*rn. CAM: Upholstery cleaner, Crown Victoria- ANGELA: I got it - a taxicab. McKenna was k*lled in a taxicab. CAM: Yes. (She goes to walk out) ANGELA: Where are you going? CAM: To tell the FBI they're looking for a one-legged cabbie in Baltimore. (Cut to: Model airplane park. A man is driving his airplane up the runway) MAN ON PA: Tiger Moth, you're up. P-51 Mustang on deck. TIM: You know, you guys, it's not like we all know each other off the field, so- BRENNAN: But you know a man with a prosthetic leg. TIM: Uh, yeah. I've seen him around.BRENNAN: We need his name. MAX: No, Honey, he'd be using a fake name. We need to know where he lives. BRENNAN: Well, maybe he's listed under his fake name. MAX: He's too careful for that. (Brennan's cell phone goes off. She received a text message and checks it.) BRENNAN: He drives a cab. MAX: How do you know that? BRENNAN: My associates are very good, Dad. TIM: Can I ask a questions? Do you guys have any, like official ID or anything? BRENNAN: I can have the FBI here in 20 minutes. MAX: No, no, no. Screw the FBI.. (he places his foot on Tim's plane - as if he's going to crush it.) TIM: No, no. Hold on. Easy. Take it easy, pal. MAX: Where does he live? TIM: I don't know! (Max presses his foot down harder) BRENNAN: Dad! TIM: Alright, alright! H-Halton Inn on Decatur. (Max presses down on the airplane again) TIM: No! No! No! BRENNAN: Dad! He told us! MAX: Are you lying to me? Because if you are, I'll know it. TIM: Halton Inn on Decatur! Just past the tracks! Easy. Wha- (Max kicks the plane and walks away) Wh- what's this all about? BRENNAN: Thank you. TIM: You're welcome. Your dad's a psycho, by the way. BRENNAN: You have no idea. TIM: Bye. (Cut to: Halton Inn - Lobby. Clerk is reading a newspaper when Brennan and Max approach him) BRENNAN: Do you have a one-legged old man staying here?CLERK: Give me forty bucks. (Brennan goes to reach for her purse) MAX: (grabs the clerk) Room number, please. BRENNAN: Dad! Dad. I -I have the money. (Cut to: Halton Inn - Hallway. Max breaks down the door to Kennedy's room and find Veleska Miller - who aims a stun g*n at him and Brennan.) BRENNAN: Dad! Look out. (He uses her bag to block the h*t) BRENNAN: (to Max) Who is she? MAX: I don't think she's gonna tell us. (Veleska knocks max down and Brennan att*cks her with a crutch but Veleska knocks Brennan down and runs out into the hallway. Brennan and Max step out in to the hallway. Max notices a rug.) MAX: Come on, help me. Pull! Pull! (They pull the rug and Veleska falls hits the wall and falls to the ground.) MAX: She reminds me of your mother. (going over toVeleska) Hey. Hey, listen to me. I like you but if you make another move on me, I will hurt you, understand? BRENNAN: IF her name's Veleska, she's the same bounty hunter who brought in Kennedy's leg. MAX: How'd you find him?VELESKA: It's not that hard to find a one-legged, old white h*t man in Baltimore. (Brennan finds a tooth on the ground and picks it up and examines it.) BRENNAN: Why is she after him? MAX: She has to make sure that Kennedy stays gone. VELESKA: I helped a wanted fugitive evade arrest. I'm not going to jail. MAX: What do you got? BRENNAN: It's a left anterior molar. It's Booth's tooth. (she punches Veleska in the face) Where's Booth? MAX: Temperance, honey. (he grabs her hands to stop her from hitting Veleska again.) BRENNAN: Kennedy has Booth, Dad. He's got Booth! MAX: Okay. (Cut to: Perdue Airfield. Booth is tied to a chair and Gallagher hits him across the face. It seems like Booth has been beaten up quite a bit.) LIGHTHER: Perhaps he didn't see Kennedy. GALLAGHER: Yeah? Now how'd you come to that though? LIGHTNER: Well, Kennedy would've have left him with an ice pick protruding from his head. GALLAGHER: Just one simple question, big dog. Did you see Kennedy? (Booth says nothing) LIGHTNER: We could get our own ice pick, make it look like Kennedy k*lled him. GALLAGHER: You know we can't let you live, right? LIGHTNER: You've been struck and restrained. Technically, kidnapping a federal agent is as bad as m*rder him these days. (to Gallagher) How would you like to k*ll him? GALLAGHER: First I gotta know for sure if Kennedy's d*ad or alive. BOOTH: (sarcastically) Good luck with that one, big dog. GALLAGHER: Big dog. LIGHTNER: Oh, I suppose we could do that thing that McKenna used to do. But I'd need a blow torch and a sharpened screwdriver. GALLAGHER: Just tell us. BOOTH: (quietly) Woof. (Lightner pulls a picture of Booth's wallet and hands it to Gallagher.) LIGHTNER: Ah. GALLAGHER: Oh, cute. Must be his kid, huh. (Booth remains stoic. Gallagher punches him in the face again.) Head like an anvil. I hurt my hand. Alright. (he hold up the picture of Parker) Gonna let you take a look at your sweet boy. Consign his face into your memory and then I'm gonna ask you which one of your eyes you like best. (Booth head butts Gallagher - knocking him to the ground. Lightner kicks the chair, that Booth is tied to, over and starts kicking him in the stomach. Repeatedly.) ACT IV (Cut to: Medico Legal Lab - Brennan's office. Zack is holding up dental x-rays) ZACK: Definitely Booth's tooth. BRENNAN: I knew it. (She grabs her bag and goes to head out the door) CAM: Brennan. (Brennan stops and turns to her) You're not alone in this. BRENNAN: I know I'm not alone. CAM: We all want to find Booth. BRENNAN: I know. (She leaves and Angela heads after her.)ZACK: This is one of those times when I have no idea what's happening. (Cut to: Medico Legal Lab - Hallway. Angela is chasing down Brennan) ANGELA: Brennan, wait. BRENNAN: I have to go, Ange. ANGELA: What's goin' on? BRENNAN: I've got to find Booth. ANGELA: I'm coming with you.BRENNAN: No. ANGELA: I can't fight or sh**t a g*n, but if something bad happens I can spit with deadly accuracy. BRENNAN: Thanks, but no. ANGELA: What can't you tell me? BRENNAN: By definition, I can't tell you. ANGELA: Alright, alright. Hodgins is outside in his fastest car. It's Italian. One call, and he follows you everywhere. BRENNAN: Angela.. ANGELA: Alright, you're after a crazy, old, ice-pick h*t man who has Booth. You need help. Look at my face. Do you really see me back down? BRENNAN: I- I already have help, Ange. ANGELA: From whom? BRENNAN: From someone worse than Kennedy. ANGELA: Are you serious? BRENNAN: Don't say it. ANGELA: Your father is helping you? BRENNAN: I have to go. (Brennan walks off as Angela stares after her.) ANGELA: (to herself) Oh, my.... (Cut to: Cut to: Halton Inn - Room. Max has Veleska tied to the bed with a pillow over her face. Brennan enters.) BRENNAN: Dad! MAX: Was it Booth's tooth? BRENNAN: Yes. Stop that. (Max removes the pillow) What are you doing? MAX: Well, we have to know for sure if Kennedy's alive or d*ad. I mean, what if she and her friends took Booth? (He covers her face again -then to Brennan) If this bothers you, maybe you should go. BRENNAN: No. Alpha male, man of action- I- I get it. MAX: Now. Tell us. VELESKA: Okay. Okay. Kennedy's alive. (Max goes to cover her face again) I was chasing him for the bail. He was smarter than me, and he gave me a choice - help him fake his death or die myself. BRENNAN: Where'd you get the body? VELESKA: We stole some d*ad old geezer from a mortuary in Charleston. BRENNAN: Where's my partner? VELESKA: When I got here, no one was here. (Max goes to cover her face again) I swear. BRENNAN: (to Max.) What do we do with her? VELESKA: Oh, god. No. (Max goes to put the pillow under her head but she thought that he was going to cover her face again) MAX: The room is paid for through the end of the week. (Cut to: Brennan's car. Brennan and Max are driving and talking) MAX: Kennedy does not have Booth. BRENNAN: How do you know? MAX: He's only got one leg. BRENNAN: So? MAX: Well, so he's retired. He's like me. He just- he just wants to disappear. BRENNAN: (sighs) Then who's got Booth? MAX: Well, there's only one other significant player in all this. (He holds up the chart on yellow paper that Booth had written at the beginning of the episode) BRENNAN: Gallagher. What am I gonna do with you when I get to the lab? MAX: Mmm, I'll just take a nap here in the car. Been an awfully exciting day for an old guy like me. (Cut to: Medico Legal Lab - Forensics Platform. The team is sifting through files when Brennan enters.) BRENNAN: Booth is being held by Melvin Gallagher. CAM: That's a leaf. How do you know? BRENNAN: Can we just go with this, please? CAM: Of course not. ANGELA: Obviously, Brennan found out from her father who is a wanted fugitive. BRENNAN: Ange! CAM: Now that I can go with. BRENNAN: We need to figure out where Gallagher is holding Booth. (They all look towards Hodgins) ANGELA: Has anybody noticed that every time there's a panic situation, all eyes turn to Hodgins? HODGINS: It's okay. ANGELA: What's he suppose to do? BRENNAN: Shoes. ANGELA: Shoes? BRENNAN: Gallagher said, the last time he saw McKenna he was leaving for vacation after a tough night of work. CAM: You think Gallagher might have a place he takes people for that sort of thing. HODGINS: Let me go over Cement Head's shoes, see what they tell us. (Cut to: Medico Legal Lab - Hodgins work area. He's entering some information in the computer) HODGINS: Methyl ethyl ketone. ZACK: It's a solvent. HODGINS: See if it has any specialized uses. Also chromic acid. ZACK: M.E.K and chromic acid are both used to prepare metals. HODGINS: Prepare metals for what? ZACK: Coating - uh, painting mostly. Electroplating. HODGINS: I'm seeing microthin deposits of aluminum here. ZACK: Shavings? HODGINS: No, it's more anodized. Vapor deposition. ZACK: Gallagher flies everywhere? An aluminum propeller requires a coating that could withstand between 10 and 20 tons of centrifugal force- preferably anodized. (Hodgins points at Zack - letting him know he's on to something and then runs off) (Cut to: Medico Legal Lab - Brennan's office. Everyone is in her office.) BRENNAN: These are Gallagher's tax returns. We're looking for a purchase of any machine that can be used for anodization. ANGELA: What, like a copier, or - HODGINS: Oh, that's so cute but no. ZACK: Look for the words "lamination,""electroplating"- HODGINS: "Alloy membranes," "catalytic bed reactor" - ZACK: "Serial thermal processor." BRENNAN: "Vacuum pyrolysis." ANGELA: "D-330 vacuum plating processor."? HODGINS: Yeah. That's it. BRENNAN: That's it. (Brennan runs over to the phone and starts dialing) BRENNAN: (into phone) Yes. This is Dr. Brennan at the Jeffersonian. I just received a call from Agent Booth that he's being held at the Perdue Airfield in Oakville, Virginia. Send backup. I'm going in. (she hangs up) ANGELA: You just lied your ass off to the Federal Bureau of Investigations. (Brennan grabs her jacket and runs out) HODGINS: That is so hot. (Cut to: Montage. Cuts back and forth between Brennan and Max driving in the car, Booth getting beaten and b*rned by Gallagher and Lightner and the rest of the team in the lab. Lightner uses a blowtorch to head a screwdriver to press it against Booth's leg just as Brennan and Max break through the door. Booth uses his shoulder to knock down Lightner while Brennan rushes over to him and Gallagher turns and runs. He gets as far as outside before the rest of the FBI is there to catch him. Max, who was following him sees the agents and turns and runs back in to where Brennan is leaning over Booth. Lightner has the screwdriver embedded in his chest) BRENNAN: (to Lightner) If you lie really still, you may not die. MAX: I need your car. BOOTH (still on the ground tied to the chair) Max Keenan, you're under arrest. MAX: Not if I get the keys. BRENNAN: They're in the ignition. (Max kisses her on the forehead and heads out. Booth gives her a surprised look.) BRENNAN: Well, it's not like I actually gave him the keys. (The agents show up inside the airplane hanger. Booth is safe.) (Cut to: Brennan's apartment. Max is writing her a note. He kisses a picture of her and her mother and places it on the notepad as well as a glass dolphin. He gets up and leaves the apartment. The note says: "Honey, Next time I really want to tell you some things about your mother. Love, Dad") (Cut to: Royal Diner. Booth and Brennan are sitting, talking.) BRENNAN: Why didn't you just - just tell them about Kennedy? BOOTH: Well, ya know, I needed to give you time to find me. (he looks up at her) Ah, I've been tortured worse. So, uh, you hear anything from your old man? (She takes out the letter and the glass dolphin and places them on the table. Booth picks up the dolphin.) BRENNAN: He left my car in the garage. (Booth picks up the letter and reads it) BOOTH: He'll be back. BRENNAN: How do you know? BOOTH: Max Keenan does not strike me as the kind of guy who, uh, leaves things undone. BRENNAN: Next time he shows up, what do I do? Do I call you? Do I knock him on the head? What's my obligation? BOOTH: Well, if I were you, Bones, I'd wanna know what he has to tell you about your mother, but, uh, that's just me. BRENNAN: (she has a throught and smiles) There's, uh, this old song. It's called "Keep on Trying." BOOTH: Yeah. Poco. BRENNAN: You know it? BOOTH: (singing quietly) I've been drinking now, just a little to much. BRENNAN: (joining him) Much. BOOTH & BRENNAN: (singing) And I don't know how BRENNAN: (singing) I can get in touch with you. BOOTH: (joins her) You. BOOTH & BRENNAN: (singing) And there's only one thing for me to do. BRENNAN: It's to keep on tryin' BOOTH: (joins her) Tryin'. BOOTH & BRENNAN: (singing) To get home to you. (They both smile and laugh) BOOTH: Yeah, what about it? BRENNAN: It's a good old song, right? BOOTH: Right. (Camera pulls back as the end of "Keep on Tryin" by Poco plays - scene fades out.) END.

{"type": "series", "show": "Bones", "episode": "02x18 - The k*ller in the Concrete"}

foreverdreaming

"Spaceman in a Crater" Episode 2x20 Written By: Elizabeth Benjamin Directed by: Jeannot Szwarc Transcribed by: vividahlin Disclaimer: The characters, plot lines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: A blue sky. From the left an object comes hurdling down and lands heavily in an open field with two cows milling about. The cows moo.) (Cut to: a view of the crater through binoculars.) BOOTH: (V.O) Can you make anything out? BRENNAN: (V.O) Yes. It's a crater. (Cut to: Brennan looking through the binoculars then a sh*t of Booth, Brennan and a farmer standing atop an FBI truck looking over the crater.) BOOTH: We know it's a crater, Bones. The question is, what caused it? BRENNAN: You should ask a geologist. FARMER: I can tell you for sure it's not a meteor. BOOTH: You got a look at what's inside? FARMER: Not for long. State troopers didn't want anyone getting near it until you people got here. BOOTH: That's very nice of them. BRENNAN: But what did it look like? FARMER: Uh, I'm pretty sure it was meat...Meat wearin' clothes. BOOTH: What do you wanna do? BRENNAN: Let's take a look. (Brennan and Booth approach the crater which contains an array of splattered body parts.) BOOTH: Mmm. So what do you think? d*ad? I'm just saying, if he fell out of a plane, that plane is long gone by now. BRENNAN: No sign of a parachute. What do those shoes look like to you? BOOTH: Loafers. BRENNAN: He h*t the ground at approximately 200 kilometers per hour. BOOTH: How can you tell that by his shoes? BRENNAN: A hundred and twenty-four miles per hour is terminal velocity for a falling human. BOOTH: So we're gonna go with the theory that this was once human? BRENNAN: I've never read about an alien encounter in which the aliens wore loafers. BOOTH: How much you wanna bet Hodgins has? (Cut to: Jeffersonian Medico-Legal-Lab - Forensics Platform. Brennan, Hodgins and Cam are examining the body while Booth watches.) CAM: The crows and critters sure made quick work of him. HODGINS: Yeah, but these Calliphora vicina eggs will confirm time of landing. BOOTH: Blowflies on aliens. Who knew? HODGINS: You're taking a show at me because I happen to believe that we are not all alone in an infinity of space? BRENNAN: It's not the believing in extraterrestrial life that's odd. BOOTH: It's the believing that they're visiting us. HODGINS: This guy is wearing loafers. Aliens don't wear loafers, people. CAM: Even if they want to pass unnoticed amongst us? BOOTH: Before taking us over? HODGINS: Oh. Oh, this is harassment. You know, it's illegal to mock people for their fundamental beliefs. BRENNAN: Is the tissue damage consistent with a long fall? (Zack enters.) CAM: Definitely. ZACK: You've seen something like this before? CAM: su1c1de of the Chrysler Building. At least this one didn't h*t the pavement. Zack: A human being reaches terminal velocity after falling 200 to 220 meters depending upon air resistance. Velocity would be achieved between five and eight seconds depending upon atmospheric conditions, body position and clothing. He fell from a minimum of 1,200 feet. I can run through the math if you'd like. BOOTH: Send me an email. (Brennan moves to look at one of the computer screens showing X-rays of the bones.) BRENNAN: This is--I want to say "anomalous", but I'm going to go with "weird." CAM: What's weird? BRENNAN: These areas of radial lucency here and here. ZACK: Extremely porous bones. BOOTH: What's that mean? CAM: That means he was ill. BRENNAN: His right femoral head shows significant demineralization. Zack? ZACK: I'd put him at a hundred and thirty. BOOTH: Hundred and thirty what? BRENNAN: Years. CAM: Old? BRENNAN: There's an alternate explanation. CAM: Then that's the one we should go with. ZACK: He was in outer space. BOOTH: So he fell from outer space in a pair of loafers? CAM: Hodgins left too soon. ACT ONE (Open: Medico-Legal-Lab - Zack and Hodgins are working in their station to the side of the platform.) ZACK: The F.A.A. reports no recent accidents involving anyone falling from a plane, balloon or blimp. Commercial or otherwise. HODGINS: The F.A.A. doesn't have jurisdiction over the entire universe, my friend. ZACK: Little green men? HODGINS: Gray. They're gray. Not green. Gray. Being as you're half alien yourself, you should know that. ZACK: If they'd dropped him from orbit, he'd have b*rned up and his loafers would've fallen off. If he was an abductee tossed out of an interplanetary spacecraft why do his bones show that he has spent an extended time in outer space? The only rational explanation is what he was an astronaut. (Cut to: Zack, Cam and Hodgins walk through the lab.) ZACK: Astronauts lose two percent of their bone mass for each month spent in space. Our victim's legs, hips and lower vertebrae have demineralized over twenty percent indicating ten months in space. CAM: Do we do that? ZACK: The longest shuttle flight was STS-80. 17.66 days in 1996. HODGINS: The longest we know of. ZACK: The man who spent the most time in space was a Russian cosmonaut. HODGINS: That we know of. CAM: Why do you know that? ZACK: My knowledge is vast. CAM: Why did I ask? Anyway, there can't be all that many people who have accumulated ten months in space. HODGINS: That we know of. CAM: Call Booth. Tell him to see if anyone's missing an astronaut. (Cut to: Brennan's office. Brennan is seated at her computer. Booth is standing in front of her desk holding a picture and file.) BOOTH: Meet Colonel Calvin Howard. Senior training specialist and crew liaison in the shuttle program. Currently working in the National Space Agency in Bristol, Maryland. BRENNAN: Angela just sent me her work in progress of the partial skull reconstruction. She says we expected too much too soon, but the shape of the head, the cheekbones... BOOTH: Close enough for jazz. BRENNAN: Six months in the international space station. Plus, a number of servicing missions to both the Hubble and Lansing telescopes. BOOTH: Wait. Does that add up to the right amount of bone rot? BRENNAN: Loss. Bone loss. And yes. Has anyone reported him missing? BOOTH: No, not exactly. BRENNAN: Not exactly? BOOTH: Well, astronauts are regarded as viable terror targets. Their whereabouts are extremely confidential. BRENNAN: I bet if you told the agency you were going to identify Colonel Howard to the press, they'd be a little more cooperative. BOOTH: Yeah. You know, I have been a wonderful influence on you. BRENNAN: Well, actually, I learned that move from Cam. BOOTH: Yeah, well, I went the other way with it: looked up his wife in the phone book. (Cut to: Col. Howard's home. Living room.) JEAN MARIE HOWARD: Did my husband die in some kind of training accident? BOOTH: We don't believe so, ma'am. No. LONI GOWAN: It couldn't have been. BRENNAN: How do you know that? COLLEEN ADAMS: Because the space agency would be all over this. BOOTH: You're probably right. They wouldn't let anybody else take the lead, not even us. BRENNAN: You say your husband left the day before yesterday? On what airline? JEAN MARIE: Cal flies himself. BOOTH: What kind of plane? JEAN MARIE: He has a turboprop Cessna out at McNichol. BRENNAN: What exactly does a senior training specialist and crew liaison do? COLLEEN: Um, we're not supposed to discuss these things. JEAN MARIE: For the past three years Cal's been training others to go up. BRENNAN: Because he lost his medical clearance? JEAN MARIE: How did you know that? BRENNAN: His X-rays show that he was suffering from a dramatic loss of bone density. BOOTH: Must have been hard on the colonel. Training others to do what he loved to do. COLLEEN: No. Cal was a team player. JEAN MARIE: He was training her husband, James, for almost a year. Actually, it was very hard on him. LONI: It would be hard on any of them. JEAN MARIE: All they ever think about is going back into space and all we ever think about it getting them back home. BRENNAN: Is there some kind rule that astronauts' wives travel in packs? JEAN MARIE: When you marry an astronaut, no one really understands except-- COLLEEN: Except other people who are in the same situation. JEAN MARIE: This is Cal's itinerary, uh, mainly when he intended to call me and...when he'd be back. BRENNAN: You expected your husband home today? JEAN MARIE: Yeah. (Cut to: Booth's Car. Booth and Brennan. Booth is on his cell phone.) BOOTH: Yeah, I just need to know if it's still in the hangar or not. It's a Cessna turboprop plane registered to Colonel Calvin Howard. Thanks. (Booth hangs up.) BRENNAN: It just seems so odd. Those women stick together like a harem. BOOTH: What? They support each other, you know? A lot of service wives are like that. BRENNAN: Well, what about astronauts' husbands? BOOTH: Look, their husbands train for years, Bones. All right? Their families invest their entire lives. (Booth's cell phone rings. He picks up.) BOOTH: Yeah?...Are you sure? Okay, great. Thanks. (hangs up) Well, plane's still in the hangar. BRENNAN: Well, if that's the plane he got tossed out of, then it didn't fly itself back. (Cut to: Airplane hanger. Booth and Brennan watch as a team of FBI agents search the hangar.) BRENNAN: If someone simply pushed him out of the plane, there might not be any evidence. We have to hope there was a struggle. (Nina Sanborn enters.) NINA: Excuse me. Can I see some I.D. please? BOOTH: Well, yeah, sure. I'll show you mine if you show me yours...Right. Here you go. NINA: That airplane belongs to the agency. BRENNAN: Our information is that it belongs to Colonel Calvin Howard. NINA: The agency leased it to him. BOOTH: Well it's being investigated as a possible crime scene. You were Colonel Howard's boss? NINA: Yes. Nina Sanborn. I carry a rank equivalent to an Air Force general. BOOTH: Why didn't you report him missing, General Sanborn? NINA: Equivalent, I said. I'm a civilian. Cal was--Colonel Howard wasn't missing. He was barely gone a day. BOOTH: You know, General Sanborn, I know you people are really tight-lipped, but I'm really good friends with a very aggressive federal prosecutor who's great at getting warrants. (An FBI forensic tech approaches.) FBI TECH: Agent Booth? I got the usual fibers, hair, particulates. BRENNAN: No blood? No sign of a struggle? FBI TECH: Nothing. You'll have my full report by the end of the day. BOOTH: Great. Okay. I need to know what Colonel Howard was working on at the time of his death. NINA: Get your warrant, Agent Booth. Dr. Brennan. (Nina turns to walk away.) BOOTH: Hey, excuse me, "equivalent to a general" Sanborn? (Nina stops and Booth holds up a piece of paper.) BOOTH: I got that warrant. BRENNAN: Why didn't you just tell her right away? BOOTH: Well, I was hoping that we could all be friends. NINA: Let me see that. (Cut to: Booth's office. Booth sits behind his desk, Hodgins sits in a chair in front of it, leafing through a document.) HODGINS: These are the documents you subpoenaed from the agency? BOOTH: Yeah, but all the info's blacked out. HODGINS: Want me to see if I can get anything out of this? BOOTH: Can you? HODGINS: No. I'd need originals. These are photocopies. BOOTH: Then why'd you offer? HODGINS: Well, why else would ask me here? BOOTH: 'Cause you're a conspiracy nut and I thought you'd enjoy filling in the blanks. HODGINS: With paranoid ravings? BOOTH: It's better than nothing. Lansing telescope. That mean anything to you? HODGINS: Yeah. It's a multi-gazillion dollar, deep space, multifrequency telescope that keeps needing "repairs." BOOTH: Why'd you say it like that? HODGINS: It doesn't need repairs. There's no rust in space. So-called "repair crews" are up there retrieving classified information. BOOTH: Classified information, huh? The telescope is pointed up at the planet Pluto. HODGINS: Pluto's no longer a planet. It was demoted. And if the Lansing was pointed away from the Earth, why would they need to black out all this material? BOOTH: Huh. HODGINS: Can I ask you a question? BOOTH: Yeah. HODGINS: What's the deal on proposing to, you know, a woman? BOOTH: Oh! HODGINS: I mean, what is the absolute proper way to do it? BOOTH; I don't know. The one time I did it, I got sh*t down flat. HODGINS: Did you do it by the book? BOOTH: Mm-hmm. Well, no. We were waiting for the stick to turn blue or not to turn blue and I realized I wanted to marry her if the stick was blue or not. HODGINS: Yeah, that's sort of what I did. Only without the sticks. BOOTH: You asked Angela to marry you? HODGINS: Apparently I didn't do it right. BOOTH: Do it again. Go all out this time, right? With the dinner and the gettin' down on one knee, the violin. Forget the violin. HODGINS: Hey, hey, hey. With his bone density sure as hell wasn't going back into space again. BOOTH: Yeah, I know. That's why he was training his replacement. HODGINS: His replacement? For what? BOOTH: To repair the Lansing telescope. HODGINS: Oh, brothers in arms, my brother. That replacement's the guy who can tell you things the agency doesn't want you to know. (Cut to: A sh*t of a large picture of the Earth on the floor which then pans up to show Booth standing on a balcony above it looking down. Brennan walks up.) BOOTH: Makes you feel small, doesn't it? BRENNAN: Because the picture's so big? BOOTH: No, because the universe is so big. BRENNAN: You're not looking at the universe. You're looking at an enlarged photograph of Earth. BOOTH: Well, you see one thing and I see another thing. Personally, I like what I see. (A space agency employee walks up.) S.A. EMPLOYEE: Agent Booth? Dr. Brennan? I'm afraid Commander James is scheduled for time on the A300 Zero-G. You're welcome to talk to him there. BRENNAN: The Zero-G? BOOTH: The Vomit Comet. (Cut to: Booth, Brennan and Commander James Adams suited up with headsets inside of an airplane.) JAMES: It makes no sense. A man flies eight missions into space and he falls out of a plane? I don't think so. BOOTH: All right, look. You don't know anyone who would want to throw him out of a plane? JAMES: Look, I don't mean to tell you how to do your work, but shouldn't you be tracking down everyone who flew over that particular piece of real estate? BRENNAN: We are, but not everyone files flight plans. BOOTH: And not everyone sticks to flight plans. BRENNAN: And you didn't answer the question. JAMES: Look, I don't know anyone who didn't like and respect Cal Howard. BOOTH: It's just that all these, uh, itineraries, people keeping secrets--even from their spouses. JAMES: Look, sir, I understand you have to ask questions like these, but Cal Howard and Jean Marie were a very solid couple. BRENNAN: Did you ever get drunk together? JAMES: What? BOOTH: What my partner is trying to ask is if you two were buddies. Did you go out and have drinks and exchange confidences? BRENNAN: Yes, that's what I asked. JAMES: Yeah, sure, of course. At times. BOOTH: So you would have known if his marriage was in trouble? JAMES: Yes, sir. I would. BRENNAN: How can you be sure? JAMES: Because Cal knew when I was unfaithful to my wife. BRENNAN: Colleen? JAMES: Right. You guys met her at Cal's place. Look. That has to stay between us. BOOTH: Strictly between us. JAMES: Cal Howard was my friend, my colleague and my teacher. If someone tossed him from an airplane, I'll do whatever I can to help. BOOTH: Then why do I get the feeling you wanna tell us something? (A man speaks to James through his headset.) MAN: Prepare to go weightless. JAMES: We're about to go weightless. As the plane reaches the apogee of a climb, then falls we will have fifteen to twenty seconds of weightlessness. (All three begin to float. James goes to the controls, Brennan laughs and does flips, Booth playfully bats at his floating pen. Gravity is restored. All three sit back down.) BRENNAN: That was great. BOOTH: Man, you're not kidding. BRENNAN: I would like very much to do that again. BOOTH: I believe you were about to tell us something? JAMES: Cal was talking to S.T.C. BRENNAN: The what? (Cut to: Jeffersonian - Medico-Legal Lab-Hodgins, Booth and Brennan walk through the lab.) HODGINS: Space Travel Coalition. It's a privately funded space exploration and tourism group. And did you? BOOTH AND BRENNAN: Did we what? HODGINS: Vomit in the comet? BOOTH: No, I didn't vomit, okay? I'm sure they were trying. BRENNAN: They can try me anytime. It was truly amazing. BOOTH: You had little bit too much fun, okay? So what's up with this whole thing about the space tourists? HODGINS: Celestial joyrides for gazillionaires. Selling seats on a spaceship that don't even exist yet. BRENNAN: And won't be viable for at least another few years. HODGINS: That's what they want you to think, but these guys are swimming in dough. I already bought my ticket. I wanna see what's going on up there with my own eyes. What? (Cut to: Cam's autopsy room. Angela and Cam are looking over a table of the clothing.) ANGELA: These are the victim's clothes? CAM: Yes. ANGELA: And you'd like me to do what with them? CAM: Construct a three-dimensional hypothesis of what caused this damage to the clothing. ANGELA: Falling from an airplane isn't enough? CAM: Well, that would explain the burst seams and pressure tears, but this seems to be... ANGELA: Slashes. CAM: Yeah. When Zack gets ahold of the bones maybe you two can figure out if something catastrophic happened to this man. ANGELA: You mean before he fell to Earth? CAM: Yes. Go do your magic. (Zack walks in as Angela takes the the clothing. Cam and Zack walk over to a plastic covered body.) ZACK: Now? CAM: Are you certain you can't do what needs to be done with X-rays alone? ZACK: Do you need continued access to the soft issue? CAM: Why would the body burst vertically when all the forces are horizontal? ZACK: Ah, so you need more time with the soft tissue to answer that? CAM: Not really. ZACK: Please explain to me your reluctance to remove the flesh from the bones. CAM: I'm all right with it, Zack, if it's absolutely necessary. Even the boiling part, but perhaps you could at least acknowledge that this is a person? ZACK: Was, you mean. CAM: Was someone's husband, Zack. ZACK: What does that have to do with removing the flesh from his bones? CAM: Fine. Do what you have to do. ZACK: Thank you. CAM: Igor. ZACK: I beg your pardon, Dr. Saroyan? CAM: Nothing. (Cut to: Brennan's office. Brennan is sitting on her couch, Booth walks in.) BOOTH: Hey Bones, I ran a check on the S.T.C. They're part of the tinfoil hat squad. BRENNAN: What's that? BOOTH: They were tin little hats. Probably to keep aliens from controlling their minds. BRENNAN: Oh, schizophrenics? BOOTH: It's hard to believe that Colonel Howard was part of an organization like that. BRENNAN: Do they have access to planes? BOOTH: Access? Are you kidding me? They actually have a border patrol division. Members fly their own private planes and do bimonthly sky patrols in search of U.F.O.'s. BRENNAN: Do they file flight plans? BOOTH: Bones, you're a genius. Look, two nights ago they had planes on U.F.O. patrol within spitting distance of where Colonel Howard's body was found. ACT TWO (Open: FBI Conference Room. Booth and Brennan sit on one side of the table, Adam Bahr sits on the other.) ADAM: Look, we're not a collection of kooks. Just ordinary people with a mission to promote a friendly liaison with the visitors. BOOTH: That's quite a manifesto. ADAM: Until you've had an encounter you couldn't possibly understand. BRENNAN: You've been abducted? ADAM: Multiple times. BOOTH: Mm-hmm... ADAM: Through hypnosis I discovered that medical testing was done, and follow-ups were required. BRENNAN: Are there any side effects from these medical procedures? ADAM: You mean like tin hats? BRENNAN: Paranoia, outbursts of anger, loss of connection with reality? ADAM: You asked me to come, I'm here. I run a very successful aeronautics company. I'm richer than God. Do I appear to have lost contact with reality? BRENNAN: Well what about post-abduction syndrome? Similar to post-traumatic stress disorder. P.A.S. is very real. ADAM: I admit to bouts with it. Frankly, it's one of my main motivators. When we meet the visitors face to face, they will explain so many things to us. BRENNAN: Including why you were taken. ADAM: And why they put an implant in me, only then to remove it. BOOTH: Great. Do you, uh, know this guy? ADAM: Colonel Howard. Of course. BOOTH: So it's true that you offered him a position with the S.T.C.? ADAM: Yes. BRENNAN: As a method of bringing credibility to your organization? ADAM: Yes, but you have to understand, it was Colonel Howard who came to us. BOOTH: Why? ADAM: He wanted to pilot our suborbital flights. BOOTH: 'Til your spaceships are ready, he was gonna help you look for the U.F.O.'s? ADAM: Laugh if you must, but Cal didn't think we were crazy. He'd seen something himself up there, you know? And he's hardly the first. Quite a few astronauts and military pilots have reported seeing evidence of the visitors. BRENNAN: Colonel Howard told you this? ADAM: Yes, he did. So trust me, I would've been proud to have been the one to send Cal Howard back into space. BOOTH: Would've been? ADAM: He changed his mind six weeks ago. BOOTH: That didn't make you a little angry? ADAM: No, not angry. Disappointed. BOOTH: Great. Then you wouldn't object to my partner and I taking a look at your fleet of planes? ADAM: No, not at all. BRENNAN: Why do you think Colonel Howard changed his mind? ADAM: They got to him. Through his wife, I believe. BRENNAN: They? ADAM: The agency. They can be very persuasive. BOOTH: Persuasive? ADAM: In my opinion, the agency would rather have Cal die than have him announce to the world he'd seen a visitor. (Cut to: Col. Howard's home. Kitchen. Brennan and Booth are questioning Jean Marie again.) JEAN MARIE: That's not true. The agency loved Cal. They valued him. BRENNAN: Why didn't you tell us about the S.T.C.? JEAN MARIE: Because it's embarrassing. Cal wanted to get back into space so badly he would even listen to those crazy people. BRENNAN: Did your husband see something up there? BOOTH: Yeah, something that made him sympathetic with Mr. Bahr's organization? JEAN MARIE: Well, obviously you know that he did. Or he said he did. BRENNAN: And you doubted him? JEAN MARIE: It doesn't really matter now, you know? That was three years ago. It was his last mission and the agency explained it in a such a way that Cal was satisfied. BOOTH: Look, it's important we know the truth, Miss Howard. JEAN MARIE: Why? BOOTH: Because what I've seen, your husband was a man of principle. And if he saw something, he wouldn't just back down to save his career with the agency even if his wige begged him to. JEAN MARIE: He insisted on filing an official report. He wouldn't withdraw it. BRENNAN: They asked him to? JEAN MARIE: Yes. But he stuck by his story. They weren't happy with him, but like I said, that's ancient history. (Cut to: Booth's Car. Booth and Brennan.) BRENNAN: Cal's friend knew about the S.T.C. His wife knew. Maybe the agency did as well. BOOTH: So they k*lled him by tossing him out of an airplane? BRENNAN: That field is less than a mile from the coastline. Obviously, they were aiming at the ocean and they missed. BOOTH: The question is why. I mean, it's a big ocean, right? There has to be a reason. BRENNAN: Maybe it wasn't a U.F.O. that Cal saw. BOOTH: Ah. BRENNAN: He could've seen something else. BOOTH: Yeah, like a death beam or a space baby. BRENNAN: I was thinking more along the lines of a spy satellite or experimental technology. Maybe the agency was afraid that Cal was sharing sensitive information with the S.T.C. BOOTH: Well, regardless, our government does not k*ll people. Okay, Bones? BRENNAN: You were a sn*per. Wasn't it our government who sent you to k*ll people? Just saying. (Cut to: Jeffersonian - Medico-Legal Lab - Zach is retrieving bones from the boiling vat as Hodgins enters.) HODGINS: Mmm, something smells good. ZACK: Help yourself. (A Pop-Tart pops from a toaster on the table, Hodgins goes and gets it.) HODGINS: Those definitely human bones? Because, apparently, there are a few types of aliens. Races, if you will. One is quite reptilian, widely known as Greys. ZACK: Definitely human. HODGINS: Another's bone structure's more amphibian. ZACK: These bones are as human as you are. HODGINS: Oh if you only knew how irony packed that is...It's a joke. Don't you be coming around to boil me in the middle of the night. ZACK: There's a strange callus formation of his right femoral head. Also bone marrow edema in the same spot. HODGINS: Healing from a fracture? ZACK: No. It's some sort of tuberous cortical defect. I've never seen anything like this before. HODGINS: Now you're freaking me out. ZACK: I have to get Dr. Brennan to take a look at this. (Cut to: Medico-Legal Lab - Examination room - The skeleton is laid out on the table. Brennan, Cam and Zack are gathered around the table.) BRENNAN: It looks like he was in the initial stages of osteonecrosis. What did you get from the tox screen? CAM: Excess levels of vitamins D, K, E, A, and C. Along with glutamine peptides and creatine monohydrate. ZACK: All the supplements he was taking before his last space mission. BRENNAN: There's something odd about the texture of this bone. CAM: Leucine, isoleucine and valine. He foresaw going back into space. BRENNAN: This is not bone. ZACK: What is it? BRENNAN: A callus has formed over some kind of thick, porous substance. CAM: Careful. BRENNAN: It's an implant of some kind. ZACK: I never saw anything on the X-rays. CAM: How could that not show up on X-rays? BRENNAN: What the hell is this? ACT THREE (Open: Jeffersonian Medico-Legal-Lab -Hodgins is seated at his computer. Cam, Brennan and Zack are gathered around him.) HODGINS: Zoantharia of the order Scleractinia. ZACK: Scleractinia has a calcium carbonate exoskeleton with porosity similar to human bone. BRENNAN: Which would make it biocompatible. ZACK: So it wouldn't show up on X-rays. CAM: Wait, so this coral, like from a reef? ZACK: Suspended in a biphasic hydroxyapatite tri-calcium phosphate coating. BRENNAN: Theoretically, the calcium from the exoskeleton would grow hopefully overcoming the loss of his degenerating bone. CAM: Then this attachment would be... ZACK: And electromagnetic device implanted to accelerate growth. HODGINS: So it's a combination of human and alien technology. CAM: Don't say that to Booth. But if that's the case then all the vitamins and amino acids he was loaded up with were mainly to ward off infection. BRENNAN: And he'd need them, too. Bone marrow's highly susceptible. This is a very risky procedure. HODGINS: I gotta say it. Frank Olson. He was a U.S. Army scientist in the '50s and an unwitting participant in Project MK-ULTRA. They said he committed su1c1de, but an exhumation forty-five years later proved he was m*rder. You need more. Project Paperclip. MK-Artichoke. And who could forget Tuskegee? The government experiments on people and then abandons them or worse. CAM: What's the point of this experiment? ZACK: The main obstacle to long-term space travel is bone demineralization. BRENNAN: If the space program could overcome this one effect their funding would triple overnight. HODGINS: Well, there you go. Experimental program for deep space fails and then the evidence has to be gotten rid of. CAM: By tossing it from a plane? Why not just have the visitors toss him into the sun? HODGINS: That is a good question. CAM: No, it's not. Sometimes when people try to cover things up it goes wrong. That's all. BRENNAN: First thing we should do is find out the source of this technology. (Cut to: National Space Agency - Nina Sanborn, Booth, Brennan and Colonel Bob Reid are talking.) NINA: Colonel Reid was Cal's commanding officer on three missions. BRENNAN: So you were the person to whom he reported the U.F.O. sighting? BOB: Oh for God's sake. You see what happens? You people get all secretive about things and...what Cal saw was space junk. It was satellite parts, a discarded hatch, a screwdriver. NINA: That information isn't cleared. BOOTH: Sounded like more than a screwdriver. BOB: Well it wasn't. Cal just thought we should be able to explain why it was whizzing around space at 25,000 miles an hour, and that's all. BRENNAN: Was Colonel Howard in a cast recently? BOB: Last winter. Said he broke his leg parasailing in the Caribbean. NINA: All of our astronauts suffer from brittle bones. BOB: I stepped off a ladder once, and my tibia snapped like a twig. NINA: Why do you ask? BRENNAN: Because of this. We found it in Colonel Howard's leg. We think it's designed to counteract the effects of osteonecrosis. NINA: Experimental surgery on one of our astronauts? Absolutely not. Our efforts to counter bone loss are limited to strength and resistance training and supplements. BOOTH: I trust you have documentation. NINA: Follow me. BOOTH: Thank you. (Booth and Nina leave.) BRENNAN: Colonel? Have you ever seen anything? Any screwdrivers up there? BOB: There's an awful lot up there to see, Doctor. The trick is not to let it cloud your judgement. BRENNAN: Did it ever cloud Cal's? BOB: Never. Not once. BRENNAN: And yet he wanted to go back into space so badly in spite of the physical damage it had caused him, the pain he was in. BOB: Let me show you something. (He leads her to a picture of two astronauts hanging on the wall.) BOB: You see this? That's me. And that there, that's Cal. Twenty minutes I spent out there that day and it is the last thing I think about every night. BRENNAN: I can imagine. BOB: No. All due respect, you really can't. This was the best moment of my life. Counting marriage, kids, everything. Now I'm not saying that's good or right, but I do know it was the same for Cal, for all of us who went up there, and we would do anything we could to get back. (Cut to: Jeffersonian Medico-Legal-Lab - Hodgins, Zack and Cam are gathered around a computer.) HODGINS: This coral's growth was aided artificially. ZACK: It was seeded with resin beads on glass plates. HODGINS: Which makes it rare enough to trace to a pharmaceutical supply house based in Geneva, Switzerland. ZACK: I searched the literature. There's a number of clinics and researchers working on bone replacement. The doctor most likely to have performed this procedure on our victim is Dr. Henry Pascal. CAM: In Switzerland? HODGINS: Based in Bethesda, with a clinic in Haiti. Plus, he worked for the Space Agency until 1998. CAM: What happened? HODGINS: He lost his funding and turned to the private sector. Namely, the Space Travel Coalition. CAM: The foil hat squad funds this guy? Booth is gonna love that. ZACK: Why? CAM: Because he doesn't believe in coincidences. (Cut to: FBI - Booth's Office. Booth and Brennan are meeting with Jean Marie Howard.) JEAN MARIE: Cal wasn't on vacation when he hurt his leg. He was in Haiti for a convention. BOOTH: Okay, so can you think of any reason Colonel Reid would tell us a different story? JEAN MARIE: No. Please, what...what's going on? BRENNAN: We found evidence in your husband's remains that he underwent an experimental surgery in Haiti. JEAN MARIE: What kind of experimental surgery? BRENNAN: To replace his bone loss. BOOTH: That sound like him? JEAN MARIE: Yes. BRENNAN: Was it like your husband to keep it a secret from you? JEAN MARIE: Yes. Cal wouldn't want me to worry. (Cut to - Jeffersonian - Angelator Room. Angela and Zack are running scenarios.) ANGELA: Cal Howard's skeleton before...and after he fell to Earth. ZACK: Every bone showed trauma. ANGELA: His clothing before...and after he fell to Earth. ZACK: Ripped. Every seam pulled apart. ANGELA: If I make the clothing translucent, we can see that some of the clothing damage lines up with the trauma to his skeleton. ZACK: And if you isolate the bone damage caused by a device capable of making robust cuts in a linear path... ANGELA: The guy was chopped. ZACK: Chopped? ANGELA: Yeah. Clothing damage, flesh wounds. ZACK: Bone damage. He was chopped. (Hodgins enters.) HODGINS: Ange, tonight, you and me, reservations at Les Deux Copains, 8:00. ANGELA: Wow. Fancy. HODGINS: Suit and gown fancy, baby. So leave your mukluks at home. ANGELA: What's the occasion? ZACK: An ax or a hatchet or a machete make sharp, well-defined cuts. These edges are abraded. HODGINS: This our guy? ANGELA: Hey do you aliens use any w*apon resembling a... ZACK: A broadsword? HODGINS: How about a light saber? ZACK: No. Those can cut through any known substance. The victim would've been completely dismembered. HODGINS: If they existed, Zack. (then to Angela) Makeup, hair done, high heels. The whole enchilada. Only whatever's French for enchilada. ANGELA: No mukluks. Got it. (Hodgins leaves as Angela happily sighs.) (Cut to - Jeffersonian - Medico-Legal Lab - Upper Level Lounge Area. Brennan and Booth are meeting with Dr. Pascal.) BRENNAN: Dr. Pascal, Colonel Calvin Howard is d*ad. HENRY: Not because of anything I did. BOOTH: Wow. Didn't even blink. HENRY: Colonel Howard sought me out. May I know how he died? BOOTH: Let's just say it was a really bad fall. HENRY: And what's this got to do with me? BRENNAN: Was your procedure a success? HENRY: How do you define success? BOOTH: Just answer the question. BRENNAN: (to Booth) That's actually a fair question. HENRY: The results were heartening. BRENNAN: There were extremely painful calluses growing over your implant. HENRY: I'd very much like to see that. BRENNAN: And there was no indication of an actual reversal of necrosis. HENRY: The calluses were part of the healing process. See, coral resorption is slow but effective for osteoprogenitor cells. Incorporating the electrode was speeding the process. In my opinion, Cal was only months away from having mature lamellar bone. BOOTH: No way to know for sure now. (to Brennan) Right? BRENNAN: Correct. BOOTH: Probably to your benefit to terminate your experiment before it went wrong, keep those venture capitalists on the edge of their seats. HENRY: You think I pushed Cal Howard off of a ladder? BRENNAN: Or out of an airplane. HENRY: Look, you can have all my data, my projections, everything. Colonel Howard goes on the next shuttle mission to repair the Lansing telescope, I'm in every medical journal in the country. BRENNAN: That mission's a month away. Would his body have been ready? HENRY: At the rate Cal was healing, I believe so. BRENNAN: Did anyone at the agency know about this? HENRY: We were going to petition them officially next month. You may not like me, but I was his savior and he was mine. I didn't k*ll Colonel Howard. ACT FOUR (Open: Jeffersonian Medico-Legal-Lab - Brennan and Booth walk through the lab.) BRENNAN: Somebody's lying to us, right? BOOTH: Yeah. Maybe everybody. BRENNAN: Well, this is your strength. Reading people's minds, telling when they're lying. BOOTH: My strength? Wait a second. The trouble is...no, no, you haven't given me anything that I can spring on the suspect to see how he reacts. BRENNAN: Like what? BOOTH: Like a m*rder w*apon. Or whether the poor bastard was d*ad before he h*t the ground. BRENNAN: Zack and Angela say he was. BOOTH: Okay, well, that's something. d*ad how? BRENNAN: Best guess right now, a broadsword. BOOTH: Broadsword? Like King Arthur? BRENNAN: Yes. BOOTH: Broadsword? You know what, Bones? I like the whole alien thing much better. Broadsword? Where do you people come with this stuff? (Cut to: Another examination room at the Medico-Legal-Lab - The bones are laid out, Zack, Booth and Brennan stand around the table.) ZACK: I didn't say an actual broadsword. I said like a broadsword. It was the closest analog I could access. BRENNAN: No traces from the w*apon left on the bone? ZACK: Traces are left when the w*apon cuts deeply into the bone. Whatever this was wasn't very sharp. Left nothing behind. BOOTH: How about shape? ANGELA: (o.s.) The pattern is consistent with sharp force trauma from a curved blade approximately sixty-five millimeters thick. (Angela enters, seen first as a silhouette in the doorway, then steps into the room fully dressed up in a red dress and heels.) Angela: (cont'd) And if I am late for dinner, I will find whatever it is and I will h*t you with it. BOOTH: Wow. You...you look incredible. BRENNAN: You really do. BOOTH: You know else I can tell just by looking at you? You smell great. ZACK: You cannot see smell. The victim was struck four times. BRENNAN: A glancing blow to the head, right humerus, thoracic and left femur. ANGELA: We couldn't figure out in what order. It's almost as though it was simultaneous. ZACK: The blow to the head is what k*lled him. BOOTH: Come on. Four hits simultaneously with a broadsword? Was he att*cked by the Knights of the Round Table? BRENNAN: Sixty-five millimeters is too thick for a sword. Did you estimate a velocity? ZACK: The blade was moving at a velocity of approximately a hundred and sixteen meters per second. BOOTH: What's that in American? BRENNAN: About two hundred and sixty miles per hour. BOOTH: All right, I'm no expert in broadswords, but I do know-- BRENNAN: I know what happened! How fast does a propeller turn? ZACK: At full speed, the tips approach the speed of sound. ANGELA: But Howard exits the plane in flight. The propeller is ahead of him and pulling away. How could he come into contact with it? ZACK: There are pusher propellers. BRENNAN: It didn't happen in the air. BOOTH: He was pushed into a propeller? He would've turned into steak tartar. ANGELA: Scratch one item off the menu tonight. BRENNAN: Not if the plane was idling. Propeller speeds would decrease to a thousand or so R.P.M.'s. BOOTH: Let's go. BRENNAN: Where? BOOTH: To look for a dented propeller. Come on. ANGELA: Which you do not need me for. (Cut to: The airplane hanger. Again, Booth and Brennan watch as a team of FBI agents search the hangar.) BRENNAN: Hey. You're right. Here they come. (Nina, Colonel Bob Reid and Commander James Adams enter.) NINA: I hope you have another warrant. (Booth pulls out the warrant.) BOOTH: This is for the, uh, the hangar, but not the individual planes. BOB: Then why are your people looking at propellers? BOOTH: Because the warrant includes anything that is in plain sight. BRENNAN: "Plane" sight. Get it. It's a pun. BOOTH: Yeah. This is not the only hangar we'll be checking out. JAMES: What plane are you looking for specifically? BOOTH: We'll know it when we see it. BRENNAN: We believe that Colonel Howard was struck by a propeller. We're looking for blood stains using alternate light sources. NINA: You think Cal walked into a propeller? BOB: No way he makes a bonehead move like that. BRENNAN: We surmise he was pushed. NINA: But why? BOOTH: Here he was. This great guy, but he was a liability to one of you. NINA: One of us? BOOTH: Somebody wanted him d*ad. BOB: That's ridiculous. BRENNAN: If it turned out that Cal was able to reverse his bone loss would you put him on the next shuttle? BOOTH: You know, the one to repair the Lansing telescope again. NINA: Colonel Adams is slated for that mission. BOOTH: Colonel Reid? BOB: Well, Cal would be my first choice, yes. All due respect, James, but why send the student when the teacher can go? JAMES: I take no offense. Cal was the best. FBI TECH: Agent Booth. Dr. Brennan. (They walk over to her and another forensic tech.) FBI TECH: (cont'd) Blood. A lot of it. FBI TECH #2: It was washed down this train here. FBI TECH: High-pressure hose. BOOTH: Can you tell which plane's propellor may have done this? FBI TECH #2: Not within the parameters of the current warrant. Some of these planes have covers on the propellors, so we can't see if they're damaged. BOB: That is your plane, isn't it, James? (They all turn to a plane near the drain with a cover on the propellors.) BOOTH: Take it off. BOB: Take off the cover, James. JAMES: I respectfully decline. NINA: It's not his plane. It's the agency's. (Nina walks over and pulls the cover off. The propellor is damaged.) BOB: A propellor like that wouldn't get you very far. BOOTH: Certainly not over the water. (Booth handcuffs James.) BRENNAN: Which is why you had to dump Cal's body short of the ocean. (Booth begins to lead James out of the hangar.) BRENNAN: (cont'd) Booth! Booth! It doesn't make sense. The whole thing would take at least two people. Putting the body in the plane, cleaning up the blood, shoving the body out of the plane. BOOTH: (to James) Who are you protecting? (Cut to: Booth walking up to a house. Then Brennan and James watching from inside the back seat of a car. Back to Booth. Booth knocks. Jean Marie answers the door.) BOOTH: Mrs. Howard? Is Colleen here? (Booth walks into the house.) (Cut to: Brennan and James in the car. ) JAMES: Colleen came to see me off. Saw me talking to Cal. He was telling me that he was going to be okay in time for the mission. He was sharing good news, but it wasn't good. Not to me. (Cut to: Booth walking towards Colleen who is sitting with her back to him in the living room. Colleen turns to see Booth then stands.) JAMES (v.o.): She slapped him. That's all. Because she loves me. She knew what it meant to me not to go up. Cal took a step back. Just one. (Cut to: Brennan and James in the car.) JAMES: He fell back into the propellor. BRENNAN: Why didn't you just say it was an accident? JAMES: I don't know. We panicked. I mean, would they believe us? Would they understand? BRENNAN: Would you ever get into space? (Cut to: Booth leading Colleen through the house as Jean Marie watches in shock.) JAMES (v.o.): It happened because my friend shared good news with me and because my wife loves me. (Cut to: Brennan and James in the car.) JAMES: I'm a blessed man. (He turns to look as Booth brings Colleen out of the house. Brennan gets out of the car and watches Booth hand Colleen off the police. Colleen sees James in the back seat of the car and her face falls. James begins to cry. Colleen is handcuffed and placed in the back seat of a police car.) (Cut to: Les Deux Copains - Angela and Hodgins are seated at a table.) HODGINS: How--how are you feeling? ANGELA: What do you mean? HODGINS: It's a good meal. Nice bottle of wine. You feeling loving? ANGELA: You didn't need to do all of this to get me in a loving mood. HODGINS: I don't mean in that way. I am madly in love with you, Angela. And you--you are the most amazing woman that I have ever met. My life is so much better since we-- ANGELA: Oh my god. HODGINS: What? ANGELA: Are you breaking up with me? HODGINS: Why would I get you all dressed up for dinner just to break up? ANGELA: I don't know. Because you're...I'm not thinking straight. Go ahead. HODGINS: You know, I had this all laid out in my mind. ANGELA: Mm-hmm. HODGINS: You are an upsetting woman. ANGELA: I'm sorry. Please. Go ahead. (Hodgins pulls out a ring box and slides across the table to Angela.) HODGINS: I believe that if two people care enough for each other the rest of the world disappears to them. I feel that when I'm with you. (Angela opens the box to reveal a beautiful diamond ring.) HODGINS: (cont'd) I'm prepared to put you ahead of me for the rest of my life. Angela Montenegro, will you marry me? (Angela leans forward and kisses him.) ANGELA: Dear man. Good heart. No. HODGINS: Why? I didn't do it right again. But...how...Oh, you're not gonna tell me. ANGELA: I don't know, Hodgins. If I knew, I would tell you. But when you ask me, I have to have this...this feeling. It has to be...I'll know it when it happens, and I hope you won't stop trying. HODGINS: I don't know if I should laugh, cry, or punch out the sommelier. ANGELA: I'm sorry. I hope that you choose laugh. HODGINS: I don't understand. ANGELA: I don't either. Look, let's just finish the dessert and go back to your place and make love, and maybe it'll come to me. HODGINS: While we make love? ANGELA: I said maybe. HODGINS: But...you love me? ANGELA: More than you know. (Cut to: Jeffersonian Medico-Legal-Lab - Brennan's office. Brennan is at her desk as Booth walks in.) BOOTH: Did you eat yet? BRENNAN: I said I'd wait. How did you know that James would tell me? BOOTH: Oh, man loves his wife. He may not be strong, but he has a conscience. BRENNAN: See, I can't tell that stuff. BOOTH: And I can't tell the difference between coral and bone, so I guess we make a great pair. Hey, speaking of marriage, Hodgins is gonna propose to Angela tonight. (They walk out of Brennan's office.) BRENNAN: Huh. BOOTH: What? BRENNAN: I guess right now it looks to me like marriage is having someone who will slap your enemies and then toss their d*ad bodies out of airplanes. BOOTH: Try not mention that to Angela. (They walk out of the lab as the scene fades out.) END

{"type": "series", "show": "Bones", "episode": "02x19 - Spaceman in a Crater"}

foreverdreaming

"The Glowing Bones in the Old Stone House" Episode 2 x 20 Written By: Stephen Nathan Directed by: Caleb Deschanel Transcribed by: ziggystarduzt Disclaimer: The characters, plot lines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER EXT. WASHINGTON DC - WOODED AREA - DAY [Helicopters fly overhead; camera pans down to a large group of varied law, military, and medical officers milling around and doing their jobs.] [DR. TEMPERANCE BRENNAN and SPECIAL AGENT SEELEY BOOTH have just arrived at the scene. As they walk, they are briefed by MAJOR.] BRENNAN: So no one touched the body. MAJOR: Hell no. But we're gonna need an ID ASAP. We could be dealing with a group that's acquired nuclear material. BOOTH: It's actually glowing? MAJOR: Oh, yes. BRENNAN: I'll need a video link with my lab. [A HOMELAND SECURITY AGENT approaches from behind. He is speaking on a cell phone, as he approaches he lowers it and addresses Major] HOMELAND SECURITY AGENT: Excuse me, Major? The reactor at Kensington is secure. All transports carrying radioactive material have been halted. MAJOR: Dr. Brennan's gonna need a... video link up to the Jeffersonian. HOMELAND SECURITY AGENT: As soon as possible. The rain's really slowed things up. [Homeland Security Agent raises his cell phone again, turns around, and returns up the path.] BOOTH: (To retreating Homeland Security Agent) Okay, thanks! (To Brennan and Major) See, uh, bodies, they don't usually glow. MAJOR: Yeah well, that's why we're taking all these precautions. [They arrive at the back of a van, in which there are radiation suits. Major pulls a pill bottle from his pocket and hands it to Brennan] MAJOR: (CONT'D) Alright, this is Potassium Iodide (He gestures to the radiation suits), these are your suits. [Major grabs a kit from the back of the van and leaves] BOOTH: Pills? [Brennan hands Booth some pills from the bottle] BRENNAN: Yeah. It helps the... [Brennan swallows some pills, as does Booth] BRENNAN: (CONT'D) ... thyroid block the absorption of radiation. [Booth and Brennan take the radiation suits from the back of the van and begin to put them on.] BRENNAN: (CONT'D) You know, Angela turned down Hodgins again. BOOTH: What? BRENNAN: Hodgins proposed. Angela turned him down. BOOTH: You really wanna talk about that now. BRENNAN: Why not? There's been no confirmation of danger yet. BOOTH: It's just, you know, weird, you know, talking about uh, marriage when we're, you know, trying to avoid radiation poisoning. BRENNAN: No, what's weird is Angela thinking about marriage at all. CUT TO: EXT. WASHINGTON DC - OLD STONE HOUSE IN WOODED AREA - DAY [Brennan and Booth, now fully dressed in their radiation suits and rejoined by Major (also in a radiation suit) approach the Stone House.] BOOTH: People fall in love and they get married. That's what people do. BRENNAN: I thought you didn't want to talk about it. BOOTH: Look, I'm just saying! You know, you believe in love, don't you? BRENNAN: I believe that dopamine and norepinephrine simulate euphoria because of certain biological triggers like scent, symmetrical features... BOOTH: Symmetrical features. BRENNAN: Yes, it's an indication of a good breeder. You appear to be a very good breeder. MAJOR: (laughing) How long have you two been going out? BRENNAN: What? BRENNAN and BOOTH (in UNISON) We're... [Brennan and Booth accidentally knock the helmets of their radiation suits together, pause, and glare at each other] BRENNAN and BOOTH (in UNISON, CONT'D) We're partners. BRENNAN: That's it. MAJOR: Huh. Me and my partner talk baseball. [Major and Brennan lower their radiation suit helmets and enter the stone house.] BOOTH: (Calling after Brennan) You might not want to admit it, Bones, but there are some things like love that just can't be measured in your lab. [Booth lowers his radiation suit helmet and follows Major and Brennan into the house. It is dark inside; the three shine their flashlights about. Major's radiation monitor emits strange noises.] BOOTH: (CONT'D) Oh! What's that mean? MAJOR: Three hundred millirams. Oh, that's perfectly normal. We get a reading of three thousand or more, then we worry. It could be a w*apon. BOOTH: Nuclear? BRENNAN: The suits would be useless against that. BOOTH: Oh. Great. Thanks. MAJOR: (Gesturing) Body's in there. [Brennan walks towards the body as another HOMELAND SECURITY AGENT agent enters the house. We see the body is a brightly glowing skeleton. Insects swarm about the skeleton, and rats scatter as Brennan and Booth approach] MAJOR: (Looking at radiation monitor) Anybody getting an increase? HOMELAND SECURITY AGENT: All clear! Doesn't make sense. [Brennan kneels down beside the skeleton] BRENNAN: Female... Mid-twenties, early thirties. Caucasian. BOOTH: Looks like she's been there awhile. BRENNAN: No, probably not that long. Rats and weasels work pretty quickly. [Major removes his radiation suit helmet and steps up to Brennan and Booth] MAJOR: There's no radiation in here. BOOTH: Then why the hell's it glowing? MAJOR: I don't know. But it's your problem now. All right guys, we're outta here. [Exit Major] BRENNAN: Multiple s*ab wounds... BOOTH: Why? Is she glowing? BRENNAN: ...I have no idea...No idea at all. CREDITS ACT I INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY [Brennan, DR. JACK HODGINS, and DR. ZACK ADDY are examining the skeleton] BRENNAN: The nicks on the ribs and haemorrhaging in the adjacent intercostal muscles are consistent with s*ab. Repeated s*ab. Someone was angry. ZACK: Incise cuts on the left radius and ulna are congruent with defensive injuries. BRENNAN: Still no answer for the luminescent bones? HODGINS: It's not like we get a human light bulb in here every day. (Looking at computer) I've got mature first-instar Phaenicia Sericata about to molt. Indicates she's been d*ad approximately fourty eight hours. I gotta take more scrapings from the bones to analyse for luminescence. BRENNAN: (Indicating skull) You can scrape this area. [BOOTH enters and steps up onto the examination platform.] BOOTH: (clears throat) Okay, squint squad, why does she look like a glowstick? HODGINS: Why does everyone think my job is so easy? [DR. CAMILLE SAROYAN enters] CAM: Wow, you weren't kidding. If we twirl her around, we can pretend we're at a rave. What's the good word, Hodgins? HODGINS: Hey, I am not a party trick! CAM: Are you okay? ZACK: The bones probably remind him of Waitomo Cave. HODGINS: Not. True. BRENNAN: I've been there! In New Zealand. It's filled with tiny glowing worms, and in the darkness it looks like thousands of stars. Very romantic. ZACK: Yes, that's where he was going to take Angela for their honeymoon. If she'd said yes. Which she didn't. HODGINS: Okay, look, people, Angela and I are cool. Okay? But she's... complicated. I will figure her out though. Just like these electric bones. Let's just go back to work. Okay? CAM: All right. BOOTH: Okay... CAM: (referring to the skeleton) Nice bracelet. Do you need the left hand? BRENNAN: No. Too fleshy and, no s*ab wounds. CAM: Just how I like 'em. CUT TO: INT. MEDICO-LEGAL LAB - AUTOPSY ROOM - DAY [Cam has taken the skeleton's hand and is severing one of the fingers. Enter Booth.] BOOTH: Oh, God, what are you doing? Plugging a dike or something? CAM: The left hand was lodged under the body. A lack of exposure preserved some of the dermis. We might be able to get a print. [Cam places the severed finger in a petrie dish] BOOTH: From that. It's all...shrivelled. CAM: Can you pour fabric softener? BOOTH: Yeah. Sure. My mom used to use this stuff. I didn't know it was so, uh, scientific. [Booth begins to pour fabric softener into a jar] BOOTH: (CONT'D) Say when. CAM: That's good. Do you think Hodgins is okay? BOOTH: No, not at all. CAM: Well, they seem to be jumping each other like rabbits. BOOTH: Well, he wants more. CAM: How sweet. [Cam drops the severed finger into the fabric softener] BOOTH: Oh, you think all a man wants is sex? CAM: No, of course not. Beer too. Chips...salsa... BOOTH: Aw, come on, Cam. I mean, when we were together, you didn't think that we could, you know... CAM: Get married? No. BOOTH: Nah. Nah, me neither. I mean, but wasn't there a moment, just a moment where you felt... [Booth notices Cam removing the finger from the fabric softener] BOOTH: Woah! Look at that! It's a finger again! Huh! [Cam beings drying the finger off] CAM: You want to know what I felt, Seeley? I felt... satisfied. Very satisfied. And grateful that I had my own place, my own single life... and you were too. BOOTH: Why are we even talking about this? [Cam exhales and walks over to a fingerprint analysis computer] CAM: Check this out. [Cam scans the finger, a fingerprint loads on the computer screen.] BOOTH: Whoooa. CAM: One perfect fingerprint. BOOTH: Unbelievable. All from fabric softener. CAM: Rehydrates d*ad tissue, and fights static cling. BOOTH: (Examining fabric softener bottle) Eh. Geez. Puffy soft, huh? Twenty-one loads. Look at that. CUT TO: INT: MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY [Booth and Brennan are watching as ANGELA MONTENEGRO finds a match for the skeleton's fingerprint.] ANGELA: Okay. Carly Victor, twenty-nine. Carly Victor?! BOOTH: Do you know her? ANGELA: Yeah, she's that celebrity chef. BRENNAN: Carly's Table over on Calvert. Chef would explain the cuts to her left hand, and the burns. ANGELA: All right, this is her MySpace page. BOOTH: Wait a second, is that the place with the famous mac and cheese? ANGELA: Yeah. It's like, impossible to get into. BOOTH: Totally impossible. ANGELA: You too? BOOTH: Well, mac and cheese- that's God's best handiwork. BRENNAN: She puts leeks in it, and- and little bits of pancetta. It was delicious. BOOTH: How'd you get in? BRENNAN: I'm a best-selling author, Booth. I get in anywhere. I took Sully. BOOTH: ...Did he have... BRENNAN: He said it was the best he ever ate. Why are all those pictures on her page? (Brennan points to the MySpace page on the computer) ANGELA: It's friends, different communities she's joined...blogs, her husband, cooking videos... BOOTH: Lot of knives in the kitchen, easy grab for one of these uh, friends to s*ab her, why don't you check the pages and see if anyone had a problem with her. BRENNAN: I can't imagine anyone wanting to k*ll Carly. (From Angela's confused look) She came out to see if we were enjoying our meal. We talked for a while. I was... supposed to go back and see her next week. ANGELA: Are you okay, honey? BRENNAN: Yeah. I'm just used to victims being strangers... We should tell her husband, Booth. BOOTH: Sure. CUT TO: INT. CARLY'S TABLE - DAY [Booth and Brennan enter a very busy, very trendy restaurant. They come to the front podium, where a HOSTESS is seating patrons.] HOSTESS: Welcome to Carly's Table. Do you have a reservation? BOOTH: Yeah, like that's possible. HOSTESS: Oh, Dr. Brennan! I'm sorry, I didn't see you there. [The hostess begins leading Booth and Brennan into the crowded seating area] HOSTESS: (CONT'D) We're very crowded tonight, so you might have to wait a few minutes. BOOTH: (To Brennan) You can walk in here without a reservation? BRENNAN: We need to talk to Dan. BOOTH: Carly's husband. HOSTESS: Oh, just a moment [Exit hostess] BRENNAN: She knows he's Carly's husband. [A waitress walks by carrying a plate of macaroni and cheese] BOOTH: Bones, Bones, Bones! Mac and cheese! Mac and cheese! [Booth grabs some of the macaroni and cheese from the plate the waitress is carrying, and eats it] BRENNAN: Booth! [Brennan smacks Booth's hands] BOOTH: (Licking his fingers) Wow. That's amazing. [Behind Booth and Brennan, a CUSTOMER praises the food to DAN, Carly's husband. CUSTOMER: Dan, the truffles were awesome. We'd love to tell Carly! DAN: Uh, she's a little slammed right now, but I'll be sure to pass on the compliments, alright? Alright, take care! [Dan walks over to Booth and Brennan] BOOTH: So. Carly's in the kitchen? DAN: Yeah, she's back there 24/7, you have to drag her out... Dr. Brennan, right? BRENNAN: Yes. This is my partner, Special Agent Seeley Booth. DAN: Hi. BRENNAN: We know she's not back there, Dan. CUT TO: INT. CARLY'S TABLE - DAY [Dan has evidently been told of his wife's death. He is crying and visibly upset.] DAN: I just can't imagine that she's... she's gone. BRENNAN: I'm so sorry, Dan. BOOTH: When was the last time you saw her? DAN: Friday night. A lot of the restaurants around here have been getting robbed, so Carly didn't want to leave the cash here. She and Abby took the cash and drove it to the ATM. BOOTH: Who's Abby? DAN: Abby Singer. She and her boyfriend Ben are our business partners. Well, they're our friends first. Abby organises Carly's endorsements. I... I mean it's... it's not Abby as well, is it? BOOTH: No, we... we only... we only found Carly. Has Ben heard from Abby? DAN: Ben's uh... he's in the guard, and um, he's been gone for the weekend. He should be back in a couple hours. BOOTH: Help me understand something here, Dan. Your wife disappears and you don't report her missing? DAN: She would take these spur-of-the-moment trips to Atlantic City with Abby to kind of blow off steam. BOOTH: She wouldn't tell you first? DAN: No, she wouldn't tell me 'cause she didn't want me to say no. BOOTH: Listen, what- what kind of car did they leave in? DAN: She um, she had an old Volvo. [Dan pulls a photograph of himself, Carly, Ben, and Abby with the Volvo from his wallet and hands it to Booth] DAN: (CONT'D) The picture was taken just before we opened. BOOTH: I'll get a search team on it. CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY [Angela is examining Carly's MySpace page on her computer, when Hodgins walks in] HODGINS: You find anything? ANGELA: Yeah. Jealous chefs, vicious critics, fans that were a little too in love with her... fame is creepy. HODGINS: They say chefs are the new rock stars. ANGELA: Huh. They do deal with knives and f*re and food. It's pretty sexy. HODGINS: (Flirtatiously) Yeah? ANGELA: Mmhmm. HODGINS: Well then tonight? I'll take a Kn*fe and f*re... and make you an orgasmic grilled cheese sandwich. ANGELA: Oh, suddenly I am starving... [Angela and Hodgins begin kissing. Enter Cam] CAM: Oh good Lord, you have to stop mounting each other in the office. Doesn't marriage destroy sex? Please Angela, say yes. ANGELA: We were working. CAM: You were working it. A little professionalism would be nice, people. [Cam holds up a small bottle] CAM: (CONT'D) I found some organic material in a cut on her left hand. Need to know what it is. [Hodgins takes the bottle] HODGINS: I'm on it. [Hodgins begins to leave] CAM: (To Angela) And you? Anything? ANGELA: Yeah, I found out how to make braised beef, I found out that Carly loved sushi, I found out that... [Hodgins, hearing this, stops walking away and returns to Angela and Cam] HODGINS: Oh my God, sushi, yes! That is it. You are brilliant! [Hodgins kisses Angela] HODGINS: (CONT'D) You're my muse. Check out all the sushi restaurants on her site. [Hodgins turns and leaves. Cam and Angela, confused, shrug at each other.] CAM: At least he didn't jump you. ANGELA: True. CUT TO: INT. FBI BUILDING - BOOTH'S OFFICE - DAY [Booth and Brennan are interviewing BEN MICHAELSON] BOOTH: So you were with the reserves all weekend? BEN: Yeah, Fort Eustis, survival training. You're sure Carly was m*rder? BRENNAN: Yes. BEN: I mean, isn't there anything I could be doing? Helping you look for Abby? I mean, I can't just sit here. BOOTH: We're doing everything we can to find her. BEN: And you're looking for whoever's been robbing the other restaurants? BOOTH: Mmhmm, we just don't have a description yet, that's all. BEN: Why didn't Dan report them missing? BRENNAN: He said that they would take off sometimes, go to Atlantic City. BEN: Yeah, but still. The restaurant was booming. I mean, he should've known that she wouldn't just leave. BOOTH: Listen, do you, uh... you and Dan, you havin' problems? BEN: What? No. No, he just doesn't think sometimes. I mean, we're not in school anymore. I just would've done something. That's all. Look... Here's Abby's picture. If you need it. [Ben pulls a photograph of Abby from his wallet and hands it to Booth] BEN: (CONT'D) Just find Abby. Please. CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY [Hodgins is examining bacteria on a computer screen, and is showing it to Cam, Zack, and Angela.] HODGINS: The sushi got me thinking. P. phosphoreum: a bacteria that grows in seafood. ZACK: A luminescent bacteria? HODGINS: Exactly. Vibrio bacteria. Which, when catalysed by luciferase, causes the bones to glow. So if the Kn*fe that was used to s*ab Carly contained P. phosphoreum, it would've entered her bloodstream. CAM: (Understanding) And it would be left on the bones as the tissue decomposed and was stripped by the rats. Seafood. ANGELA: So that narrows it down. To...every restaurant in the area. HODGINS: No, the tissue Cam found? It's "uni" - sea urchin. A specialty in one of Carly's favourite sushi restaurants. CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY [Angela has Carly's MySpace page on her computer. Cam, Booth, Hodgins, and Brennan are gathered, listening to Angela's findings.] ANGELA: Carly's blog mentions an old friend... who's the chef at a sushi restaurant. HODGINS: "Sushiguy23." How imaginative. BOOTH: "Executive chef at Sushi b*at Restaurant." ANGELA: And when we link to his page... [Angela pulls up a picture of 'sushiguy23' and Carly making sushi together] BRENNAN: That's Carly! CAM: With sushiguy... ANGELA: Yeah. And his Kn*fe. END ACT I ACT II INT. SUSHI b*at RESTAURANT - DAY [A line of sushi chefs, among them ERNIE SUMMERS- aka Sushiguy23- are all preparing sushi, and placing it on a bar. As Brennan and Booth enter, they all look up and greet them in Japanese, in unison.] BRENNAN: Can you believe this place? BOOTH: Yeah, fresh toro today. BRENNAN: They've cherry-picked the most marketable elements of a very complex and vibrant culture and then repackaged them to turn a profit. It's awful. BOOTH: Yeah, well, so is m*rder, okay? So just stay focused. [Booth walks up to the bar and shows Ernie his badge. Ernie looks up, but continues preparing sushi.] BOOTH: (CONT'D) Hey Ernie, have a minute? ERNIE: I guess... can I get you anything? BRENNAN: No, we're just here to ask... BOOTH: (Cutting Brennan off) Well, sure. I mean, if you have some of that, uh, fresh toro left, that would be great. (From Brennan's horrified look) What? Might as well eat lunch while we're here. BRENNAN: You and Carly Victor were high school sweethearts, right? ERNIE: Why, what's goin' on? [Ernie places a plate of toro in front of Booth, who commences to eat.] BOOTH: Uh, when was the last time you saw her? ERNIE: Uh, Thursday of last week. What, somethin' happen to her? BRENNAN: Do you serve sea urchin? ERNIE: Uni, yeah, it's one of my specialties. You want some? BRENNAN: No. BOOTH: (At the same time as Brennan) Sure. ERNIE: Is this about Dan? Did Dan find out she was with me? BOOTH: Why? What's goin' on between you and Carly? ERNIE: Nothin'. We reconnected on MySpace. She wanted to learn about Japanese cuisine, so I was teaching her how to make sushi. BOOTH: Secretly? Why, because Dan hated Japanese food? ERNIE: Because he's so jealous. Everybody loved Carly. It drove him crazy. Carly even left him once. [Ernie places a plate of uni in front of Booth] BOOTH: Why'd she go back? (referring to the uni) Delicious. ERNIE: Thank you... What's goin' on? Is Carly okay? BOOTH: Carly's d*ad. ERNIE: Dan? That son of a bitch. BRENNAN: We don't know who it was. But she was s*ab, Ernie, and we found bacteria associated with sea urchin in her system. It can only enter the body through the bloodstream. ERNIE: What, you think I k*lled her? Why would I k*ll Carly? BRENNAN: Well, that's more his area (nods to Booth) BOOTH: You love her, she says that she'll leave Dan, she doesn't, you get mad. She's got the fishy virus, you got all those fishy knives... ERNIE: Wait, wait, wait, last time Carly was here, she cut herself. And I wanted her to get stitches, but she wouldn't. BRENNAN: I'd like to borrow your knives, Ernie, and compare them to the injuries we found on Carly. ERNIE: You know, a lot of people have knives like mine. BOOTH: Are you saying no? Because that really wouldn't look too good. Can I get a spicy tuna roll? CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY [The skeleton is laid out on a table with several computer screens around. Angela is explaining her findings to Brennan and Zack, using a computer as illustration.] ANGELA: I fed the measurements of the knives into the computer. Angles of the blades, thickness... and compared it to the injuries we found on the bones. BRENNAN: None of them match the damage evident on the cortical surface of the ribs, or the defensive wounds. ANGELA: No. But, we do have one match. This Kn*fe [Angela points to one of several knifes laid out beside the skeleton, which Zack then picks up.] ANGELA: (CONT'D) And the cut on her left hand. BRENNAN: The Kn*fe they use when preparing the uni. That must be how it entered her bloodstream. ZACK: Sushiguy23 was telling the truth. ANGELA: So he's not the m*rder. We can still eat at the restaurant. (From Brennan's irritated look) What? Booth said the toro was fantastic. CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY [Angela and Brennan, having left the examination table, are now walking towards Brennan's office. As they walk, Brennan is removing her lab coat.] BRENNAN: Are you still torturing Hodgins? ANGELA: He loves it. BRENNAN: Just tell him no. Put him out of his misery. ANGELA: What if I want to say yes? BRENNAN: You get married? ANGELA: Sometimes your brain just shuts off, because you're... in love. BRENNAN: One can't logically base a decision on momentary happiness. [Brennan and Angela enter Brennan's office, where Brennan hangs her lab coat on a coat stand.] ANGELA: Haven't you ever just looked at a guy and said, "Screw it"? ...Well, maybe not the best choice of words, okay, but... Like, when you were with Sully. Don't you regret letting him go? BRENNAN: I made a decision. Regrets serve no real purpose. If you want to be impulsive, why don't you just say yes? ANGELA: Because I've also got you in my head, telling me that marriage will hobble my personal and legal freedoms. [Brennan's cell phone rings] ANGELA: (CONT'D) You're a very difficult best friend to have. [Brennan answers her phone.] BRENNAN: (Into phone) Brennan? (Brennan pauses to listen) I'll grab my things. [Brennan closes her cell phone and moves back to her coat stand to grab her jacket.] BRENNAN: (CONT'D) Ernie's story checked out. Carly took out a restraining order on Dan, and Dan took out a two-million-dollar life insurance policy on her. See? Marriage! It... ANGELA: (Cutting Brennan off) Oh, just go. BRENNAN: I'm going. [Brennan leaves.] CUT TO: INT. CARLY'S TABLE - KITCHEN - DAY [Booth and Brennan are interviewing Ben and Dan, who is looking over financial papers] BOOTH: You guys had to shut down, huh? DAN: Yeah, Carly's without Carly doesn't make much sense. BOOTH: Yeah, that's gotta be rough. I mean, you know, absorbing that kind of h*t financially. BEN: Look, man, his wife was m*rder, and my girlfriend's missing. Money is the last thing on our minds. BOOTH: Yeah. Right, right, yeah. I understand. It's just, I mean, here you guys are just, you know, pouring over the books. DAN: Most of our staff live paycheque to paycheque, you know? We have to pay them. [Brennan indicates a rack of knives on the wall; one is missing] BRENNAN: Where's the other Kn*fe? DAN: I don't know. It's been missing for years. Carly actually got it as a gift from the first chef that she worked for. BOOTH: Or maybe it's just been missing since you found out about, uh, Carly and Ernie Summers. BEN: Ernie Summers? The sushi guy? BRENNAN: I'd like to take this set of knives. BEN: Sure. DAN: No. BEN: Hey, relax, man, just let them take the knives. DAN: (Talking overtop of Ben) These bastards cannot come in here and start accusing me. BOOTH: Alright, Carly was meeting up with Ernie secretly. You assumed the worst... DAN: It's not true. BOOTH: ...Confronted her. One thing led to another... BEN: Carly was involved with him? BOOTH: ...Maybe Abby heard you fighting and she tried to get in the middle of... [Dan runs at Booth] DAN: You son of a bitch! [Booth grabs Dan and slams him forward onto the table, then holds Dan there with one hand held behind his back] BOOTH: She got caught up in the middle... DAN: (Struggling) Get off of me! BRENNAN: You know, you know I'd back down if I were you, he sh*t a clown once! BOOTH: You're good? DAN: Yes, I'm good. [Booth lets Dan up] BOOTH: We know about the restraining order and your drinking. BEN: What'd you do, Dan? DAN: Nothing, okay? We had some problems. I went into rehab. BEN: You were drinking last week, Dan, before I left! DAN: A couple glasses of wine, okay? The stress of everything... BRENNAN: Carly? DAN: Yes, and Carly. BOOTH: Why didn't you tell us about that insurance policy? DAN: That was Ben's idea. BEN: This restaurant would be worth nothing without Carly. We have investors, we had to protect them. BOOTH: But if you had a problem with Carly, I mean. You wouldn't need the restaurant. You'd still get your payday. BEN: Take the knives. Take anything you want. DAN: You son of a bitch. You think that I... BEN: (Cutting Dan off) Where's Abby? DAN: For God's sakes, you people crazy? [Booth's cell phone rings, he answers it] BOOTH: : (Into cell phone) Booth. DAN: : I loved Abby. I love Carly. It was... BOOTH: : (Into phone) Thanks. [Booth hangs up his phone] BOOTH: : (CONT'D) Helicopter spotted Abby's car. CUT TO: EXT. WASHINGTON DC - WOODED AREA - NIGHT [Booth, Brennan, and Ben get out of Booth's SUV and run towards where Abby's Volvo is being towed out of some bushes. There is a flurry of police activity around the scene.] BOOTH: (To Brennan) Tell him to stay back. BRENNAN: (To Ben) You should wait here until we can determine if she's in the car and... If she's alive. [Brennan gets Ben to stay back. Booth runs towards RESCUE TEAM MEMBER #1] BOOTH: You find her? RESCUE TEAM MEMBER #1 No one's in the vehicle, Sir. BOOTH: How about the trunk? RESCUE TEAM MEMBER #1 I haven't checked yet. BOOTH: Get me a crowbar. [Rescue Team Member #1 grabs a crowbar for Booth. Brennan comes running towards them.] BOOTH: Come on! [The Rescue Team Member hands Booth the crowbar, he proceeds to pop the car trunk open. Inside is ABBY SINGER, curled up and unconscious. Brennan checks her pulse.] BRENNAN: She's alive. Get an air evac here right away! [Another RESCUE TEAM MEMBER #2 calls back to her] RESCUE TEAM MEMBER #2 I'll call it in! [Ben approaches the car and leans down to speak to Abby.] BEN: Hang on, baby, please. You're gonna be alright. END ACT II ACT III INT. FBI BUILDING - CAR INVESTIGATION GARAGE - DAY [Hodgins walks into a large tent where FBI agents are swarming Abby's Volvo for evidence. Cam is already there, also looking over the car.] HODGINS: I don't understand. Why wasn't Abby k*lled too? CAM: Funny, but I haven't found a written confession yet. HODGINS: Yeah, but she's a witness. [Cam leans down to investigate the passenger's side of the car with a small flashlight. Hodgins investigates the driver's side.] CAM: Blood traces on the dashboard where the vinyl split. Lots of blood on the seat, floor mats... Looks like Carly was definitely k*lled inside the car. HODGINS: Maybe whoever did this saw what he'd done and lost the stomach for it when it came to Abby. [Cam moves around to the rear passenger's side.] CAM: Hello, possible semen and vaginal contributions. HODGINS: Because this wasn't nasty enough. [Cam cuts out the portion of the rear passenger's seat with the seminal and vaginal stains. Hodgins goes around to the back of the car and opens the trunk. Cam joins him.] CAM: Whew! Smells like a urinal. HODGINS: She was locked up for thirty-six hours. I tell you, all she was worried about was surviving. CAM: (Wincing) Sorry. I forgot you were buried... Look, if this is too difficult, Hodgins... HODGINS: (Cutting her off) If I can help lock up the bastard who did this... at least someone gets justice, right? [Hodgins lowers his microscope goggles and notices some particulates on the blanket inside the trunk.] HODGINS: (CONT'D) Woah, woah, woah, waaaait a minute... [Hodgins picks up a particle with his tweezers] CAM: What is it? HODGINS: Ahhh. Unidentified particulates. The two sweetest words that I know. CAM: I don't even wanna think about your pillow talk with Angela. CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY [Angela is showing her findings on the missing Kn*fe from Carly's wall rack to Brennan.] ANGELA: The missing Kn*fe from the set is an eight-inch hollow-edge utility Kn*fe. But sharp or dull, it couldn't have made those injuries you found. BRENNAN: So the edge was even sharper. ANGELA: Yeah. BRENNAN: How much can you magnify the cut to that rib? ANGELA: I can go about six hundred times before degrading the image. [Angela magnifies the cut] BRENNAN: Most blades are irregular and pitted, so they show on the bone... This is a Kn*fe without imperfections on its edge. ANGELA: Do you really think her husband k*lled her? I mean, it makes sense he would spare Abby... BRENNAN: I don't think I'm the person to ask about psychology of relationships. ANGELA: Mm. You know, when I said before that... you were the difficult friend inside my head... it's not necessarily a bad thing. BRENNAN: Yeah, I know that sharing a strong emotional attachment with another human being can be a good thing. But there seems to be a disconnect between my mind and... ANGELA: You know, I... I shouldn't have brought up Sully before. I'm sorry. BRENNAN: It's just... If a relationship seems more than casual, I feel that I need to posit the potential problems. Probabilities of success and failure, or... ANGELA: You get scared. BRENNAN: (Nodding) But I miss so much, don't I? ANGELA: I want to say no, but... yeah. You do. And so does whoever you're keeping yourself from. [Enter Zack] ZACK: I compared the hairline fracture on Carly's skull to the damaged dashboard. The fracture was the result of her head smashing into it. Haemorrhaging indicates it was antemortem. CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY [Hodgins is showing his findings on the particulates in the trunk to Booth] HODGINS: These white shards were found in the trunk and some were caught on her socks. FBI techs also found similar shards in the old house. I'm running a chemical analysis, but I'd say this is some kind of ceramic. BOOTH: What, like pottery? HODGINS: Actually, ceramics are used in everything from semiconductors to medical implants. This is a very hard ceramic. It's probably eight Mohs. BOOTH: Yeah? HODGINS: Yeah. BOOTH: What's that mean? HODGINS: That is was most likely used for industrial applications. Do..hmm. BOOTH: What? HODGINS: No, I'm not gonna ask you again. BOOTH: About the ceramic stuff? HODGINS: No. Angela. No more, I'm done. BOOTH: Oh. You're done with Angela? HODGINS: No. But...Hey, I fell in love with a free spirit, and if getting married makes her feel trapped or something, then I'm... I'm just gonna have to deal with it. BOOTH: Right, so you don't wanna get married anymore. HODGINS: Sure I do. BOOTH: You know what? This whole ceramics stuff was making more sense to me... [Booth begins to walk away] HODGINS: But Angela doesn't. And I don't want to drive her away like you did with Rebecca. [Booth turns back to Hodgins] BOOTH: Whoa, I did not drive Rebecca away. We both agreed that it wasn't right. HODGINS: After you asked and she said no. BOOTH: Well, when you say it like that it's... HODGINS: If it had been right, it wouldn't matter if you were married or not, would it? Because you'd have a life together. BOOTH: Great. Then why not get married? HODGINS: Because then we wouldn't be able to be together, see this is all coming so clear now! BOOTH: Not really. HODGINS: You put on that macho front, but inside you understand. BOOTH: I don't understand HODGINS That which the mind can't grasp... BOOTH: Alright, you know, I'm just trying to catch a m*rder, but you seem to have gone way past that. HODGINS: It means a lot, knowing that you get it, man. Most guys... not secure enough to admit that. BOOTH: Hmm. I have a headache. [Booth's cell phone rings. He answers it.] BOOTH: (Into cell phone) Booth... Yeah. I'm on my way. [Booth hangs up his cell phone and turns to Hodgins, who is walking towards him] BOOTH: (CONT'D) Abby just... [Hodgins throws his arms around Booth's neck in a bear hug.] BOOTH: (CONT'D) (Uncomfortable)...Woke up... I need you to figure out what that stuff is. Okay. Um. It's so much easier just to fight and sh**t g*n. [Booth pulls Hodgins off of him, then turns and calls to Brennan] BOOTH: (CONT'D) Bones, she's awake, we're goin'! [Booth leaves; a very happy-looking Hodgins turns back to his work.] CUT TO: INT. HOSPITAL - ABBY SINGER'S ROOM - DAY [Booth and Brennan are interviewing Abby, who is lying in a hospital bed, covered in bruises and cuts.] ABBY: Uh, we had a lot of cash. There had been robberies. Carly wanted to take the money to the ATM. Her and Dan fought about it, but Carly always did what she wanted. He ran outside yelling. I...I didn't want to get in the middle of it. You're- you're sure? She was s*ab? BRENNAN: Yes. BOOTH: What happened when you got in the car? ABBY: We didn't suspect anything. He must've been hiding in the backseat. BRENNAN: Did you get a look at him? ABBY: No. He was wearing a mask. I panicked, I uh... I tried to get out of the car. And, and he must've h*t me, uh... cause the next thing I remember... is waking up in the dark. And, uh, I... I thought I'd been buried alive. Do you have any idea what that feels like? BRENNAN: Actually, I was buried alive in a car just a few months ago with a colleague. We were able to use the air bag cannis... BOOTH: (Cutting Brennan off) Bones. It's a rhetorical question. ABBY: I tried to fight. BOOTH: It's not your fault. ABBY: Was it... (Abby sighs) Did she suffer? BRENNAN: It was very quick. ABBY: The, uh... The four of us were planning on taking a vacation together. After the cookbook came out. BOOTH: We're sorry. [Abby nods and begins crying.] FADE TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY [Zack is showing his findings on the skeleton to Angela, Cam, and Hodgins.] ZACK: I took a second look at Carly's cervical vertebrae. The damage matches an acceleration flexion-extension neck injury. HODGINS: Whiplash. ANGELA: Abby's car stops suddenly. Carly doesn't have her seatbelt on, she's propelled forward, slamming her head into the dashboard and injuring her neck. ZACK: Exactly. ANGELA: (To Cam) What about what you found in the backseat? CAM: The vaginal secretions are consistent with Carly's DNA. ANGELA: So she was r*ped before she was k*lled? HODGINS: Any match on the semen? CAM: I ran the seminal DNA through CODIS and the military database, and found a match. [Cam turns to the computer and pulls up the seminal match profile.] CAM: (CONT'D) Ben Michaelson. ZACK: Abby's boyfriend? CAM: It would explain why he spared Abby. HODGINS: Carly's husband said Ben was with the reserves when Carly was k*lled. CAM: I wonder how hard it is to sneak off base. HODGINS: He wasn't on base. He was alone in the woods doing survival training. He could go r*pe and k*ll Carly, and no one would even find out he left. END ACT III ACT IV INT. FBI BUILDING - INTERROGATION ROOM - DAY [Booth and Brennan are interrogating Ben] BEN: You spoke to Captain Gerard? Why didn't you just talk to me? BOOTH: Your reserve unit spent last weekend reviewing survival skills. BEN: Yeah. We were each dropped off at isolated locations and given rudimentary supply and navigation kits. BRENNAN: So basically, you were alone for two days. No one to corroborate your whereabouts. BEN: What are you saying? BOOTH: You spent two tours in Iraq. The Captain says you're one of his best men. BRENNAN: Someone as well trained as you would've easily been able to leave your assigned location and return to your rendezvous point with no one the wiser. BEN: But I didn't. BOOTH: See, first I was wondering, why would a carjacker k*ll one of his victims and let the other victim stay alive? That doesn't make sense. Hey, unless...maybe there's no carjacker. BEN: Wait, do you actually think that I- BRENNAN: The insurance money would've given you over half a million dollars. BOOTH: You've k*lled before. I've been in the service, some guys, they're just numb to it. BEN: Wait, this is insane! BOOTH: Then again, k*lling your meal ticket is one thing. And then, k*lling your girlfriend, that's another. BRENNAN: So you locked Abby in the trunk. BEN: No! BOOTH: See, the one thing I don't understand? The r*pe. BRENNAN: Yeah. BEN: What? BRENNAN: We have your DNA from the backseat of the car. Yours and Carly's. BOOTH: So what was it, then? Did you get turned on, thinking about k*lling her? [Ben stands up from the table] BEN: I want a lawyer. BOOTH: I'll bet you do. CUT TO: EXT. SUV TRAVELLING ALONG ROAD IN WASHINGTON, DC - DAY [Booth and Brennan are in Booth's SVU, discussing the case] BOOTH: You know, we'll get him, Bones, alright? Don't worry. BRENNAN: We do this all the time. You know, I should be used to it. It shouldn't bother me. BOOTH: No, it should. Was she, uh, really gonna teach you how to cook? BRENNAN: Yeah. I've always understood the basics of cooking, the physics of it, but... Carly said she was going to show me what it was really about. To her, she said that it was a way of... well, she said "loving," but then, she was prone to hyperbole. BOOTH: Well hey, I mean, that's what family dinners are all about, right? Those are some of my, uh, my best memories. BRENNAN: I'm not as cold as everyone thinks, Booth. BOOTH: Okay, that was a leap. BRENNAN: Just because I think marriage is an antiquated ritual doesn't mean that I don't want Angela and Hodgins to be happy. I have an appreciation and a need for emotional and physical intercourse, just like you. BOOTH: Yeah. Sure. I mean, okay, good for you with that. BRENNAN: Did I make you uncomfortable? BOOTH: No. Not at all. I just wanna focus. Let's just focus on the- on the case. BRENNAN: I did make you uncomfortable. CUT TO: INT. HOSPITAL - ABBY SINGER'S ROOM - DAY [Booth and Brennan are interviewing Abby again] BOOTH: Listen, Abby, I know it's hard for you to go through this again, but do you remember hearing the carjacker's voice? ABBY: I, I must have. BOOTH: Close your eyes for me, okay? [Abby closes her eyes after a moment of reluctance] BOOTH: (CONT'D) I want you to try and hear that voice again. Can you do that for me? [Abby nods] BOOTH: (CONT'D) Does it sound familiar? Someone you might know? ABBY: What are you saying? BRENNAN: We're just asking, Abby. ABBY: Why? BOOTH: Ben's story that night, it might not check out. ABBY: What are you talking about? Ben would ne- we're like a family. It's not Ben. BOOTH: Abby, it's just a question we have to ask. BRENNAN: Do you remember the car making a sudden stop? ABBY: No. But I- I was unconscious in the trunk. BOOTH: (To Brennan) Could that be how she broke her wrist? BRENNAN: Possibly. Or when she was dragged, or thrown into the trunk. Abby, may I have permission to review your medical records? They could help us identify Carly's k*ller. ABBY: But... do you think it might really be Ben? BOOTH: It's just a possibility we have to pursue, that's all. ABBY: Okay. BOOTH: Thanks. [Exit Booth and Brennan] CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY [Hodgins jogs up the steps of the main platform towards Zack and Angela.] HODGINS: I did it! I found the m*rder w*apon! Or, what's left of it, anyway. I used the G.C. mass spectrometre to analyse the ceramic shards in the car. [Hodgins comes to the computer and pulls up a picture of Carly stirring something in a large bowl. Beside her, Abby holds up a large Kn*fe to the camera.] ZACK: The m*rder w*apon was a ceramic bowl? HODGINS: It's not just the bowl that's ceramic. The Kn*fe is too. Booth mentioned that companies are sending her their products to endorse. ANGELA: Wait, a ceramic Kn*fe? HODGINS: Uh-huh. CUT TO: EXT. SUV DRIVING THROUGH STREET IN WASHINGTON, DC - DAY [Brennan's cell phone rings, she answers it.] BRENNAN: (Into cell phone) Brennan. [Camera cuts back to Hodgins, Angela, and Zack at the lab. Throughout the following conversation, we cut back and forth between the lab and the SUV.] HODGINS: The m*rder w*apon was a ceramic Kn*fe. BRENNAN: (To Booth) Hodgins found the m*rder w*apon. HODGINS: Zirconium oxide: super sharp and easy to shatter. In this case, you shatter it into a million pieces, no one knows it's a Kn*fe. Except me, of course. Using Angela's program, I matched the wounds to the blade. CAM: Either that trunk was packed with invisible pillows, or Abby's lying to us. BOOTH: Why? CAM: Booth? BOOTH: Yeah. Booth. Talk to me, squints, as close to English as possible. CAM: According to the medical report, Abby's got bumps and bruises, yes. But they aren't at all consistent with the way she would've been thrown around in that trunk. She should've had more broken bones. BRENNAN: Is there any evidence of Carly being r*ped? CAM: None that I found. ZACK: Me either. BRENNAN: But... the wounds on the ribs, the directionality of impact was left to right. CAM: Of course. ANGELA: I fits the scenario I was working out. HODGINS: So obvious! BOOTH: English! Remember? Okay? How does Ben figure into all this? BRENNAN: He doesn't. ZACK: The injuries fit if Abby was driving when the sudden stop occurred. BOOTH: Abby? BRENNAN: Yes, Abby. BOOTH: Why Abby? HODGINS: Look, I'm Abby. (Gesturing to Zack) You're Carly. ZACK: Why am I always the m*rder victim? HODGINS: Sit. BRENNAN: (Chuckling) Zack's always the m*rder victim. BOOTH: Mm. [Zack and Hodgins are now seated side by side in chairs, Hodgins imitates driving a car.] HODGINS: I'm just drivin' along. I undo Carly's seatbelt, slam on the brakes, she goes flying into the dash. Go. Go! Fly into the dash! [Hodgins whacks Zack on the back, Zack imitates flying into a dash.] ZACK: The concussion disorients me. [Zack mimes disorientation.] HODGINS: Okay, don't overdo it, sport. BOOTH: Okay, what are we missing here? CAM: The Stooges? BRENNAN: Abby's scaphoid fracture was right to left, which means she could've received that break while s*ab Carly. HODGINS: Yes! [Hodgins mimes s*ab Zack. Zack raises his arm to block the s*ab motions.] ZACK: I was wearing a punk bracelet, lots of metal. HODGINS: Uh huh. ZACK: That could easily fracture the scaphoid. [Hodgins mimes a broken wrist] HODGINS: Ack! BOOTH: Oh, okay, look. We know that Ben had sex with Carly in the backseat of that car. But you didn't find any evidence of r*pe. BRENNAN: So the sex they had was consensual. HODGINS: Thiiiis part will be left up to the imagination. [Hodgins stands and walks away from Zack.] BOOTH: And since there's no way to pinpoint the time the sexual activity took place... ANGELA: Ben and Carly were having an affair. CAM: And they did it in Abby's car? No wonder she was pissed. BOOTH: Abby is in charge of uh, of all the equipment Carly is sent for endorsement, so she knows about the Kn*fe... so, Abby kills Carly. HODGINS: Yes! Abby kills Carly, pulls her out of the car- [Hodgins resumes miming the actions; grabbing Zack and throwing him to the floor] CAM: Oh boy. HODGINS: Drags her into the old stone house... [Hodgins starts dragging Zack across the floor] ZACK: (Plaintively) I don't think this is necessary. HODGINS: ...Destroys the m*rder w*apon, leaving us little tiny shards to find! CAM: Drives the car into the ravine, where she expects it'll be found quickly... BOOTH: And locks herself in the trunk. Wow. But, there was no hikers in the area to find her, because she didn't count on the rain. BRENNAN: Let's go back, Booth. [Booth starts the siren and the SUV pulls a u-turn] FADE TO: INT. HOSPITAL - ABBY SINGER'S ROOM - DAY [Cannonball by Damien Rice plays over a montage of Abby sobbing in her hospital bed while Booth and Brennan stand over her.] ABBY: (crying) Carly was my best friend. She was my best friend FADE TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - NIGHT [While Cannonball continues to play, Hodgins is alone in the lab arranging raw shrimp on a tray. Angela walks up behind him. The music fades.] ANGELA: Hey, what are you doing in here? I thought we were gonna go for sushi. Ugh, it smells like sushi in here. HODGINS: Yeah. [Hodgins takes Angela by the arms.] HODGINS: (Clears throat) Look, Angela. I've been thinking. You're not like anyone I've ever known. And I don't want that to change. So I'm taking you the way you are. No strings. ANGELA: And the smell? HODGINS: P. phosphoreum. ANGELA: Oh, the fish bacteria? HODGINS: Close your eyes. [Angela places her hand over her eyes, Hodgins leads her to the tray on which he was arranging the raw shrimp.] HODGINS: (CONT'D) Be careful. ANGELA: Yeah. HODGINS: Okay, careful. Keep 'em closed. [While Angela keeps her hand over her eyes, Hodgins turns to a computer and lowers the lights in the lab.] HODGINS: (CONT'D) Okay. [Angela lowers her eyes, she sees that Hodgins has arranged the shrimp on the tray to spell out "BE MY LOVE" with hearts around "LOVE". The bacteria is causing the shrimp to glow in the dark.] ANGELA: Yes. Yes. Let's get married. HODGINS: No. No, no, no, this is- this is not a proposal. ANGELA: I know. That's why I'm asking you. HODGINS: Huh? ANGELA: What you said here... that we're enough... just this, no pressure for more... (Angela's voice breaks) that's all that I ever wanted. Hodgins, say something. HODGINS: You're insane. ANGELA: Is that a yes? HODGINS: Absolutely! [Hodgins kisses Angela] HODGINS: (CONT'D) Okay. Okay. Um. Alright. How- how about, uh, Italy! Italy in the spring? Um, Umbria?! ANGELA: No. Right away. Next week. HODGINS: We cannot get a wedding together in a week. ANGELA: We have to. One week. HODGINS: Uh... ANGELA: I could change my mind. It's up to you. HODGINS: Okay, yeah, just a small little thing then. ANGELA: No. Big. I want a big one. HODGINS: Totally. Insane. [Hodgins and Angela kiss again] FADE TO: INT. BRENNAN'S APARTMENT - NIGHT [Booth is sitting at Brennan's kitchen table while Brennan finishes cooking at the counter. Soft rock plays in the background.] BOOTH: You know, you should let me help. BRENNAN: No. [Brennan brings a bowl in from the kitchen and sets it in front of Booth.] BRENNAN: (CONT'D) Cleaning up. You can do that. BOOTH: Great. Wow! (Booth giggles) Mac and cheese! [Brennan returns to the kitchen, gets a bowl for herself, and joins Booth at the table.] BOOTH: (CONT'D) Wow! Bones! This- this looks fantastic! BRENNAN: Yeah? Really? BOOTH: Oh, I mean, you shouldn't have, I mean, all this work just for me? BRENNAN: What? No, I mean. It wasn't that much. BOOTH: (Eating the mac and cheese) Mmm. (He gazes happily at Brennan) This is unbelievable. BRENNAN: You like it? BOOTH: I'd like to be alone with it. (He laughs) BRENNAN: She said I could go with my instincts, so I put in a little fresh ground nutmeg. BOOTH: Well, she taught you well. Thanks, Bones. BRENNAN: Yeah, well, you know. We have to eat, right? BOOTH: Yeah. Gotta eat. Always gotta eat. [Music swells, camera fades out on Booth and Brennan enjoying their meals.]

{"type": "series", "show": "Bones", "episode": "02x20 - The Glowing Bones in the Old Stone House"}

foreverdreaming

"Stargazer in a Puddle" Episode 2x22 Written By: Hart Hanson Directed by: Tony Wharmby Transcribed by: thepinkllama Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Booth and Brennan are entering a wet and muddy abandoned warehouse.) BOOTH: (Stepping over puddles in mud) Ooh oh oh... BRENNAN: Well, you should've worn gumboots. BOOTH: (Jumping over the puddles) It's fine, you know I- I'm agile. BOOTH: So, Hodgins asked, uh, Angela to, uh, marry him? BRENNAN: Twice. BOOTH: Oh and she uh, turned him down both times. BRENNAN: I heard all this from Angela. BOOTH: Yeah but did she tell you that he said that he wasn't going to ask her to marry him? BRENNAN: (slightly annoyed) Yes. BOOTH: And she said? BRENNAN: (gesturing) I'd like to marry you. BOOTH: Kinda sudden Bones. Let me think about it. BRENNAN: (Looks at him in disbelief) What? No. Booth, that's what Angela told Hodgins... (Trails off as she notices Booth laughing at her) BRENNAN: (Gets it) You're joking.(Booth jumps over puddle and laughs) BRENNAN: You know, a lot of psychologists say that jokes are the way that we manifest a lot of our hidden desires. BOOTH: (His grin fades and as he turns to follow her he steps in a giant puddle, soaking his right leg.) Ah jeez! BRENNAN: You okay? BOOTH: (annoyed) Yeah, fine. (Shakes off wet leg and looks at the cop at the scene) What do we got? DC COP: Uh, during a foot pursuit last night a suspect tosses a Kn*fe into this muck in an effort to avoid incarceration, the fluid gets drained and we start finding stuff. BRENNAN: Define stuff. DC COP: Stuff? (Camera pans to a white sheet with the following) Cell phones, g*n, knives, crack vials, evidently you wanna lose something in this vicinity, you toss it in here. Denizens think it's some sort of bottomless pit. (He leads them down a set of stairs) BRENNAN: Does the word "concise" mean anything to you? DC COP: Well we found that, (points to slimy skeleton in a shopping cart, half out of the water) concise enough? (They all shine their flashlights at the body.) BOOTH: Small, kid? BRENNAN: (Squats down beside body) Female, pelvic girdle and skull sutures suggest, (takes a deep breath) pre-adolescent. (Notices a bag) Child's pencil case (glances up at Booth). BOOTH: How long has she been d*ad? BRENNAN: (To cop) does this freeze over in the winter? DC COP: Yeah, solid. BRENNAN: It's possible she was placed here as long ago as last fall. BOOTH: Cause of death? BRENNAN: Looks like a g*n wound to the back of the head BOOTH: Can you guess the caliber? BRENNAN: Nothing larger than a .22. BOOTH: (To cop) find any .22's? DC COP: Two BOOTH: Okay, let's get an FBI Forensics team down here to search for b*llet fragments. (Brennan sees something in the tiny skeleton's hand and reaches for it. It's a pebble that says, "I LOVE YOU") DC COP: Okay we'll call it in right now. (Brennan walks over to Booth and they examine the pebble) BOOTH: I love you. BRENNAN: You said that pedophiles can delude themselves into thinking they love their victims. (Cut to - Jeffersonian - Medico-Legal Lab - Hodgin's Work Area. Hodgins is looking through a microscope and Angela is beside him.) HODGINS: Nice traditional church service, very ecumenical . ANGELA: That's great, as long as the reception makes Caligula blush. HODGINS: Let's hope he got his invitation. ANGELA: Hmm. (Camera scans to a tray full of dirty child toys, they're all stars of some type). Hey what are those? HODGINS: They were found in this case, probably belonged to the victim. (Angela grimaces) HODGINS: (Gestures to jars) and these are water samples teeming with organisms. I found an inordinately large amount of d*ad fairy shrimp in the mud beneath the victim. I will not make a clap for Tinkerbell joke. (Pauses) How's about we not discuss child m*rder and our upcoming nuptials in the same conversation. ANGELA: That's a good idea. (After a mild pause) Hey do you want me to uh, change my name? HODGINS: (Looks skeptical) Do you want me to want you to change your name? ANGELA: (Raises her eyebrows and leans in to kiss him) (Hodgins smiles and nods as she walks off) (Cut to - Jeffersonian - Medico-Legal Lab - Brennan's Office. Booth is staring at an x-ray of a head and half the spinal cord) BRENNAN: (In the background) do you even know what you're looking at? BOOTH: (Gestures at the computer screen on which the x-ray is positioned) It's a neck bone, connected to the shoulder bone. BRENNAN: (Grins at him and turns back to the computer screen. She points to a spot just under the cranium on the spinal cord). There's arthritic lipping here, and here, on the posterior dens. BOOTH: Arthritis? BRENNAN: For this to occur she had to look up like this (Looks at ceiling). BOOTH: Maybe she prayed a lot. BRENNAN: Four to six hours a day? What did she want so badly? MAX: Her father? (Max enters Brennan's office as they turn at his voice) MAX: Hey baby. BRENNAN: Dad? MAX: Booth. BOOTH: (Whips out his g*n and points it at Max) Put your hand up. BRENNAN: (Incredulous, jumps up and tries to make him put the g*n down) Booth! MAX: I was hoping we could get a drink or something before this part. BOOTH: Max Keenan, you're under arrest as an escaped felon. MAX: (Smile fades) Oh, okay. Then I guess that's no on the drink, huh? BOOTH: Bones, grab the cuffs out of my back pocket there. BRENNAN: No BOOTH: What do you mean no? Bones! MAX: (to Brennan) It's okay, baby. BRENNAN: I don't want to handcuff my own father. Plus, remember when he saved your life? MAX: Hey just throw 'em over here I'll do it myself. BOOTH: (To Brennan) now he's telling me what to do. (To Max) Just put your hands on the wall) (Max complies, as Booth handcuffs him) BRENNAN: What? Dad what are you doing here? MAX: I heard you were getting married (Booth who's been frisking him looks quizzically at Brennan) BRENNAN: What? No, Angela's getting married, to Hodgins, not me. MAX: Oh, the bug guy. Oh, that's great. BOOTH: Will you shut up, please. (Glances at Brennan who's glaring at him) Long enough to Mirandize him. MAX: You got the right to remain silent, got it. (To Brennan) We'll talk more later. BOOTH: (Looks at Brennan) Look, I'm sorry Bones, but he k*lled the deputy director of the FBI, I'm just doing my job. BRENNAN: It's okay. (Looks at her father) He's right. MAX: Kisses, baby. (Booth and Max leave and Angela walks by then looks questioningly at Brennan)ANGELA: Uh, sweetie? Was that your dad? (Brennan nods) ACT ONE (Cut to - FBI - Observation Room. Booth and Caroline are outside discussing Max.) BOOTH: (Frustrated) What do you mean that's not Max Keenan? CAROLINE: You know that's Max Keenan, I know that's Max Keenan. But to the rest of the world that man's a hard working electrician from Coos Bay, Oregon named Art Macgregor. BOOTH: That electrician was a bank robber for fifteen years and m*rder two FBI Agents CAROLINE: Only one was still an Agent at the time of his demise. BOOTH: The guy was a deputy director! CAROLINE: And a crooked m*rder son-of-a-bitch, not to speak ill of the d*ad. (Looking at wallet) Drivers license, credit card, tax returns, and this library card was issued eleven years ago. BOOTH: Complete history? CAROLINE: Yes, we'll keep digging but I don't know. BOOTH: I gotta cut that guy loose. CAROLINE: Legally speaking, that man is a law-abiding, tax-paying, fully certified, dues paying member of the international brotherhood of ... (Trails off as a frustrated Booth takes the files from her and leaves the room) CAROLINE: Since 1984. (Cut to - FBI - Interrogation Room) BOOTH: (Throws a folder and wallet down in front of Max as Max lifts his cuffed hands) Tell me something Max, on the job site, what's the most hazardous classification of an electrician? MAX: Class one, division one, you planning on making a career change? (Booth takes the water glass Max has been drinking from. He pulls it towards him with the ends of his handcuffs) MAX: Oh. You checking out my prints? BOOTH: Max you know I like you and I hate to hurt Bones, but it's my job to catch you (pause) and I'm very good at my job. MAX: Well you'd have to be to work with my daughter. (Stands) What do you say? Shake hands with an old con. Or, or is that bad for the FBI image? BOOTH: You abandoned her as a child, you don't think she feels that? Every time you pop in and out of her life? Hmm? MAX: (Stares at Booth for a while then laughs) You're just saying that so I'll h*t you. Then you got a reason to lock me up. Twenty years ago that would have worked (Walks away and pats Booth on the back.) (Cut to - Jeffersonian - Medico-Legal Lab. Brennan and Zack are examining an x-ray of a skull and half the spine, with a hole in the lower back of the cranium.)ZACK: Your estimate was correct. This hole is consistent with a 22-caliber slug. I learned slug from Cam; it's a colloquialism for projectile. BRENNAN: Which so far the FBI has been unable to find. (Angela steps in from behind the model of a skeleton in the lab) ANGELA: Okay I have a face, but you're not going to like it. (She leads them to the computer screen and brings up a sketch of an old BRENNAN: That is an old woman. ZACK: I provided you with the tissue markers for a ten-year-old Caucasian female. ANGELA: Well when I actually held the skull and started the tissue markers felt wrong. BRENNAN: Angela with all due respect to your art, facial reconstruction is a science. ANGELA: It's both babe, and this time, art made science her bitch. (Zack makes an odd face) ANGELA: Hey moan all you want, I stand by this. BRENNAN: We should look for other indications that we got the age wrong. ZACK: Because art made science her bitch? BRENNAN: Because the lipping on the vertebrae had to be caused by looking up over several years. ZACK: (Looks at Angela) That's a scientific rational for rechecking. (Angela makes a face at him, then turns to Brennan as she walks away) ANGELA: Hey Brennan, I'd like to ask you a favor, well it's not so much ask a favor as, as, as extend an honor. I mean I hope you see it as an honor, and you don't think of it as some onerous duty, which I don't think you will, but then again I've never done this before and of course- BRENNAN: Angela, just ask. ANGELA: Will you be my maid of honor?(Brennan's face changes and she looks close to tears) ANGELA: At the wedding? (Brennan hugs her) ANGELA: Is that yes? BRENNAN: I'm completely, totally honored. ANGELA: Really? I thought I'd have to tell you what a maid of honor- BRENNAN: I don't even care how awful the bridesmaids' dresses are (hugs her again) I'm so glad you asked me. (Cut to - Brennan's Apartment. Max is talking and we see a picture of him and Russ.) MAX: I have your brother set up in a little auto mechanic shop situation. BRENNAN: You set him up where, Oregon? MAX: It's better that you don't know, he's a in violation of his parole. BRENNAN: Because you made him leave the state. MAX: Your brother is in a slippery slope, and yeah I know, I know, the irony of me being a good influence on him is but it's true, I am, I am. (Brennan laughs) MAX: It's so good to see you smile that's, that's something. BRENNAN: Booth is going to find proof of who you are, and then he's going to arrest you. MAX: Eh, not till later. BRENNAN: (Takes a breath) Did you come here just to tell me that Russ is okay? MAX: No I, actually I have something for you. (He reaches into his jacket pocket) that uh, belonged to your grandmother. (He's holding a silver ring with three twists in the front) BRENNAN: I have a grandmother? MAX: I know your mother and I told you you didn't have grandparents but, (Hands the ring to her) try it on. (Brennan takes it hesitantly, looks at it for a while and then puts it on the table) BRENNAN: I - I have to go to bed, there are some inconsistency's with the remains, which I have to address, first thing in the morning. MAX: Okay BRENNAN: You're welcome, to stay here, if you want. MAX: The couch would be great. BRENNAN: No dad, I made up the guest room, in case you - (she trails off) Goodnight. (Max looks like he wants to say something, but doesn't) (Cut to - FBI - Booth's Office. Caroline brings him the glass he took from Max Keenan earlier.) CAROLINE: His fingerprints don't match: BOOTH: There's nothing to compare them to. CAROLINE: Max Keenan got himself wiped from the system. BOOTH: That's right. CAROLINE: Who is this guy? Some sort of super criminal? BOOTH: Could also have been deputy director Kirby, you know he wanted him d*ad so he made him invisible first. CAROLINE: Hmm, that would be an ironic twist, seeing as you want to arrest Max for Kirby's m*rder. (Booth is facing the wall beside the lawyer; he just stares, thinking) CAROLINE: You're not having doubts about catching this guy are you? I mean, he is your partner's father. BOOTH: No. (He shakes his head) Bones gets it. CAROLINE: You hope she does. (She gets up to leave) I'll get DNA samples from the man; you find something to compare them to. (Cut to - Jeffersonian - Medico-Legal Lab. Brennan and Zack are standing over the remains.) ZACK: No wisdom teeth suggest pre-pubescence, the lower plate in the radius? Not fused. BRENNAN: Angela's wrong, the victim is not yet twenty. ZACK: Umm... BRENNAN: What? ZACK: The arthritic lipping on the vertebrae, degeneration on the collarbone, spiking on the superior articular process, and all the major bones in her body show osteolitis and advanced deterioration. (Enter Angela and Hodgins) ANGELA: Meaning Angela was right. ZACK: Meaning you are not wrong, which is not the same as being right. BRENNAN: Progeria she had one of the aging diseases. ANGELA: Anyone wanna hear about the h*t my sketch got off the NCIC database? (Brings up a picture on the screen) BRENNAN: Chelsea Cole, age 22, went missing last November, good Angela, really good. (Angela smiles satisfied Zack shakes his head, and he's disappointed he was wrong. Hodgins glances at Angela meaningfully, she nods and leaves) HODGINS: Zack ZACK: I really should have thought of that, a disease that prevents the sufferer from entering puberty, but simultaneously ages her otherwise. HODGINS: I'd like to ask you to be my best man on Saturday. ZACK: Things aren't always either or, sometimes their both. HODGINS: At my wedding. (Zack stares at bones on the table) Saturday. (Zack is shaking his head, still staring at the bones) To Angela. (Zack isn't responding, he starts to get impatient) My best man. ZACK: When do I have to decide? HODGINS: You have to think about it? ZACK: Yes HODGINS: Fine, let me know what you decide. (Cut to - Cole Residence. Booth and Brennan are talking with Chelsea's mother, Cynthia - who is crying.)CYNTHIA: You found her in a shopping cart? BOOTH: Yes CYNTHIA: From Tuft's grocery? BRENNAN: How did you know that? CYNTHIA: Chelsea loved Tuft's, I used to give her a dollar and she'd go down there and buy a candy bar, or some cheep toy. (Brennan walks towards some childish paintings on the wall) CYNTHIA: Everyone knew Chelsea, walking home with one small thing in a big cart to show me. BRENNAN: Did Chelsea draw these? CYNTHIA: Yes. BOOTH: (Stands up to go look) Chelsea was twenty-two-years old, these are the drawings of a young child. CYNTHIA: Chelsea had a, condition. BRENNAN: Werner's Syndrome. CYNTHIA: How did you know? BOOTH: What's that? BRENNAN: It's an aging disease in which mental development can be a factor. (She walks and looks up at a sky light) Your daughter spent a long time looking up. Correct? CYNTHIA: Chelsea was obsessed with the stars. She thought they were signals from heaven, showing people the way home. BOOTH: Mrs. Cole, when Chelsea disappeared, you gave the police a name? CYNTHIA: Joe Mellon, he was a caretaker provided by the city while I was taking classes at a community college. One day I came home from class and her hair smelled like the shampoo I use lemons. (Starts to cry) I always use baby shampoo on Chelsea. BOOTH: Bet that wasn't part of his job, bathing Chelsea. CYNTHIA: Definitely not! I filed a complaint with child services, and they launched an investigation. BRENNAN: Which ended as soon as Chelsea disappeared. CYNTHIA: I guess so. BOOTH: No victim no crime. ACT TWO (Cut to - FBI - Interrogation room. Booth and Brennan are interrogating Joe Mellon) JOE: I absolutely did not molest Chelsea Cole. BOOTH: Why did Child Services let you go? JOE: They didn't let me go, they reassigned me because they know I didn't do anything wrong. BOOTH: What did you not do wrong Joe? JOE: Chelsea Cole had the mental capacity of a six-year-old, she got jam all over her and freaked out from being sticky. So I ran her a bath and sat outside and made her talk to me while she was in the bath. She used her mom's shampoo and it stung her eyes, I went in and helped her rinse it out and then I went back out and let her get dressed, which is what she told her mother, who did not listen. BOOTH: Then why is Cynthia Cole so insistent that you were inappropriate with her daughter? JOE: I, I crossed the line, man. I suggested that Cynthia consider an alternate solution for Chelsea. BOOTH: Like an institution? JOE: The woman was exhausted, she was looking like crap, she was failing all of her college courses, she couldn't hold a job, everything was going downhill. BOOTH: Listen Joe, I want you to look me in the eye, and tell me you never touched that little girl. JOE: I wiped the soap out of her eyes, and I wrapped a towel around her, that's it. (Cut to - Royal Diner. Brennan and Max are seated at the counter. He has a ring in his hand.) MAX: This ring was passed down from mother to oldest daughter for generations, it was a tradition. BRENNAN: You told Russ and me we didn't have any grandparents. MAX: Honey, we were underground, we had new names now, we had to tell you that. BRENNAN: What's the truth? MAX: Your mother's the oldest of three sisters, and if you seek them out, they'll know who you are and, accept you into the family. BRENNAN: What about on your side? MAX: Your mother was the only family I ever knew, and you and Russ. BRENNAN: You abandoned me for fifteen years. MAX: I'm trying to make repairs. BRENNAN: By running away from the FBI? MAX: I have more. A message from your mother, on video tape. BRENNAN: Who-what does it say? MAX: I don't know, it's for you, when you're ready. (Booth enters) BOOTH: Uh, I'm sorry to interrupt, but I have a warrant here for DNA, from you, Art Macgregor from Coos Bay, Oregon. (To Brennan) I'm really sorry. (Cut to - Jeffersonian - Medico-Legal Lab - Platform) HODGINS: Zack... ZACK: There's a recalcification around this hole. It healed. HODGINS: Zack I'm getting married on Saturday, two short day's man, I need to know if you'll stand up for me. (Zack picks up a letter on the table, Hodgins takes it.) HODGINS: I don't need a formal response, a simple yes... (He trails off as he realizes what the letter is). Iraq? You can't go to Iraq. ZACK: The president is asking for me personally. HODGINS: No, the president has a machine to sign for him. He's probably talking to every forensic anthropologist in the country; you can't go to Iraq. No, you stay here and be my best man. ZACK: He says I'm at the forefront of my field, he says my country needs me. HODGINS: Zack, you're not going to Iraq. You going to be my best man or what? ZACK: No. HODGINS: Why? ZACK: Because if I decide to do what the president wants and I get k*lled in Iraq you won't be able to remember your wedding with happiness. HODGINS: Okay, big assumption there buddy. ZACK: Rationally speaking I'm not good at social ritual, you should ask Booth. HODGINS: Everything isn't rational. ZACK: It should be. I no longer believe this is a b*llet hole, I believe this was created by a drill. ACT THREE (Cut to - Cole Residence) CYNTHIA: Chelsea had brain surgery when she was three. BOOTH: They had to drill into her skull? CYNTHIA: Yes to relieve pressure. BRENNAN: (Looking at the paintings on the wall) these are accurate. CYNTHIA: I beg your pardon? BRENNAN: (Pointing to different pictures) These are all constellations, Centaurus, Aquarius, Gemini. CYNTHIA: Well I knew Chelsea loved the stars but I never knew they were actually... They're real? BRENNAN: That one is Delphineas; it was my favorite as a child. My mother and I both loved dolphins, it was something we ... (Sees Booth looking at her) shared. (Booth looks like he feels guilty for arresting her father.) BOOTH: Mrs. Cole, why exactly did your daughter require brain surgery? CYNTHIA: Why did you ask it like that? You think I did something to her? BRENNAN: Head injuries are extremely common, in children who are abused. CYNTHIA: (Gets up) excuse me but it's very important that I take my medication on time. (Comes back) my daughter, when she was three, fell out of bed. She didn't stop crying so I took her to the hospital. She had surgery, that's how they found out she had the aging disease. Did Joe Melon tell you that I physically abused my daughter because I grabbed her arm once? (Booth and Brennan exchange meaningful glances) CYNTHIA: Once? (Cut to - Booth's Car. Booth's phone rings.) BOOTH: (Answers phone) Booth. HODGINS (on phone): Hey man will you stand up for me on Saturday? BOOTH: Sure, against who? HODGINS: No, no I mean be my best man? BOOTH: Sure, wow. HODGINS: Yeah I know, big honor. BOOTH: No, no yeah that, but you didn't give me much time to put a bachelor party together. HODGINS: No, no. No Bachelor party. BRENNAN: Is that Hodgins? BOOTH: Yeah, he wants me to be his best man. (To Hodgins) well if there's no Bachelor party what do you want me to do? HODGINS: Stand there, make a toast, hand over the ring, tongue kiss the maid of honor at the reception when people clink glasses. BOOTH: (Grins) Nice. Excellent. Okay. So who's the maid of honor? HODGINS: No idea, but most of Angela's friends are really hot. BRENNAN: Well, I'm the maid of honor. (Booth stares at her) Why? BOOTH: (Recovers) Uh, uh listen do you need me to uh, connect with the bride's father? Put together the toast and speeches, all that? (Hodgins pauses with a nut covered chocolate donut halfway to his mouth, he takes it away and one of the nuts sticks to his lip for a few seconds before falling) BOOTH: Hodgins? You there? HODGINS: Oh Angela's father, I forgot all about him. (Booth hangs up) BRENNAN: She has AIDS. BOOTH: Angela? BRENNAN: Chelsea Cole's mother, HIV or AIDS. BOOTH: What because of all that medicine she took? BRENNAN: I recognized one of them, I'll ask Cam. (Cut to - Jeffersonian - Medico-Legal Lab) HODGINS: In the mud sample taken from beneath the remains I found a high concentration of d*ad anostraca. ZACK: Also known as fairy shrimp. CAM: Shrimp can live out of the ocean? HODGINS: They aren't actually shrimp they're brachiopods, the difference is- CAM: Moving on. HODGINS: I wanna know if they can be poisoned by feeding on decomposing flesh. (A confused Cam is lead into the lab by Hodgins and Zack. There is a fish t*nk filled with water and a greenish looking blob floating in the middle)CAM: Oh God, please tell me that's not- ZACK: That's not human, that's Spam. HODGINS: Which has been injected with a number of organic poisons. We'd like to introduce a colony of Artemia Selena. ZACK: Commonly referred to as Sea Chimps. HODGINS: If they die, I'm gonna try running them through the spectrometer to see what poisoned them. CAM: What do you want from me? ZACK: Permission. CAM: Why? HODGINS: Because you said you'd f*re us if we did any more experiments without your permission. CAM: Boys, you've got Spam and Sea Chimps, you get anything out of that, I'll buy you each a car. HODGINS: Release the hounds. ZACK: What? HODGINS: (Annoyed) Pour in the Sea Chimps. (Zack pours in the Sea Chimps and they fizzle to the bottom of the t*nk) ZACK: I found that anti-climactic. HODGINS: Yeah... (Cut to - Royal Diner. Booth and Brennan are sitting at a table.) BRENNAN: Do you like your father? BOOTH: I love my father. BRENNAN: I think I love my father BOOTH: Well that's normal. BRENNAN: But he ran out on me and Russ, he robbed people, he's a m*rder, you know. He got my mother k*lled, how does he expect me to... BOOTH: It's hard to trust someone who's abandoned you, especially a parent. BRENNAN: Am I terrible for not wanting to care about my father? BOOTH: Look Bones, your father is going to do something tomorrow that's going to hurt you. How do you forgive that? BRENNAN: I'm not a bad daughter? Bad person? BOOTH: You're not a bad anything. (Brennan's phone rings) BRENNAN: Hodgins figured out what k*lled Chelsea Cole. (Cut to - Jeffersonian - Medico-Legal Lab) HODGINS: Rancinectla Lindali, also known as the fairy shrimp, not a true shrimp but a brachiopod. BOOTH: Wanna hurry it up there Hodgins? I gotta tux I need to rent. HODGINS: Right, Zack and I did a brief experiment involving Sea Chimps. BOOTH: Sea Chimps? I love Sea Chimps. BRENNAN: To confirm that they would feed on decomposing human tissue? BOOTH: Great thanks for ruining the whole Sea Chimps thing for me. HODGINS: Those Sea Chimps went after that pork by-product like piranhas after a skinny-dipping missionary. BRENNAN: Did you find anything in the fairy shrimp beneath Chelsea Cole's body? HODGINS: Yeah. They were exposed to lethal amounts of non-nucleoside reverse transcriptase inhibitors. BOOTH: I feel bad for the sea chimps but- BRENNAN: Booth. BOOTH: Hmm? BRENNAN: Chelsea Cole was poisoned by an overdose of Nevirapine BOOTH: What's that? BRENNAN: AIDS medicine. BOOTH: AIDS medicine? BRENNAN: It was her mother. (Cut to - Cole Residence. Booth puts the "I Love You" pebble on the table in front of Cynthia.) BOOTH: We'll probably be able to trace that back to you. CYNTHIA: I loved my daughter very much. BOOTH: The hell you did. BRENNAN: She got to be too much for you to handle so you k*lled her. CYNTHIA: You don't understand BRENNAN: I don't think you'll ever find anyone who does. BOOTH: You know, your daughter had the mind of a six-year-old. She loved the stars, she trusted you. BRENNAN (on the phone): We're here. BOOTH: And you k*lled her. BRENNAN (on the phone): Raltegravir, MK0518, Tenofovir CAM: (Back at the lab) None of those is a trade name for Nevirapine. Wait, MK0518 is still in experimental trials to replace Nevirapine. BRENNAN: (To Booth) She used her old medicine to poison Chelsea. (to Cam) Thanks Cam. BOOTH: Cynthia Cole, you're under arrest for the m*rder of your daughter Chelsea Cole. CYNTHIA: Could you take down the pictures Chelsea drew, I don't want just anyone to come in and throw them away. BRENNAN: You threw away your own daughter, why would I do you a favor? BOOTH: You have the right to remain silent. Anything you say can and will be used against you in a court of law. ACT FOUR (Cut to - FBI - Booth's Office. Agent Charlie enters.) AGENT CHARLIE: In 1978, Max Keenan robbed a Piggly Wiggly in Carbondale, Illinois. The clerk conked him on the head with a baseball bat and Keenan stanched the blood with napkins, left them behind. BOOTH: Don't tell me. AGENT CHARLIE: (Leans on Booth's desk) State police have said napkins in evidence (Booth looks at the Agents hands and the Agent removes them from Booth's desk.) AGENT CHARLIE: Agent Booth you wanted me to get this information for you, correct? BOOTH: Good job, Charlie. (Booth leaves and Charlie looks confused.) (Cut to - Recording Studio. Angela's Father is playing the guitar.) HODGINS: Hey, I mean (Makes guitar sounds and Angela's father just stares at him) You get that a lot, right? The whole herr, herr, herr thing? ANGELA'S FATHER: Can I help you? HODGINS: I'm Jack Hodgins ANGELA'S FATHER: You seem okay to me so far. HODGINS: Well I suddenly realized, my best man said speeches at the wedding. You know about the wedding? ANGELA'S FATHER: Oh yes, its no coincidence I'm here. HODGINS: Well it occurred to me you might have a tradition, I mean you're Texan and I mean really Texan. Guitars and Hot rods Texan so I figured I should ask you for your daughter's hand in marriage. I mean as a sign of respect. ANGELA'S FATHER: You're making a huge mistake son. HODGINS: You mean marrying Angela? ANGELA'S FATHER: No, if Angela finds out that a man, you, asked another man, me, for her hand, or any other fine parts, horrible complications will ensue. HODGINS: Didn't think of that. ANGELA'S FATHER: You could get us both k*lled. HODGINS: Okay, good advice. (Shakes his hand) got anymore? ANGELA'S FATHER: Always play in the key of G- Demolished. HODGINS: I - don't know what that means. ANGELA'S FATHER: Well if you do you do, if you don't you don't, forget it. (Hodgins leaves, but is stopped by Angela's father) ANGELA'S FATHER: Hodgins. I've got guitars and I've got cars, and I've got g*n (Hodgins' smile fades). Treat my little girl right and you'll only see the business ends of the cars and guitars. (Cut to - Jeffersonian - Medico Legal Lab. Cam is matching the DNA samples from Art Macgregor and Max Keenan, they match. Booth looks upset.) (Cut to - Royal Diner. Brennan is sitting alone, her father comes and stands outside the window, she shows him she's wearing the family ring. He shows her a video tape, she looks like she's going to cry.) (Cut to - Parking Lot. Max is walking to his car, Booth walks up to him.) BOOTH: Am I gonna need to use my g*n Max? MAX: (Sigh) Got your piece of paper? BOOTH: Max Keenan I'm placing you under arrest for the m*rder of Deputy Director. MAX: Alright, alright. Fine. You can take me, you know what you're right. I'm not going to abandon her again. BOOTH: You're not going to resist? MAX: It's your lucky day, I guess. BOOTH: Okay great. (Max steps back) MAX: No you know what? I'm wrong, I can't go quietly. It's not my nature. BOOTH: Max, I got a g*n. MAX: It's not my nature. You're going to have to sh**t me. You understand? BOOTH: Not your nature? MAX: Call it a character flaw (sees Booth taking out his g*n) Yeah. sh**t me. sh**t me, but in the leg if you don't mind. (Booth takes off his jacket and gets ready to fist fight with Max. He punches Max in the face.) MAX: Hey, hey that's good kid, you're throwing. (Punches him back, Booth groans and staggers back) What's the matter kid? Got a glass jaw? BOOTH: You know what? You talk too much (Punches him again) MAX: Geez, right in the face? Time! Time! BOOTH: You had enough? (He goes towards him) MAX: Wait, wait I'm old. BOOTH: There's no time-outs during an arrest. (Max punches him again, they exchange punches and finally Booth knocks Max to the ground.) MAX: Okay that's it, that's it I've had enough. BOOTH: Okay (Max punches him in the groin, Booth's face scrunches up) BOOTH: That really hurt (They both lay on the ground in pain) (Cut to: Brennan's Apartment. Brennan is putting the tape her father had given her in a VCR, her mother appears on screen) RUTH KEENAN: Hi Temperance, it's mom. I don't know when or if you'll ever see this, but I hope to put it in your hands myself and see you again, with my own eyes. This is a hard, hard world. Your father and I left you and Russ to save your lives. People would have k*lled you to get us. That's not what this is about. Today is your sixteenth birthday. I'm so sorry not to be there to tell you all the things a mother should tell her daughter when she turns sixteen and sorry not to give you this (holds up the ring Brennan's father gave her). It's an heirloom. And starting today, it's yours. I don't know how long it will take me to get it to you, but I promise you I will. You're going to hear a lot of things about your parents, especially your father. He is a good man. It was my insistence to leave you kids. Max would have kept us together, fought until the end, I'm not sure he'll ever forgive me for that. So please Temperance, I need you to forgive me and if you can't forgive me, I beg you honey, if you can't forgive me please forgive your father. Remember you were loved in this world, cherished. What I did to you may have been wrong, but I did it out of love, I did it out of love. (Brennan shuts off the T.V) (Cut to - Jail - Visitor's Room. Brennan hands the pictures over to Chelsea's mother) BRENNAN: Chelsea thought stars were signs from heaven, showing how to get home. Your AIDS cocktail wasn't working, you were sick, dying. They put you on an experimental drug and you felt even worse. Your worst nightmare was coming true, Chelsea was going to outlive you. CYNTHIA: No foster parent would take her. BRENNAN: You did what you did, out of mercy. CYNTHIA: We went to the park, I gave, told Chelsea that it was candy. We, um, we sat there looking up at the stars. I didn't know what to do with her, I didn't have any strength left. And then I remembered the water, it was deep, peaceful you know? BRENNAN: And then, like a punishment, the experimental drug started to work. Didn't it? You got better. What you did was wrong, but you did it out of love. (Brennan places the "I LOVE YOU" rock into Cynthia's hand.) (Cut to - Church - Back Room. Brennan comes down the stairs somewhat awkwardly where Booth, Zack, and Cam are all waiting. There's a huge bow on the front of her dress.) BRENNAN: How do I look? BOOTH: Good (Brennan notices that Cam's dress looks a lot better, she tied the bow in the back) BRENNAN: Well how come yours looks so much better?CAM: Come. I took this and yanked - ZACK: (To Booth) have you been to Iraq? BOOTH: That's classified information, you aren't cleared for that. ZACK: Does it hurt to get sh*t? BOOTH: What? ZACK: I've been blown up, that wasn't as bad as I expected, but I've never been sh*t. (Booth looks exasperated) CAM: Booth? BOOTH: Yeah? CAM: Better? BOOTH: (Whistles) Wow, you look great. BRENNAN: (Confused) you said I looked good before. BOOTH: (Doesn't know what to say) Who's day is it, huh? It's Angela's. Come on let's go (he grabs her) there you go. (Cut to - Chapel - People are seated in the pews, waiting for the wedding to begin. Booth and Brennan start walking down the aisle, followed by Zack and Cam.) BOOTH: Bones? BRENNAN: Yeah? BOOTH: Listen, I'm, uh, sorry I had to arrest your father BRENNAN: Do we have to talk about that right now? You did what you had to do, I understand. BOOTH: Yup, but- (They separate at the altar and he can't talk to her anymore. The woman who had been playing the harp puts on a more peppy b*at as Angela walks in, not quite suited for a wedding) BOOTH: (Whispers) Bones? BRENNAN: (Annoyed) What? BOOTH: He could have gotten away. BRENNAN: What? BOOTH: We go into a fight and your dad could have escaped capture. BRENNAN: So he b*at you in a fight? BOOTH: No, no I didn't say that. BRENNAN: What so you b*at him but you gave him a chance to escape? BOOTH: (Walking towards her) no I didn't say that. BRENNAN: Well I don't see any other alternative. BOOTH: No he didn't run away because he felt if he abandoned you, he would have lost you forever. Just thought you should know. (Brennan hugs him and Booth smiles) BRENNAN: Thanks Booth ANGELA: Um hi, I'd uh like to get married now. (Brennan and Booth look sheepish and part.) MINISTER SHEILA: Welcome everybody, we have come together to join in matrimony Jack Stanley Hodgins, and Angela Pearly Gates Montenegro. Who gives this woman? ANGELA'S FATHER: I give you this beautiful woman. MINISTER SHEILA: Angela and Jack have invited us here to share something beautiful, two people have invited their friends and family to say, you are the one I love. (An agent from the State Department enters the building with a file of papers) MINISTER SHEILA: You are the one whom for I forsake all others. STATE DEPARTMENT AGENT: Excuse me. Is this the Hodgins/Montenegro nuptials? ANGELA: It's trying to be. STATE DEPARTMENT AGENT: Well I need to speak with you before these proceedings, proceed. CAROLINE: Come on then. Let's get this figured out. HODGINS: We'll uh, be right back. Hodgins, Angela, Caroline and the State Department Agent all exit) ZACK: Booth? BOOTH: Yeah? ZACK: Is there any sense in ducking when someone sh**t at you? BOOTH: Your body ducks whether it wants to or not. (After a pause) why? ZACK: (Hands him the letter) you can read this later, then explain it to everyone. BOOTH: Why me?ZACK: You know more about duty and honor than anybody else I know. (Cut to - Church - Vestibule.) HODGINS: Angela is already married? CAROLINE: Angela is totally, unmistakably, legally married. STATE DEPARTMENT AGENT: As Federal employees with a security clearance, your marriage license underwent special scrutiny. Especially since your wedding was so hurried. CAROLINE: You were married in Fiji four years ago. ANGELA: I jumped over a broomstick with a guy. STATE DEPARTMENT AGENT: I'm sorry. (he leaves) ANGELA: Jack, I-I'm sorry, this is my fault. HODGINS: No worries. No worries, we'll just um-we'll just - (sighs) there's just a lot of people in there expecting a wedding. ANGELA: Yeah, I made this huge deal out of getting married and they all, they all- CAROLINE: Run. ANGELA: What? CAROLINE: Run. Flee. Skedaddle. HODGINS: I like it. (Cut to - Chapel. Everyone is wondering what is going on. Booth, Brennan, Zack & Cam are all still up near the altar with Minister Sheila. When they hear the doors open, they all turn to look) HODGINS: Change of plans, go directly to the reception, on us. ANGELA: Thanks for coming (They run out of the Chapel and leave to go search for her husband so that they can get the marriage annulled. Booth and Brennan are now standing directly in front of Minister Sheila - not really knowing what to do.) BRENNAN: (To Booth) what do we do now? (They both turn to look at Minister Sheila as the scene fades to black). END.

{"type": "series", "show": "Bones", "episode": "02x21 - Stargazer in a Puddle"}

foreverdreaming

"Widow's Son in the Windshield" Episode 3x01 Written By: Hanson Hart Directed by: Ian Toynton Transcribed by: Artemis_90 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Freeway at night with trucks and cars driving by.) (Cut to: A car with three Sk8r kids: the driver, a girl and a boy in the backseat.) DRIVER: What I'm saying is... in this world there are the 'visercal' and the 'ineffable'. BACKSEAT GIRL: Nobody's totally UN-eff-able. BACKSEAT GUY: Hah, Virgins are! I mean, you are like the total opposite of UN-effable. DRIVER: IN-effable! And it doesn't mean what you think. It means like you can't describe it in words. BACKSEAT GIRL: Describe what? "Life Sucks?" (Car swerves) DRIVER: You have zero vocab skills! BACKSEAT GIRL: You're bitter, because you're the designated driver and we're not. BACKSEAT GUY: Whoa, dude. What does that even mean, "designated"? (Cut to: Freeway. Overhead sh*t shows a skull falling off the walkway bridge crossing the freeway, bouncing off a truck.) (Intercut back: the S8ters' car.) DRIVER: (Seeing something) What the hell was that? (A skull is suddenly embedded to the windshield. Car swerves off completely.) Screams. (Cut to: The Jeffersonian's Medico Legal Lab - Forensics Platform. There is a skeleton on a lighted table. Dr. Clark Edison, hoping to replace Zack Addy, is being quizzed Dr. Temperance Brennan and Dr. Cam Sayoran.) EDISON: Male. Mid-30s. Attachment size suggests he was well-muscled, probably due to manual labor rather than, uh, weight training. CAM: Okay. What k*lled him? EDISON: The sternal ribs were subluxated, at both the spine and the sternum. (FBI Agent Seeley Booth enters the Platform.) BRENNAN: Indicating that he was ... crushed? EDISON: Not crushed. Pinned. Smothered? Perhaps in an industrial accident? BOOTH: This the guy Bones is checking out to replace Zack? CAM: Clark Edison, meet Special Agent Seeley Booth. EDISON: Hey what's up? Bones? Hey that's funny. That's what all my friends called me back in college. BOOTH: Yah, I like him. You gotta a minute? One minute? EDISON: Oh, are, are you going to a crime scene? Do you need me? BRENNAN: I'll let you know. (Bones and Booth go, leaving Edison and Cam alone.) EDISON: Did I get it right? CAM: Yes. Construction worker. Foundation collapse. EDISON: But I'm not impressing her. CAM: I'm still not completely certain what Dr. Brennan thinks of me. (Cut to: Exterior - crime scene.) BONES: Why am I here? BOOTH: Y'know, you used to like come out to the field. (They talk over each other.) BRENNAN: No car fires, no t*nk barrels ... BOOTH: You used to insist to me... BRENNAN: ... full of acid. No expl*si*n... BOOTH: ... you were insistent... BRENNAN: ... Don't tell me you brought me out here for a car accident... BOOTH: ...Now you're just anxious to get back, y'know, I can barely get you out of your lab coat. BRENNAN: Well, with Zack gone, I'm needed at the Jeffersonian. BOOTH: Well that, that kid seemed pretty good, with the sublixicated sternacallum thing... (Disappointed at her lack of response) You used to correct me. BRENNAN: Why am I here, Booth? (Sees the skull on the windshield) Ohhh... BOOTH: So, um, it's been three months since Zack shipped off to Iraq? BRENNAN: Uh-huh. BOOTH: How hard can it be to replace him? BRENNAN: (Examining the skull on the windshield) Male. Caucasian. BOOTH: Yah, I'm just saying. I mean, you at the lab; me at the field - we are not working at our full symbiotic potential. BRENNAN: Late teens or early twenties. Completely devoid of flesh or odor. BOOTH: It just seems like, maybe you don't want to work with me anymore? BRENNAN: I work with you. BOOTH: You know what I mean, Bones. BRENNAN: How did this skull get here? BOOTH: Ask our eyewitness. Come on! DRIVER: My mom is gonna k*ll me. BOOTH: Let's go, buddy. DRIVER: I am not high! BRENNAN: Neither am I. Why is he telling me that? BOOTH: He had a car reeked of dope. So, tell her what happened. DRIVER: I was driving behind a dump truck, and THAT came flying out off the back. BONES: Do you think the rest of the skeleton is still in the truck? DRIVER: No. BRENNAN: Why? DRIVER: Didn't come flying OUT, came flying OFF. It bounced. BOOTH: Oh, bouncing skull! BRENNAN: Perhaps you thought that because you are under the influence of tetrahydrocannabinol? DRIVER: What? BOOTH: Weed. DRIVER: I wasn't high! I'm the designated driver, alright! I... Look, you piss test me if you want! BRENNAN: It's possible. If the truck were traveling at certain rate of speed... the wind vortex or shear could occur, capable of flinging the skull like... (sees that Booth is distracted) What? What, Booth? BOOTH: Bones? (He points behind her.) BRENNAN: (Looks to where Booth indicates: the overpass, where some spectators are hanging out) But, why would anyone throw a skull off an overpass? (Cut to: the Diner's counter. Angela Montengro and Dr. Jack Hodgins meet with Private Investigator Doug Doyley over a meal.) DOYLEY: So your husband signed his name to the marriage license with an "X". ANGELA: Yeah. DOYLEY: So you married a guy without knowing his name. ANGELA: It was Fiji, okay? I was on vacation. DOYLEY: No, no, I'm not being judgmental. I'm being just trying to ascertain the, the facts. Uhm, did you consummate the marriage? ANGELA: Full moon. Tropics. Yeah. There was definite consummation activity. HODGINS: We already looked in to having the marriage annulled. ANGELA: Annulment requires consent from both the husband and the wife. HODGINS: Which is why we need a private investigator - to find the "husband". So we can get married. DOYLEY: Right. Well, I was going to need any description you can provide about your husband. Details, dates, photographs, ah who else was there? ANGELA: Tall. Yes. Muscular. Black. That's all I got. You know what, I think his name had a "B" in it - or actually it could have been a "K". You know what, I can make you a sketch? (Cut to: Medico Legal Lab - Forensic Platform. Bones is examining the skull as Cam enters.) CAM: Well? BRENNAN: There are scoring patterns here in the forehead, cheekbones, around the nose. CAM: I meant Clark Edison. BRENNAN: Who's Clark Edison? CAM: The absolute brilliant forensic anthropologist who'd bite off his own arm to be your assistant. BRENNAN: I haven't decided yet. Is that a problem? CAM: No. I want you to be certain of your choice. BRENNAN: Thank you. CAM: It's just that you've turned down seventeen applicants already. It's a rarified discipline. Aren't many more candidates to check out... BRENNAN: I'll cover the lab work until I find the right person. (Bones 'dials' Booth on the speaker phone, who is leaving a building eating a snack.) (Intercut between Bones in the lab and Booth walking to his car.) BOOTH: (Answers his cellphone.) This is good. Mhm, first time you called me in weeks. BRENNAN: There's scoring on the skull. BOOTH: Scoring? BRENNAN: Yes, scrapes. BOOTH: Yeah, I know what scoring means. BRENNAN: The scraping is uniform in spacing but not depth, which suggests an ungual pattern. BOOTH: What's an uncle pattern? BRENNAN: No, ungual. Guh. Guh. UnGUAL. (To Cam) How do I say this in a way that makes sense to Booth? CAM: (To Booth via speaker phone) Something chewed on the skull. BOOTH: Oh! Like a bear or a dog. CAM: Human, Booth. Doctor Brennan is saying human. BRENNAN: In the vernacular, our victim's face was chewed off by a cannibal. BOOTH: (Visibly loses his appetite) Great. (Throws the rest of the snack away) (MAIN TITLE SEQUENCE) ACT ONE (Open: FBI Conference Room with Booth, FBI Agent Charlie and Federal Prosecutor Caroline Julian.) CHARLIE: The ensuing accident was called in by a trucker who saw it in his rear-view mirror. Now the driver of the reefer-mobile ... CAROLINE: Reefer-mobile? CHARLIE: ... identified said truck as the one from which the skull rebounded before said skull lodged in his windshield. The truck dumped its contents at a municipal landfill near Salisbury. BOOTH: We need a warrant to shut down the landfill and comb it for body parts. CAROLINE: You think a cannibal is making a habit of tossing body parts off of overpasses into passing dump trucks? BOOTH: Well, we only got a head, so... the rest has got to be somewhere. CAROLINE: Okay. (Cut to: The Jeffersonian - Bone Room. Edison and Bones have put two separate skull x-rays side by side to show Cam.) CAM: What am I looking at? BRENNAN: It's called an osteoma. EDISON: It's a type of bone spur that grows from the skull down to the sinus cavity. BRENNAN: Clark found it when I gave him the x-rays to analyze. CAM: An osteoma that size can cause headaches, infected sinuses maybe worse. EDISON: Osteomas are every bit as distinctive as fingerprints or retinas. CAM: We'll check with local Ear Nose and Throat Surgeons to see if the pain drove our victim to seek help. Nice job. EDISON: Thank you. (Cam leaves the room. Angela enters.) ANGELA: The FBI forensics team just delivered like a million bone chips. BRENNAN: From the landfill? ANGELA: And Booth says there's more to come. (Edison sighs as Angela and Brennan exits the room. They talk as they walk to the Forensics Platform.) ANGELA: You are not gonna hire that one either. BRENNAN: I haven't made up mind yet. ANGELA: And when you don't hire him it just prolongs this lame excuse for you not to go out in the field with Booth. BRENNAN: Why would I do that? ANGELA: Because when Hodgins and I ran away from our wedding, we left you and Booth standing at the altar, and that iconic image totally freaked you out. BRENNAN: No, it didn't. ANGELA: Sweetie, this is not one of those things where you try to keep a secret and I ferret out the truth. This is where I tell you something that's true so you can catch up to your own reality. BRENNAN: Angela, I have no idea what you are talking about. ANGELA: Which actually proves my point. (Hugs Bones) I really I love you to bits and pieces, sweetie. I know, you love me back. We'll talk again when you catch up. (Cut to: the Forensics Platform. Bones approaches Edison and Booth shifting pieces in a box.) EDISON: Most of these are animal remains. Some are crockery and plastic. BOOTH: So we get anything human? BRENNAN: I'll have to go through and see. EDISON: Well, I could do that Dr. Brennan. BOOTH: Yeah, Clark could do that. Hmm? BRENNAN: There's too many. This could take days even with the two of us. BOOTH: Ah, come on. (Looks at Clark) Is that true? EDISON: Huh? (Flustered) You're kind of putting me in an awkward position there. BOOTH: Zack would have told me. (Cut to: Diner - at night with Booth and Cam eating dinner.) BOOTH: I mean, how hard can it be to replace one weirdo squint? CAM: I'd hire Clark, but it's not my call. BOOTH: No, no, but it is. You've given Bones enough time. Just hire the guy. CAM: Usually when you get all blustery, its 'cause you think something's your fault. BOOTH: Yeah, well. You know... I did arrest her father for m*rder. She could be having trouble with that. CAM: Yeah. Exposing a parent to the death penalty can have a chilling effect on a partnership. BOOTH: Well look, I asked Bones if, if, if that was a, a problem; she said no. CAM: Well, I gotta wonder if deep down anybody is that rational. BOOTH: You're not reassuring me here, Camille. CAM: If you are looking for reassurance, find someone who's not such a good friend, Seeley. (Booth's cell phone rings.) BOOTH: Booth. Yeah, okay. On my way. (To Cam) We've got an identity. (Cut to: Forensic Platform - night. To Booth and Cam, Bones is comparing two separate skull x-rays side by side on a digital screen.) BRENNAN: This is from the skull on the windshield. These are x-rays from an Ear Nose and Throat Specialist on M Street. BOOTH: Okay, so we're sure this is Gavin Nichols? CAM: Well, the osteoma is a perfect match. It's him. BOOTH: Prodigy violinist disappears; and a month later his skull winds up bouncing off a garbage truck. CAM: Obviously we are looking for someone who really really hates classical music. BOOTH: Look at this. Final performance was at the Library of Congress. (He shows her a photo of Gavin Nichols from an FBI file.) He met with well-wishers, arranged to meet with his girlfriend for drinks at the Hay-Adams, never showed, and nobody ever saw him again. BRENNAN: And a violin worth three million dollars. CAM: A twenty-two year old willowy kid, walking around with three million bucks under his arm? BOOTH: Hey, I'm telling you, easy pickings. BRENNAN: (Very skeptical) A cannibalistic violin thief who eats faces? BOOTH: Yeah, it's a stretch. But uh, see uh how this is: us working together - very symbiotic. BRENNAN: You said that already. What is it? The word of the day? BOOTH: I'd uh like you to be there when I uh question the girlfriend. BRENNAN: Can't. I found microscopic grit on the base of the skull. BOOTH: Microscopic grit! That's Hodgins' territory! BRENNAN: Yes, and Hodgins works for me, so that makes it my territory... CAM: (interrupting) Take Angela. Let her do that thing where she looks at photographs and read people's minds. BRENNAN: No, actually, what she does is read minute facial indicators... CAM: Joke, Dr. Brennan. (Cut to: FBI Interview Room with Booth and Amelia Trattner who has brought a scrapbook of Gavin Nichols. As Booth questions Amelia, the scene is intercut back in forth with Angela who is in the control room behind a two-way mirror and communicates with Booth through an ear piece.) BOOTH: How did you meet Gavin Nichols, Ms. Trattner? AMELIA: I'm a cellist with the National Symphony. Gavin guested as first violinist three years ago. ANGELA: Check out the photo of them kissing: huh, mega-tongue action. BOOTH: (Indicating the picture of the kiss) How long did you, uh, know him this way? AMELIA: Within a couple of weeks of our meeting. ANGELA: He was barely shaving then. What is she doing, playing squeeze and squish with a nineteen year old? BOOTH: 'Squeeze and squish'? AMELIA: I beg your pardon? BOOTH: With a nineteen year old? AMELIA: Gavin pursued me. His taste ran toward older women. BOOTH: Ms. Trattner, do you think, ah, Gavin was k*lled for his violin? AMELIA: No. No one does. You can't sell it anywhere. And we would know by now if they were trying to ransom it back. (Angela sees something in another photo and enlarges it.) BOOTH: Can you think of anyone who'd want him d*ad? AMELIA: Every violinist in the world. BOOTH: Why? AMELIA: No one had seen left hand technique like Gavin's since Franz von Biber. His little finger was insured for ten million dollars. (Angela focuses on the expression of Amelia looking at Gavin.) BOOTH: Great. Thank you, Ms. Trattner. Thank you for your cooperation. You, you can leave now. ANGELA: Wait a minute, Booth. BOOTH: Wha - one moment. ANGELA: Check out her face, in the quartet photo. BOOTH: Just one more uh question, I'm sorry. Ah, what's gonna on here? AMELIA: It was impossible not to watch him when played. BOOTH: You don't look impressed, you look sad. ANGELA: Like she lost something. BOOTH: Like you've lost him. ANGELA: Because she knew he was going to die. BOOTH: Like there was someone else. ANGELA: There was? BOOTH: There was someone else in his life. Someone I need to know about. ANGELA: Brilliant, Booth. You are brilliant. Okay, this time, I... BOOTH: (To Angela) Shh! AMELIA: What? BOOTH: Sorry. Nothing. Just, quietly... Who was it, Amelia? (Amelia turns to another page and points.) AMELIA: Ask her. BOOTH: Rona Sumner? ANGELA: Who's Rona Sumner? BOOTH: Wife of Leo Sumner, Deputy Director of the Secret Service. ACT TWO (Open: Medico Legal Lab, Hodgins' area.) HODGINS: The particles we found in the skull are pink syenite. It's the Cadillac of granites. BRENNAN: How did it get in the skull? HODGINS: I dunno know. But pink syenite is relatively rare. BRENNAN: Well, how did it get there? (Bones and Hodgins walk towards the Forensics Platform, where they access the computer with the geological results.) HODGINS: Dunno. At first, I thought it was a Brazilian stone called Sienite Balma but trace amounts of magnetite and this, this is crucial -chalcocite - led me to the Omineca Tectonic Belt in British Columbia, Canada - and voila! BRENNAN: There's no indication in the skull that he was struck, so how did it get there? HODGINS: I dunno know. But not a lot of pink syenite quarried in British Columbia has been shipped to D.C.; none at all in the last hundred years. BRENNAN: Perhaps the skull was dropped on a stone floor? HODGINS: I dunno know, but I discovered half a dozen sources. A bridge, some garden walls on private estates, and an entire bank building. BRENNAN: Send the details to Booth. HODGINS: Yeah. BRENNAN: (Leaves, but turns back) Hodgins, the reason that I'm not going out in the field with Booth is that I haven't found a replacement for Zack. HODGINS: There was no replacement for Zack. I mean, you know, he was good with bones. Excellent at math. He was pretty brilliant in making contraptions. And when our experiments blew up it was easy to pin the blame on him. In my book, all that makes Zack irreplaceable. BRENNAN: Exactly, which is why I'm stuck on the lab. Not some other reason. HODGINS: They only thing you can do is forget about replacing Zack. And find somebody who can just, just help out around here. (Cut to: the FBI Conference Room, with Booth, Caroline, and the Sumners.) RONA: Yes. I was intimately involved with Gavin Nichols. BOOTH: Mr. Sumner, I have to ask, were you aware of your wife's infidelity? LEO: What you really want to ask, Agent Booth, is if I k*lled the boy for bedding my wife. CAROLINE: I have a far more interesting question: Why didn't you come armed with the biggest, baddest lawyer in town? BOOTH: I'm more interested the k*lling question. LEO: I did not m*rder Rona's fiddle player. RONA: Leo and I have no secrets from each other. CAROLINE: What you would like us to believe is that because your husband knew of about this dalliance, there's no motive for jealous and m*rder. RONA: Gavin wasn't my only, I'll use your word, 'dalliance'. BOOTH: Did Mr. Sumner know all about them? LEO: Like Rona said, 'no secrets'. RONA: Would you like names? To see if Leo m*rder them as well? CAROLINE: That would be peachy. BOOTH: Just tell us about Gavin Nichols. RONA: Every salacious detail? LEO: h*t the highlights, honey. BOOTH: I get it. That's the part you like, huh? The play by play... RONA: I'm heavily involved in arts patronage. After I put the funding to get Gavin his violin, we slept together. We met perhaps once or twice a month after that, a total of eleven times. BOOTH: When was the last time you saw him? RONA: The night he disappeared, at the Library of Congress. CAROLINE: Agent Booth meant sexually. RONA: The night he disappeared, at the Library of Congress. BOOTH: No. Not buying it. Sorry, I don't, I don't feel them. Don't feel them, see... don't feel... CAROLINE: What Agent Booth means is that unless you can prove that Mr. Sumner knew about your affair with Mr. Nichols. This all could've been a story you cooked up after k*lling him. (Rona looks at Leo, he nods. She takes out a disc.) RONA: We thought you might want proof. (Cut to: An AV Room. Booth and Caroline are watching the contents of the disc.) BOOTH: Ha o'kay, so the kid and the cougar are bumping the uglies. BOOTH: He just doesn't enjoy hearing about his wife's sex life, he gets off on watching. (Rona and Gavin are in bed, and Leo is seen to be watching and filming them. Rona is aware of Leo of filming.) CAROLINE: Which explains why he didn't bring in a lawyer. BOOTH: They didn't m*rder the kid. (Cut to: Medico-Legal Lab. Booth enters and Cam meets him.) BOOTH: Where's Bones? CAM: You arrested the Deputy Director of the Secret Service for voyeurism? BOOTH: Yeah. Bones' in her office? CAM: That is awesome and really, really stupid. You got to love a self-destructive man with values. BOOTH: Where's Bones? BRENNAN: Right behind you. BOOTH: Oh great, look, listen I got Charlie to check out all those places with the red rock. BRENNAN: Pink syenite. BOOTH: There's only one place that uses the pink rock in its foundations. It's an old deserted bank on the Anacostia River. CAM: Bingo, baby. BRENNAN: Why 'bingo, baby'? BOOTH: I checked into the ownership of the place. BRENNAN: Why, 'bingo, baby'? CAM: Shell companies owning defective titles, blah, blah. BRENNAN: I don't get the significance. BOOTH: It's deserted, isolated. It's a fortress. CAM: Serial-k*ller heaven. BOOTH: Look, I want you to come with me. BRENNAN: I've got work to do here. CAM: Uh, Dr. Brennan, if this building has been used for some sort of ritual cannibalistic k*lling as indicated by a skull which has been gnawed upon, a trained anthropologist's eye could be crucial to the case. Rationally speaking. (Cut to: The abandoned Capital Mutual Bank. Day.) PROPERTY GUARD: Bank's been closed for years. Door's always locked. Never a light. Nothing. BOOTH: No squatters? GUARD: Made them sturdy back in the day. I mean look at this place. BRENNAN: It is clean. No dust. Nothing. GUARD: D.C. Building Conservancy is fighting to keep the place as an historical site. Maybe if you told me what you were looking for I could help you out. BOOTH: Ah you know, blood stains, butcher instruments, ... BRENNAN: Any place where human remains would've come in contact with granite. GUARD: You are not gonna find nothin' like that up here. BOOTH: Up here? BRENNAN: Up here? (Cut to: The Bank's underground basement where the vault is situated.) GUARD: Old vault. Cut right into the foundation of the place. BRENNAN: Hermetically sealed. Insect proof. Constant humidity. It's ideal. BOOTH: Yeah well, we've got to get inside. PROPERTY GUARD: Heh, you want me to kick down the door? (Cut to: later, still in front Bank Vault door where the FBI specialists are trying to open it.) BOOTH: When I put your old man in jail, you said you understood. BRENNAN: Don't start again, Booth. We'll be together as soon as I replace Zack. BOOTH: Yeah, how's that going by the way? FBI SAFE cr*cker: We're in! BOOTH: They cracked it! (They have a little difficulty opening the heavy vault door. Booth has his g*n out, Bones her flashlight.) cr*cker(s): Here we go. A little bit more. Okay. Easy. (Booth and Bones enter the vault.) BOOTH: Maybe you're mad at me sub-consciously. BRENNAN: What? I don't believe in that. BOOTH: Look, something's changed between us. You can at least admit that so we could figure it out. BRENNAN: Yeah, I would. Yes, if I actually believed anything had changed. (As they enter the inner cage, there's an ominous beeping and a blinking red LED.) BOOTH: Get down! (He tackles her and he falls on top of her to the floor, but the expected expl*si*n doesn't happen.) BRENNAN: Why are your eyes closed? BOOTH: I thought we were going to get blown up. BRENNAN: It's just a transmitter. BOOTH: Oh, now whoever owns this place knows we're here. BRENNAN: I'm curious. In an expl*si*n, how would shutting your eyes help? (Booth and Bones get up and start exploring.) BOOTH: Huh? It just does. Okay, Bones. It just does. Now be careful, we don't know what else is in here. BRENNAN: There's a phrase in ancient Greek b*rned on the back of the vault door. BOOTH: Well, what's it say? BRENNAN: I don't know- its in ancient Greek. (They look around the vault. Brennan notices the items strewn around the vault.) BRENNAN: d*ad languages. Egyptian art. Pythagorean mathematics. Hebrew Scriptures. Gnosticism. Kabala. Alchemy. Druidism. Astrology. Angela can tell us for sure, but I think these artifacts are museum quality. Whoa. Bingo baby! Found Gavin Nichols' violin! (In a different area in the vault, Booth freezes at a sight.) BOOTH: Bones! BRENNAN: What, Booth? What did you find? BOOTH: I... I don't know. (Brennan approaches where Booth is. There is a strange skeleton posed in an arc with arms reaching above in front of a decorative shield as large as the vault door.) BOOTH: What is it? Silver? BRENNAN: Not all these bones are silver. It's possible we just found more of Gavin Nichols. ACT THREE (Cut: The underground vault, now better lighted. Caroline is questioning Hodgins, Angela, & Cam who are making an on-site observation with Booth and Bones.) CAROLINE: That's Gavin's violin. What else you got? HODGINS: This altar is made of the same pink syenite we found embedded in Gavin Nichols' skull. CAROLINE: Where's the rest of him? BOOTH: Probably tossed it into dump trucks from overpasses. BRENNAN: All of the bones found here show teeth marks. CAROLINE: Somebody kidnapped a fiddler and served him for dinner in an old bank vault stuffed with museum pieces. ANGELA: (Indicating the shield where the skeleton is posed) I think this is high medieval. Spanish. Possibly Calabrian in origin. HODGINS: Oh ho whoa, 12th Century Calabrian? You know what that means? (Blank stares from everyone else) The Order of Alcantara? You people have no idea of the reach of the Illuminati, do you? (Eye-rolling from everyone else) I tell you what else, this whole bank is an original vortex point on the triangular grid, designed by the infamous architect of D.C., Pierre Charles L'Enfant; Not to mention, the way the skeleton is displayed absolutely suggest... CAROLINE: (interrupting) Okay, okay we get it. This is the lair of a cannibalistic secret society. HODGINS: Hey you know what - you don't want my answers? Don't ask me the questions. BRENNAN: Someone is replacing the silver bones in the sculpture with human bones. There's no way this manubruim and this sternum came from the same person. CAROLINE: We got a multiple m*rder? ANGELA: Is she pleased? CAROLINE: Hell, you could go your whole career without catching something this... juicy. Who had access to the building? BOOTH: The Building Conservancy. CAROLINE: Run those people. Look for priors. Childhood cat-skinning, all that. BRENNAN: I'd like permission to move the contents of this room to the Jeffersonian. BOOTH: It's a bank vault. CAM: There's room in the basement. CAROLINE: I think this more like 'bring the mountain to Mohammed' situations. (Cut to: Interior, the Jeffersonian, Angela's Office where the PI is reporting to Angela and Hodgins) DOYLEY: You were married by John Kakala who is the head man of a hamlet called Nakavala on the island of Vatulolo during a feast in honor of the shark-god, Daquwaka. ANGELA: Uh, doesn't sound wrong. HODGINS: Can't this headman tell you who Angela married? DOYLEY: He's d*ad. Town was wiped out by tsunami two years ago. The ah island is deserted and no one wants to talk because the place is ah haunted and uh cursed. HODGINS: Of course it is. DOYLEY: Do you happen to remember any Australians? ANGELA: Okay, look they have this local drink called kava that is really - Anyway, when it comes to memory, no. Not so much. Which is probably why when I tried to sketch him, I only came up with this. (She hands him a picture of a face, which is really more abstract and not at all discernible.) HODGINS: Handsome. Why Australians? DOYLEY: Well on or around the day of the marriage license the uh, there was a tramp steamer of out Adelaide. The Innocent City may or may not have been docked on Vatulolo. HODGINS: Let's ah track that steamer down. DOYLEY: It's gonna cost. HODGINS: Not an issue. DOYLEY: Thanks. (He leaves.) ANGELA: You having second thoughts? HODGINS: You kidding? Hey! This is great. Like we are on some epic adventure. ANGELA: Adventure? (They kiss) (Cut to: Interior - the Forensics Platform. Camille and Bones approach Clark, Angela, and Hodgins.) BRENNAN: These are the bones we found on the altar. CAM: Can you confirm that any of these are Gavin Nichols? EDISON: To be 100% positive we'd have to check DNA. CAM: Alright. Let's get that going. (Booth enters and sees the whole g*ng there.) BOOTH: Hahaha. Bones, I mean, you see what going on here, right? BRENNAN: What are you talking about? BOOTH: You, you're getting all of them to help you now. ANGELA: Booth, the vault is filled with priceless artifacts. CAM: And probably materials stolen from other victims. HODGINS: It's going to take months to sift through all that evidence. BOOTH: No, this is enabling. You're enabling somebody with a mental problem. BRENNAN: Zack! BOOTH: No you! You! Bones! You're the one with the mental problem. (Bones points behind Booth, and the rest of the squints looks. Dr. Zack Addy enters in civilian clothes although his hair is closely cropped and he is carrying a military style duffle.) ANGELA: It's Zack! It's Zack. (Runs to hug Zack.) HODGINS: Woo-hoho! ANGELA: What are you doing here? ZACK: Can I, can I move back in the place above your garage? HODGINS: Are you kidding? Of course! Come here. (He hugs Zack.) BRENNAN: Welcome home, Zack! (She hugs Zack.) BOOTH: Did you get wounded or something? ZACK: No, they just sent me home. BRENNAN: When can you start work? BOOTH: (To a resigned Clark Edison) Nice meeting ya, bub. ZACK: If you didn't fill my job, who's that guy? EDISON: Nobody. (He takes off his gloves and leaves the Platform.) HODGINS: Man, you look like crap. CAM: Well, Iraq's not a vacation. ANGELA: I think you look very rakish. Are you starving? ZACK: Actually, what I'd like is get into whatever you were talking about before Br. Brennan's mental problem. (Cut to: the Bone Room with Zack examining the skull.) ZACK: It's hard to concentrate when you're all staring at me. (Camille, Angela, and Hodgins leave Zack and Brennan in the room.) BRENNAN: They're happy to see you. ZACK: The depth of teeth scoring on the skull suggests that it was cooked. BRENNAN: Meaning the victim was d*ad when his face was eaten. Which is good, I guess, given the alternative. ZACK: I'm seeing an interesting pattern in the scoring. BRENNAN: From the windshield? (Zack magnifies a picture of the skull in the digital screen). ZACK: It appears so, but if you kind of un-focus your eyes and allow patterns to arise from what looks like chaos... here... here... here. BRENNAN: I didn't notice that. ZACK: This scoring is different from both the gnawing marks and the damage caused by crashing through the windshield. BRENNAN: (Magnifying even more on a score mark) What is that? ZACK: I dunno. BRENNAN: Did you run it through the x-ray diffractometer? ZACK: And also x-ray micro-fluorescence. Neither showed trace evidence of anything left on the bone by whatever etched that grooved. BRENNAN: That's our answer then. ZACK: But the answer was 'nothing'. (Cut to: Interior - FBI, Booth's office) BOOTH: So our, uh, cannibal has a diamond tooth? BRENNAN: Well, not the entire tooth: a diamond inset, left lateral incisor. It left a distinctive mark on the skull. BOOTH: So if someone in the Building Conservancy or the cleaning crew has a diamond in his tooth - that's our guy! You got him! BRENNAN: I'd like to be in on it when you interrogate him. (Booth looks astounded and pleased.) What? BOOTH: You would? BRENNAN: Why are surprised? BOOTH: Wait, are you serious? I, I've been trying to get you out of the lab since Zack left. BRENNAN: Well Zack's back, so here I am. BOOTH: That simple? BRENNAN: Why? Did Angela say something to you? BOOTH: No. Angela? Why? What? BRENNAN: I told you, that this wasn't about psychology. BOOTH: Fine, fine, hah. Hey, you know what I say, huh? Welcome home Zack! (Cut to: The Interrogation Room. Booth and Brennan have found a suspect, Jason Harkness, a creepy teen.) BOOTH: No, it's not just because you have a diamond tooth. BRENNAN: You don't know why you are here, Jason? JASON: It seems like that part should be your responsibility. BOOTH: Think about it. You're a smart boy, Jason. You went to private school. JASON: Six of them. Got kicked out of every one. BRENNAN: Yeah, for attacking people in their sleep. JASON: I got counseling. I'm cured. BOOTH: So, you did your little community service mopping floors for the historical society people. How the hell did you get in the vault? JASON: At the old bank? BOOTH: He just doesn't really strike me as the kind of guy who would sit beside a vault all night listening to tumblers through a stethoscope. BRENNAN: He probably found the combination while he was cleaning up somewhere. JASON: Nobody can get in the vault. It's what you call impregnable. BRENNAN: Not true. This is the transmitter we found in the vault. BOOTH: Normal guy... comes across a treasure in an vault; Starts, what, selling it off. You went a whole different way. (Bones removes a wax cylinder and unrolls it to Jason.) BRENNAN: Could you bite this please? JASON: No. BOOTH: Dr. Brennan was only being polite. We have a warrant for that tooth, Jason. So, either you bite, or I'll make for you. JASON: What do you need it for? BRENNAN: The diamond in your incisor left a mark on the skull. BOOTH: In the skull that you gnawed on. JASON: Its not like chicken or pork, you know. People always say that. It's more like beef. The face is a little sweeter, more tender. The younger the person, the better. Except for babies. Babies tastes kind of like fish. (Jason bites on the wax cylinder.) ACT FOUR (Open: Medico Legal Lab - the Forensics Platform. Nighttime. Cam and Zack.) CAM: Have you been to bed yet? ZACK: Iraq is from a different time zone. I can't seem to sleep right now. Fibula and tibia of the right leg are from the same person. Left femur from a different person. Three phalanges and one metacarpal, essentially an entire little finger, are yet from another person, probably the violinist. CAM: How can you tell? ZACK: Pressure indicators consistent with years of practice. Manubrium and gladiolus originate from two additional separate people. And this floating rib, an anatomically superfluous rib by the way, is from yet another human being. CAM: Ten bones from six separate victims. ZACK: Yes. CAM: Obviously, Jason Harkness was collecting parts from different people to create ... what? ZACK: I don't know. CAM: There's potential for a lot of victims here. ZACK: But we caught him. CAM: Yes, WE did, Zack. ZACK: Dr. Brennan always says that catching the bad guys is only part of it. The rest is knowing absolutely everything about the evidence. CAM: Why did they send you back from Iraq? ZACK: I failed to assimilate. Despite my accomplishments, I was detrimental to a military team approach. CAM: You're very good for our team approach. ZACK: The army psychiatrist told me that I should question why the Jeffersonian is the only place that I can fit in. CAM: All due respect to the army psychiatrist, but that's a helluva lot more than what some other people get. Go home, Zac-a-roni, get some rest. (Cut to: Diner) DOYLEY: Do you recognize any of these men? (Shows a very grainy black and white photo of sailors on a ship). HODGINS: How is this any better than Angela's sketch? ANGELA: That's him! I mean, he, he fits the general silhouette. (Hodgins stares at the man she pointed. The photo cannot discern his face.) HODGINS: You forgot to mention that he was a giant. DOYLEY: Well, this may or may not be the crew of the Australian tramp steamer, Innocent City. It was scuttled six months after you were married. HODGINS: His hands are like snow shovels. DOYLEY: The, the man that you are pointing to is known as Birimbau to his crew mates. ANGELA: That's it - his, his name is Birimbau. DOYLEY: 'Birimbau' is obviously a nickname. It's a Brazilian flute. Did he, did he speak Portuguese by any chance? ANGELA: Yeah, he most definitely had an accent. HODGINS: Ha, ha look, look, look at this man! How hard can it be to find a guy like that? Probably can see him from the space shuttle. ANGELA: Did Birimbau die when his ship sank? HODGINS: Oh that would be great. No. No. What I mean is we can have him declared d*ad. DOYLEY: He, he didn't die. HODGINS: Too bad. DOYLEY: Last time I found him, he was ah signed on to a Liberian oil t*nk bound for Tierra del Fuego. ANGELA: Oh, okay. That narrows it down. He's a sailor, he's maybe Brazilian, and he's named after a flute. HODGINS: You, you know what else narrows it down: He's a titan - half man, half god. I mean, I can see why... why you've... I mean I totally, I do, I get it. ANGELA: Hodgins, stop it. DOYLEY: Look do I, do I keep looking, because um if you wait three years, you can declare him d*ad. ANGELA: Do you want to wait three years? HODGINS: Do you? ANGELA: Definitely, absolutely not. HODGINS: Me neither. ANGELA: Okay. HODGINS: Keep searching, Mr. Doyley. (Cut to: the Jeffersonian - in the middle of the night. No people seem to be around. Booth and Bones enter rushing.) BRENNAN: Zack? Zack! BOOTH: Well, what did he say? BRENNAN: He said he needed to show us something immediately. BOOTH: Show us what? (They approach the Forensics Platform.) BRENNAN: I don't know. He didn't say; that's why we're here. (They see Zack prone atop an examining table.) BOOTH: Look out! Zack! Zack. Zack? ZACK: Oy! Why are you listening to my chest? BOOTH: Because I thought you were d*ad. ZACK: Why? BOOTH: Why? You are lying on a stainless steel table for d*ad people. ZACK: I got tired. BOOTH: New rules, okay? Sleeping is for couches and beds, stuff like that. BRENNAN: (At one of the computer monitors) Oh. My. God! BOOTH: What? ZACK: I thought you'd want to know. BOOTH: What? BRENNAN: You compared depth, apogee, and dimension? ZACK: Yes. Three times. BRENNAN: And there's no way it that it was a case of pre- and post- diamond inset? BOOTH: What? What? What? ZACK: The newest bones, the phalanges and the skull, bear only the gnaw marks of Jason Harkness. BRENNAN: One bone, the femur, was gnawed upon by Jason and a second person. See the distinct second pattern? BOOTH: So Jason invited, ah, a guest over for dinner? ZACK: Oh, I don't know how to answer that. BRENNAN: No, Jason was the one invited. BOOTH: How do you know? BRENNAN: Well, the oldest bones were gnawed on by another person with no diamond in his incisor. BOOTH: Another person. Not Jason. BRENNAN: There's someone else out there; probably someone older who pulled Jason into this. (To Zack) Good work, Zack. (To Booth) See why he should've never have left? (Cut to: Interior, DC Jail, waiting area, later that night when Booth and Brennan have been denied immediate access to Jason. The are left in a waiting area.) BOOTH: (Sarcastically) Great, thanks! BRENNAN: Show them the badge again. BOOTH: Uh, they don't see why we have to see Jason in the middle of the night. Shift changes in two hours. Hell, they could make us wait till morning. BOOTH: You know, you weren't upset because Zack was gone. BRENNAN: Yes, I was! BOOTH: Okay, yeah, but you were more upset over the fact that I didn't stop him from going in the first place. I mean, look I could've said to him, Zack, 'Iraq is no place for a guy like you'. BRENNAN: And he'd never have left. You could have stopped him. Why didn't you do that? BOOTH: Whatever Zack's deal is- okay his weirdness - whatever you want to call it... BRENNAN: I call it genius. BOOTH: He's a... man. He's a, uhm, he's a strange man, but he's a man who wanted to serve a larger purpose. BRENNAN: This is some alpha male rite of passage? BOOTH: No. BRENNAN: You mean, go to w*r? BOOTH: Wrong. No. Zack needed to leave the nest. The same way you did when you wanted to leave the lab and see the world for the first time. And I helped you do that. How could I stop Zack from doing the exact same thing in his own way? PRISION GUARD: Agent Booth? (Taking them to Jason's cell.) GUARD: So we came in to wake him, this is what we found. BOOTH: Oh my god. (They see Jason naked in his cell, d*ad by a dagger in his chest, but arranged in the same pose as the silver skeleton found in the vault.) GUARD: We are going on full lockup. (Cut to: Basement of the Jeffersonian. The multiple rooms of the underground vault and its contents are being meticulously transferred to an enormous space. Hodgins descends to the space where Cam, Booth, Bones, Angela are there already as are many other squints.) HODGINS: Booth says you need me? BRENNAN: I noticed that Jason Harkness arranged his su1c1de. CAM: If it was su1c1de then someone provided him with the dagger. BRENNAN: His body is arranged in the same position as the silver skeleton. BOOTH: So Hodgins, you think that's a coincidence? HODGINS: Ha ha huh! So suddenly you think my insane conspiracy ravings are legitimate? (Booth and Bones answer almost together.) BRENNAN: No. BOOTH: Yes. BRENNAN: But obviously, there are other insane people out there who have the same ravings and we need your insight. HODGINS: Mhmm. Alright. Alright. Both the body and the silver skeleton are in the attitude of what the ancient Greeks called 'pharmakos' means 'scapegoat' or, or 'sacrifice'. BOOTH: So, what? Like he was being pulled into the sky against his will? BRENNAN: You mean, aliens? HODGINS: One definite possibility. Yes. Also the 'Rapture'. Now as I tried to tell you before, most secret societies have this figure deep in their origins. For Freemasons, it's known as the 'Widow's Son'. CAM: Interesting. Gavin Nichols lost his father when he was twelve. HODGINS: A widow's son. BOOTH: Right, so Jason Harkness k*lled himself to keep his secret society, secret. HODGINS: Or was sacrificed. Hey all the signs point to it. BRENNAN: Strictly speaking, the evidence so far indicates only one other m*rder. CAM: This entire vault is filled with evidence, who know where it will take us? HODGINS: Deeper that you can imagine. Probably get us all k*lled. Just so you know... (He goes to leaves) BOOTH: Thanks man. No no, Hodgins. Really... thanks man. HODGINS: Yeah man. Be safe. (Cut to: Exterior. Bones and Booth walk near the Reflecting Pool around sunrise.) BRENNAN: The ancient Greek section translated the motto at the back of the vault door, 'will no one help the Widow's Son.' (They both sit on a bench.) Hodgins was right. This k*ller's part of something bigger. BOOTH: Here's your coffee. (He offers her one of two cups he has, but she continues on the case.) BRENNAN: Gavin Nichols' violin was in there. I bet there are belongings from other m*rder victims too. We have to catalogue every item in that vault. BOOTH: Hot coffee. (Offers the cup again.) BRENNAN: After we do the visual and microscopic examination of each human bone in the silver skeleton, we'll take samples and do an in-depth auxiological breakdown. We really have a lot to do. BOOTH: Yeah, starting with coffee. (He forces her to accept the cup.) BRENNAN: An isotope profile will allow us to narrow down possible geographical hits... (She starts to lift hot cup to her lips. But Booth abruptly covers her coffee cup with his hand just below her lips, in essence she is kissing his hand.) BOOTH: Hey, it's hot!!! (She brings the cup down.) You were gonna burn yourself, Bones. BRENNAN: Thank you. BOOTH: (He takes his hand away from the cup.) Listen, this whole serial-k*ller, its not gonna be our usual case. BRENNAN: Why? BOOTH: Why? Because its big and he's bad. BRENNAN: I don't see what difference that makes! BOOTH: Cause you have to slow down, right. Take a breath. You have to realize that this is not a sprint, its gonna be a marathon. Marathon, Bones, coming from the Greek meaning 'really really really long run'. BRENNAN: It's not how the word 'marathon' originated. BOOTH: Look, there's something else I gotta know, and it's important. We solid? BRENNAN: You and me? Yeah! BOOTH: No, not just you and me. Squints, too. Zack is back for good. Angela and Hodgins have their head back in the game. Cam, she's locked in. BRENNAN: Why are you asking me this? BOOTH: Because. You and me - the center. BRENNAN: (Nods) And the center must hold. BOOTH: Right. So, are we gonna hold? BRENNAN: Yeah. We'll hold. We're the center. BOOTH: The center. (She holds out her hand. He cautiously takes it. And she shakes it.) Ha hah. BRENNAN: What's funny? BOOTH: Ha, I thought you were going to kiss my hand again. BRENNAN: I did not kiss your hand. You put it over my coffee cup. BOOTH: Huh, felt like you kissed it. BRENNAN: No. BOOTH: No? BRENNAN: Nope. CARD: DEDICATED TO OUR FRIEND, MARIO JACKSON (1961 - 2007) (End Credits)

{"type": "series", "show": "Bones", "episode": "03x01 - Widow's Son In The Windshield"}

foreverdreaming

"Soccer Mom in the Mini Van" Episode 3x02 (Prod 3x03) Written By: Elizabeth Benjamin Directed by: Allan Kroeker Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (A minivan approaches a field where kids are playing soccer. A woman gets out of the car, throws her coffee cup away in a nearby trashcan and looks at the children playing. She then touches her locket, smiles and heads back towards the car. In the car, she tucks a note inside her bag. She backs out of the space and as she puts her car into drive, it explodes) [Cut to: Crime scene a few hours later - crawling with FBI agents. Booth and Brennan get out of the car and approach the mini van] BOOTH: Look, Bones, all I'm saying is that Caroline went though a lot of trouble to get you private visitation with your father, now you don't want it. BRENNAN: The federal detention facility already has visiting areas. BOOTH: Yeah, behind 2 inch glass. Now you'll be able to give your old man a hug.(he demonstrates on Brennan) BRENNAN: I didn't ask for special treatment, Booth. BOOTH: That's because you don't have to because you are special. And you are gonna tell me - whoa - what happened to whatever the hell is melted to that steering wheel and everything else. BRENNAN (looking at the remains): Female. Mid 40's to late 50's. Pelvis indicates she's given birth. BOOTH: Hey, Bones. Look at that. (points to a finger with a ring on it) Married, right? BRENNAN: Wedding ring. Possibility. (to another FBI Agent) Don't just focus on the ground (she points to a leg in a nearby tree then to Booth) Why do you care about my relationship with my father, Booth? You were only too happy to arrest him and put him in prison. BOOTH: Alright, look Bones. Ya know what, it's not about being happy, okay. It's about doing my job. BRENNAN: Do we know if it was a b*mb that caused the expl*si*n? BOOTH: Well, let's see. The roof is peeled back and the doors- BRENNAN: I was asking him. (she points to another FBI Agent) FBI AGENT: We found expl*sive residue all over the van and metal fragments in the bushes. BOOTH: What is that? A Pipe b*mb? FBI: I can't really be sure until the expl*sives unit gets the van back to the lab. BRENNAN: No, they can't have the van. There are remains seared all over the inside of the vehicle and they can't be compromised. FBI AGENT: I have to call- BRENNAN: This van will be brought to the Jeffersonian - your b*mb techs can look at it there. FBI AGENT: I'll....make the call? BOOTH: That's - that's alright. You go, go make that call. Bones, come on . You're a little harsh there, maybe you want to talk it out. BRENNAN: (pulls a necklace from the car) Look, Booth. BOOTH: It's a locket. Ugh, probably her daughter. BRENNAN: Who would want to blow up a soccer mom? ACT I (Cut to: Jeffersonian: Forensics area) ANGELA: Hey, you have a skull for a facial reconstruction? ZACK: Help yourself. ANGELA: Oh, great. Is this all I have to work with? I always hated puzzles. BRENNAN: Hodgins, before we take that hand from the wheel, you might want to check the fingernails for particulates. HODGINS: You know I do. ANGELA: Oh. My. God. ZACK: Shouldn't you wait for the b*mb tech before you gather the expl*sive residue? HODGINS: Hey, just getting enough to verify his results. Remember, he's a government bureaucrat. ANGELA: Hey, you're a government bureaucrat, babe. HODGINS: In name only. I am a passionate, dedicated scientist who will not be cowed by authoritarian pressure. CAM: Stay out of the van until the b*mb tech comes, Hodgins. HODGINS: But... CAM: Out. HODGINS: Fine. I have to check the fingernails anyway. CAM (to Angela): How close are we to ID'ing the victim? ANGELA: Well. This is the skull. I'm good, but I'm not that good. BRENNAN: Perhaps you could use these. There's a portion of tongue, hair and brain matter? ANGELA: Okay. If anybody needs me, I'm gonna go throw up, then do some paper work. (As Angela turns to leave, Booth enters with a female agent) BOOTH: Okay, this is Special Agent Frost from the b*mb unit. AGENT FROST: Booth pulled me out of an important lunch. It took me months to set up that meeting. It better be good, Booth. BOOTH: She'll be working with you, Hodgins. HODGINS (starting at Frost): Yes, please. What? No, no. Um, hmm? Ja..Hodgins. Doc - Doctor. Okay. AGENT FROST: I beg your pardon? HODGINS: It's Ho- ANGELA: He's Dr. Jack Hodgins. Angela. Montenegro. I do facial reconstructions - and him. AGENT FROST: Please to meet you. (she walks over to where the stuff is ) I'm gonna need you to recover all the metallic particulates then I'm gonna need a chemical tray with- FROST & HODGINS: Aqueous buffer solution. HODGINS: Yeah. I know. HODGINS: You wanna perform capillary electrophoresis? FROST: We can do that? HODGINS: Oh yeah. (Angela coughs in the background) And it will save time so Angela and I can have dinner. Alone. ANGELA: Hm (she turns and leaves) BOOTH: License plate was destroyed when we traced the VIN number on the van. It was registered to Jeremy Nash in Culpepper, Virginia. BRENNAN: He looks familiar. BOOTH: Man, our victim was traveling with a lot of stuff - clothes and personal items. BRENNAN: Photo album. Most of the pictures were b*rned, but the man in this photo could be Nash. CAM: She packed herself up, keepsakes and all, and took off in the van? Looks like Mrs. Nash was leaving Mr. Nash. BOOTH: Ah, god. I hate domestic cases. Alright, so let's got talk to the husband. BRENNAN: I can't. I'm seeing my father. BOOTH: Now? BRENNAN: You and Caroline went to a lot of trouble setting this up. I would hate to appear ungrateful. BOOTH: But - (he starts to follow after her, but stops then - to Cam) I'll go talk to, um, the husband by myself. (Cut to: Prison - Day. Max is escorted into a private visiting room to meet with Brennan) PRISION GUARD: Alright, Max. There ya go. MAX: Ooh, gee. Real chairs. It's nice to have an important daughter (he goes to kiss her but she moves away) BRENNAN: This is Booth, not me. MAX: Well, you thank him for me. I always liked Booth. Nicest guy that ever arrested me. BRENNAN: Touching. MAX: Well, you must like this. Me in here. I finally have to follow the rules. BRENNAN: So that makes me less than you because I think people should follow the rules? MAX: You're upset. BRENNAN: Yeah, of course I'm upset. My father's a criminal. MAX: No, outlaw. There's a difference. BRENNAN: Subtle distinctions like that are lost on me and, I imagine, your victims. MAX: I know you want some sort of, uh, nice, neat story that puts my life into perspective for you but it doesn't work that way. BRENNAN: You could try. Don't I deserve that? MAX: I guess I always had a problem with authority. I just always saw myself fighting the system. Kinda like Robin Hood. BRENNAN: Do you realize how ridiculous you sound? You're here for m*rder the Deputy Director of the FBI. MAX: He was a crook. He was a k*ller and he was going to k*ll you. BRENNAN: And you walked out on Russ and me when I was fifteen! MAX: But that was to protect you, people were after us. BRENNAN: Because you were a criminal. MAX: Outlaw. See, I knew you weren't gonna understand. BRENNAN: Ya know what? You're right. This is my fault for expecting we could get past- MAX: We can get past this. We can. The court, they're gonna decide how to punish me but now, here - we'll make this whatever we want. BRENNAN: (She reaches in her bag and pulls out a deck of cards) Here are the cards you asked for. I gotta go. MAX: Wait. These are for us. BRENNAN: What? MAX: Come on. You remember that game we used to play when you were five years old? BRENNAN: Blitz. MAX: Blitz. Blitz. Come on. Let's play a couple of hands. BRENNAN: You always b*at me. I remember that too. A good father would occasionally allow his child to win. MAX: I don't believe in encouraging all that, ah, that self esteem crap. You wanna win? Earn it. That's why you're so good at what you do now cause you know that nobody is gonna hand you anything. BRENNAN: (sarcastically) So you were a great father. MAX: Well, maybe just not as bad as you think. How 'bout this, one hand? Come on. BRENNAN: (gets up and heads towards the door) Let me know if you need anything else. MAX: Oh, oh, oh. Socks. Socks. You know the, uh, with the arch supports? I gotta stand on that chow line forever. (Max watches her as she leaves the room without saying anything) (Cut to: Nash Residence. Booth is questioning Jeremy Nash) JEREMY NASH: A b*mb? BOOTH: Yeah, I'm sorry. Were you and your wife having any problems? JEREMY NASH: What? What kind of problems? BOOTH: Well, she was traveling with a lot of personal stuff: I mean, photo albums and more clothes than she - JEREMY NASH: That "stuff" was for Celia's new dorm room. She was bringing her clothes, thing to help her decorate - You're FBI for God's sakes. You have no idea who did this? What is this your first case? BOOTH: Just relax, okay? I'm just here to help, Mr. Nash, that's all. JEREMY NASH: How do I tell Celia? How do I - tell my daughter- (Cut to: Medico Legal Lab - Room. Focus on a clear box with flesh eating beetles inside.) ZACK: Dermestes maculates. They clean the bones by eating the charred flesh. HODGINS: But they leave behind pieces of shrapnel you might need. AGENT FROST: Fascinating and very weird. ZACK: (with pride) They're mine. AGENT FROST: Not a surprise. (BRENNAN enters.) HODGINS: (to Brennan) Hey! Hi. How as your visit with your- BRENNAN: Not germane to the investigation, Hodgins. (While Brennan is talking, Hodgins is looking at Agent Frost) Zack. Her left shoulder was badly shattered but still shows evidence of old trauma. I need the clean bones as soon as they're ready. I also would like you to look at the manubrium. These shadows look like pitting. Have you determined what kind of b*mb was used? AGENT FROST: I'm still sifting through the debris and waiting for whatever goodies these bugs leave behind. BRENNAN: And Dr. Hodgins is just keeping you company? HODGINS: What? No. I'm - working. Hard. (Brennan and Zack just look at him) I'm gonna go right now and work. Hard. Some-someplace else. So - (he turns to go - Brennan and Zack still staring at him and Agent Frost looking at the beetles) (Cut to: Medico Legal Lab - Basement/Storage. Angela is at a computer trying to figure out some symbols for the Widows' Son case.) HODGINS: Hey. What are you doing down here? ANGELA: Oh, analyzing the iconography for the Widow's Son case until somebody needs me for the b*mb victim. HODGINS: Look, Angie, Um- Agent Frost is a colleague and I am a professional. Okay, so all that stammering and stuff - I mean that's not - that isn't - you know that's involuntary - it's a bodily thing. Yeah. That didn't come out right. Look, I'm not gonna deny that she is attractive - ANGELA: Oh, totally hot. HOGDINS: What? ANGELA: The b*mb from the b*mb Squad. She's totally hot. HODGINS: Yeah, I know. I mean - ANGELA: Look, Jack. I really don't care what's going on in your pants as long as it stays in your pants. HODGINS: You know who's totally hot? You. You are totally - ANGELA: Okay, save it. What have you got? HODGINS: (he hands her some singed pieces of paper found in the van) These were in Any Nash's bag. ANGELA: There's writing on them. HODGINS: Yeah. Yeah, Cam needs you to restore them. ANGELA: Well, I'll give it a try. AGENT FROST: (O.S.) Dr. Hodgins! I need your samples for the spectrometer. HODGINS: I - I - I - I have to uh - so I love you and - (he kisses her on the cheek) ANGELA: Go. HODGINS: Okay. (Cut to: Medico Legal Lab - Hallway. Booth & Brennan are walking) BOOTH: Nash is gonna pick up his kid, tell her in person. I mean, I don't know how you do that. Tell your kid that your mother just got blown up? BRENNAN: I would think a direct approach would be best. BOOTH: What? As opposed to what? Sugar coating it? 'Hey, what do you say we go to the park oh and by the way, your mom just got blown up?' How's your dad? You haven't mentioned him. BRENNAN: Apparently, his feet hurt. BOOTH: You know, I mean his spirits. BRENNAN: Well, he's a con man, Booth. He's always cheerful. BOOTH: What? That's it? BRENNAN: It's not like I ever really had a father. Max was absent for years. BOOTH: Well, here's what I know. I know that Nash girl would give anything to spend one more day with her mother. I'm sure you'd feel the same way if something happened to your father. (Hodgins approaches them) HODGINS: I confirmed triphenylmethane dye and iron sulfate embedded in the manubrium and the flesh. (Booth looks at Hodgins, confused.) Both are found in ball point ink. BOOTH: AH! It's a home made tattoo. HODGINS: Angela's working on recreating the design. (Cut to: Medico Legal Lab - Angela's Office. The computer is trying to render a design of the tattoo) ANGELA: This tattoo appears to have been crudely ex*cuted. BOOTH: Hm, you mean like a prison tat. CAM: No record of her being in prison. HODGINS: In Russia, prisoners made tattoo ink by burning the heel of a shoe and mixing it with soot and urine. BRENNAN: This was a ball point pen, rigged with a sewing needle, pushed down so deep it penetrated her periosteum. BOOTH: Ah! You mean - bone. CAM: Doesn't seem like a very soccer mom thing to do. ANGELA: And...here we go. (the computer starts to finish the rendering) CAM: An inverted pentagram? Devil worship. HODGINS: Mom had a little thing going on the side with Satan? Oh, the burbs. ANGELA: There is a design in the center that I can't quite get. HODGINS: Wait, wait, wait. Is that a fist? BRENNAN: A fist? BOOTH: A fist. ANGELA: Yeah. Oh my God. It is a fist. HODGINS: So she wasn't Satan's old lady - she was in the NLA. ANGELA: NLA? BOOTH: National Liberation Army. HODGINS: Student radicals in the 70's. Thought they could change the world. Set off b*mb in army recruiting offices, torched cop cars- BOOTH: Yeah, real visionaries. They also sh*t and k*lled a cop in '75. HODGINS: That was the burglary. They broke into house of a defense contractor to rip off his safe- said it was the people's money. Here. June Harris and her boyfriend, Neil Watkins were charged with the m*rder, but never found. BOOTH: The FBI's been looking for them for 30 years. CAM: And there they are. ANGELA: And our victim? (she does a side by side comparison of June Harris & Amy Nash) It's the same woman. BRENNAN: So, our soccer mom - was a k*ller. ACT II (Cut to: Medico Legal Lab - Forensics Platform.) CAROLINE: People! Please tell me that all your fancy ass equipment is wrong. BOOTH: Oh! (He covers his ears as she sets off the alarm as she enters the platform and a security guy swipes his card.) BRENNAN: You're not supposed to be up here. CAROLINE: Booth can sh**t me later. (she looks at the remains laid out on the table) This can not be June Harris. BRENNAN: But the dentals match. Angela's reconstruction matches. BOOTH: Amy Nash was June Harris. CAROLINE: Por qui moi? She couldn't have waited 4 days to turn herself into a charcoal briquette? BRENNAN: I - don't understand. BOOTH: Caroline? Why are you here? CAROLINE: June Harris was turning herself in. I arranged with her attorney for the surrender. He was gonna deliver her on Thursday after she said goodbye to her family. BRENNAN: What was the deal? CAROLINE: 9 years. BOOTH: 9 years for k*lling a cop? CAROLINE: For turning herself in and laying this all to rest. And since she still maintained her innocence, this was going to be a tough case to prosecute. BOOTH: Sam Reilly was the lead on this case for 30 years. He was okay with 9 years? CAROLINE: He doesn't know. Part of the deal. He wasn't to be consulted. BOOTH: Well, you know what? It's okay to tell him now. I know Sam. He deserves that much after 30 years. CAROLINE: Up to you, you're the lead now, Cher. You should bring in Huntzinger. He was her attorney. He might know something. HODGINS: Love Huntzinger. Real old time lefty. Worked the Chicago 7 Trial. Sued Nixon, the CIA, Bush - BOOTH: That's great, let's get out of here before Hodgins gives him the pinko medal of honor. (to Brennan) Are you coming? BRENNAN: I can't. Zack and I have to pull the rest of the shrapnel for the b*mb tech and then I have to buy some socks for my dad. CAROLINE: Leave her be, Cher. Absence makes the heart grow fonder. BOOTH: (turning back to Brennan as Caroline drags him out) Socks? (Cut to: FBI - Agent Sam Reilly, Booth & Caroline are coming out of a conference room - and start to walk down the hallway.) AGENT SAM REILLY: I have worked this case for 30 years and you don't think I deserve a phone call? CAROLINE: It was part of the deal. SAM: And you Booth. I trained you. You think this is right? To blow me off like this? BOOTH: I just got thrown the case, Sam. Don't go wailing on me. SAM: Damn lawyers. Working the case for 30 years and you don't think it deserves a damn phone call. Hey. I'm talking to you. (Booth and Caroline turn around) CAROLINE: No. You're yelling at me and my ears are starting to ring. Now I'm sorry after 40 years, as an agent for the FBI, you're still a little girl but I'd like to find out who k*lled June Harris. So how 'bout you stop whining and help. Okay, Cher? (Caroline leaves) BOOTH: So. How have ya been , Sam? SAM: Shut up, Booth. (Cut to: FBI - Observation Room. Sam watches as Caroline & Booth interrogate Leonard Huntzinger) CAROLINE: So what's in the bag, Lenny. HUNTZINGER: Toothbrush, change of underwear. You guys always find some reason to toss me in the can. No belt. No laces. I'm ready. BOOTH: Yeah. Great. Well, we just want to ask you a few questions about June Harris's death. HUNTZINGER: I loved June Harris. I loved what she stood for and what she did with her life. Nobody has her balls anymore. CAROLINE: Except maybe, Neil Watkins. HUNTZINGER: Yeah. You'd love that, wouldn't you. Blame another revolutionary. BOOTH: Do you know where Watkins is? CAROLINE: They were partners in crime. I don't think he would want to risk June turning him in. HUNTZINGER: You ever hear of attorney/client privilege? CAROLINE: Ever hear of Obstruction of Justice? BOOTH: Ya know, a woman is d*ad. She's not a martyr to her family, just someone they loved. CAROLINE: If you can understand that. HUNTZINGER: Cooperating with that system (Sam leaves the observation room) perpetuates that system.. BOOTH: Yeah, yeah. HUNTZINGER: If the system's corrupt- BOOTH: Blah, blah, blah. So what's next, Leonard? Are ya gonna warn Watkins that we're on to him? (Sam bursts through the door and goes after Huntzinger) BOOTH: Sam. Sam. Sam. Sam. SAM: You son of a bitch. Watkins are Harris are not heroes. (Booth holds Sam back) You want to know how they changed society? Ask the kid who's father they k*lled. HUNTZINGER: I know that kid. He became a cop just like his father. Very touching. (Sam goes to go after Huntzinger again and Huntzinger pushes him back.) SAM: You son of a- HUNTZINGER: Get out of here. (Booth steps in again and holds Huntzinger back.) BOOTH: Hey. Hey. Hey. Hey. CAROLINE: You just h*t a Federal Agent, Mr. Huntzinger. Good thing you brought your toothpaste. HUNTZINGER: What a surprise. Lock me up to shut me up. You should be talking to that kid, Valenti, instead of busting my ass. The pig comes to me the other day, he wants to know where June is. He said he got a letter from her, as if she's write him or I'd give her up. Hey. (He lifts up his shirt) See these bruises? A gift - from your noble son of a cop. (Cut to: Prison - Day. Max is in the visitors room with Brennan.) MAX: Nice and soft. I'll be the best dressed on cell block 8. Thanks. BRENNAN: Sure. MAX: (sighs) Honey. I'm sorry. BRENNAN: For what? MAX: For- for being such a disappointment as a father. You deserve better. And I should have told you sooner. (Brennan says nothing) Well, that's it? Nothing? BRENNAN: Well, what were you expecting? I agree with you. MAX: I was expecting some tears or a hug or something. I did apologize. That's what you wanted, isn't it? BRENNAN: Well, you didn't mean it? MAX: Of course I meant it. Listen. Under any objective standard you have a horrible human being for a father but I'm trying to move on. I got caught so that I could be with you. I was hoping you'd meet me half way. BRENNAN: I'm here, aren't I? (after a pause) I - (she reaches into her bag) got you shampoo. Soap isn't good for your hair. MAX: Oh, nice. I - I don't want to smell to good, that could be a problem around here. (Brennan smiles) There, see. That's better. Thanks. BRENNAN: Sure. MAX: So the prosecutor's gonna want to talk to you about me. It wouldn't hurt if you, uh, had some good things to say about your old man. Might even offer to testify on my behalf. BRENNAN: Is that why you finally apologized? MAX: What? BRENNAN: To use me? Maybe you'd like me to alter evidence now. That way I could join the family business. MAX: How could you think that? BRENNAN: I don't know, Max. Maybe because I seem to pass in and out of your life when it's most convenient. Maybe because you built a whole career using your considerable charm to manipulate people? MAX: Wait, listen. I know that it's hard to trust me, I know, and it's gonna take some time to fix things, but we can - BRENNAN: No. No. Some things break and you can't put them back together again. That's just the way it is. I was find on my own, Max. I was just fine. (she gets up and leaves) MAX: Wait, please. (he's left in the room, alone) (Cut to: Medico Legal Lab - Hodgins work area) AGENT FROST: Electrophoresis in HPLC shows potassium nitrate, charcoal and sulfur in a 75/15/10 ratio. HODGINS: Graphite glaze, triple F goex. Supporting grade - AGENT FROST: You are a constant surprise. HODGINS: Yes. Yes, I am. AGENT FROST: I don't know many people who get as excited as I do about the chemical makeup of expl*sives. HODGINS: Well, I - complex molecular structures. Hey, how's it coming - with the-the-the detonator? AGENT FROST: Seems to be a wristwatch. Pretty much destroyed in the blast. HODGINS: (looking in the microscope) Microscopic glass chips. Probably the crystal. I'll, uh, take a look at the -uh (Frost leans over him and looks in the microscope) composition to see if I can - um - locate a - manufacturer. AGENT FROST: Great. So, where do you want me to dump this junk? HODGINS: You're tossing the air filter? AGENT FROST: I tested it for expl*sive residue. There wasn't any. It was blown free from the car. HODGINS: Yeah. Even better. Do you have any idea what kind of treasures might be trapped in here? Don't touch my things. (to security guard) Watch her. (Cut to: Medico Legal Lab - Zack is showing Cam his findings) CAM: She was sh*t too? ZACK: The entry presented itself when I was removing shrapnel from the reconstructed shoulder. CAM: Are you sure it's not from the b*mb or the f*re? ZACK: No. The fragments are lead in a copper alloy coating. CAM: Yeah. That's a b*llet. I didn't find any dried blood on her clothes. When was she sh*t? ZACK: Damage from the blast makes it difficult to tell when the sh**ting occurred. I'm going to check the remodeling to estimate a time. CAM: Hitting the top of the shoulder wouldn't be severe injury. ZACK: She could bandage herself and still be ambulatory. CAM: You know you could say 'walk around' instead. I wouldn't f*re you. ZACK: 'Walk around' implies aimlessness, which I'm not able to determine. CAM: Can't believe I still ask these things. Send every thing you got to ballistics at the FBI. ZACK: I'll inform Dr. Brennan. (Cut to FBI: Corridor. Booth, Brennan and Sam are walking) SAM: Does not make any sense. The van was rigged blow up, why sh**t her? BRENNAN: Well, until we see what ballistics determines, it's absurd to speculate. SAM: Speculating's kinda what we do here. BOOTH: Listen. Danny Valenti is a cop. June Harris m*rder his father. He has a g*n. SAM: He's a good kid, Booth. He didn't do it. BOOTH: (Brennan bumps into him, then to Brennan) Out. BRENNAN: But that is meaningless speculation. SAM: Is she really necessary? BOOTH: She's my partner. BRENNAN: Mentors often feel thr*at when their students surpass them. BOOTH: Bones! BRENNAN: Well, it's true, Booth. Change can be difficult to accept whether it comes in the form of a revolutionary or the simple passage of time. SAM: If she were a guy, I'd deck her. BRENNAN: Well, you know, that distinction is no longer necessary, but I wouldn't recommend it. (Booth pushes Brennan into the interrogation room) BOOTH: Go, Sam. (Booth pushes Sam into the interrogation room) Thank you. (Cut to: FBI - Interrogation Room.) BOOTH: Officer Valenti, credit card records show that uh, you bought gas near June Harris's home. VALENTI: I didn't know where she lived. Just the town from the post mark on the letter. BOOTH: Her apology letter. VALENTI: (scoffs) She should have had the nerve to come talk to me, face to face. BOOTH: So that's when you went to Huntzinger. VALENTI: Yeah. BRENNAN: And h*t him. VALENTI: He protects people like her. BRENNAN: That's his job. VALENTI: I was five years old when my father was k*lled. My mother told me he wasn't coming home again, I didn't believe her. I sat by that window waiting, everyday, for months. BOOTH: You seem pretty angry about that. SAM: Why didn't you tell me what you were gonna do? VALENTI: You'd try and talk me out of it. BRENNAN: Did you know how little time she was going to serve? BOOTH: Because that might make someone take matters into their own hands. VALENTI: I'm a cop, man, I didn't blow her up. SAM: Booth- BOOTH: Sam, it's my investigation. Officer Valenti, I'm gonna need your g*n. VALENTI: Why? BOOTH: Because June Harris was sh*t before she died. BRENNAN: We'd like to make sure the b*llet didn't come from your g*n. VALENTI: You're gonna let them do this to me, Sam? SAM: It's just a formality, Danny. VALENTI: Then let's be formal. Get a warrant. ACT III (Cut to: FBI - Booth's Office. Sam is alone reading a folder - as Booth & Brennan enter.) BOOTH: Sam! SAM: Ballistics says that the b*llet was NOT a match for Danny's g*n. BRENNAN: Booth should have that report first. He's the lead. SAM: You know, Booth. She must be really good in bed because I can't see any other reason you keep her around here. BRENNAN: I am. Very good. But Booth has no direct knowledge of that fact. BOOTH: Okay, okay. Let's all stay focused here, people. Okay. Sam, you know what - you should never- SAM: But it was a match for the g*n that k*lled Danny's father 30 years ago. BOOTH: Right. The same g*n that was registered to Harris's old boyfriend, Watkins, but it was never found. SAM: Everyone we interviewed at the time said Harris would never make a move without talking to Watkins first. I told you, we need to find him. BOOTH: Yeah, okay. We will, Sam. You just gotta give me some room. (Booth goes to leave but Sam grabs him arm) SAM: Hey, Booth. Don't cut me out. I've worked my whole career for this. BOOTH: As soon as I find something out, I'll let you know, Sam. (he places him hand on Sam's arm and then heads out) (to Brennan) Come on, Bones. (They leave, leaving Sam alone, once again, in Booth's office) (Cut to: Nash Residence. Jeremy Nash is looking at a picture that Booth & Brennan gave to him to look at) JEREMY: I remember seeing a picture of him before. I was going through some old photographs, cleaning out a closet. Amy said it was an old boyfriend. BOOTH: Hmm. They keep in contact? JEREMY: No. I mean, uh, she would have told me. Why? You don't think that - did he k*ll her? BOOTH: How long did you know about your wife's real identity? BRENNAN: Yeah, how long? JEREMY: I only found out a couple weeks ago. (His daughter, Celia, enters the room) CELIA: Why didn't you tell me? What? You didn't think I should know about my own mother? JEREMY: She didn't want me to tell you. She wanted to do it herself. BRENNAN: Your wife never talked about her past? CELIA: She used to say only the future was important. All we could do was change the world. JEREMY: They didn't agree on how. Celia was, uh, a bit conservative for Amy. CELIA: That never mattered. She wasn't some crazy radical to me. She was my mom. BOOTH: You must have been relieved she got such a great deal. JEREMY: What deal? BRENNAN: She didn't tell you? JEREMY: She mentioned she was thinking of talking to a Federal Prosecutor - but I talked her out of it. BOOTH: Well, you do know it's a felony, aiding and abedding a fugitive. JEREMY: You want to charge me? Fine. But saving my family doesn't feel like a crime. Amy was a good mother. A wonderful wife. BOOTH: You mind if we take a look around? See if there's any evidence linking your wife to Watkins? JEREMY: The house is yours. (to Celia) Come on, sweetie. (Cut to: Medico Legal Lab.) ZACK: The only reason we found any lead or copper in the shoulder was because of the blast. There was advanced bone remodeling. CAM: So it's a very old injury. ZACK: Yes. Bone had completely grown over it. CAM: And since it was the same g*n that k*lled the policeman and was never recovered, I think we can assume that June Harris was sh*t during the robbery. ZACK: I also found microscopic lead particles on the metacarpals on the left hand with the same degree of remodeling at the shoulder. CAM: Another g*n sh*t? ZACK: No. The same one. The metals are an identical match. CAM: So she was sh*t in the hand and the shoulder with the same b*llet? Is that even possible? ZACK: Angela could give us a scenario that could tell us. (Cut to: Medico Legal Lab - Angela's Office - everyone is standing around the Angelator) ANGELA: I'm creating a trajectory analysis factoring in both the hand and the shoulder. These are photos from the crime scene, 30 years ago. ZACK: That's the home of the defense contractor, Gerald Locklear, where the NLA burglary occurred. CAM: June Harris and NealWatkins were in Locklear's office at the back of the house. ANGELA: The original FBI photos were crude. Based on finger prints and scuff marks on the floor. It was assumed that June stood guard while Neal emptied the safe. CAM: When officer Valenti walks in, surprising them, June fires - k*lling Valenti - BRENNAN: But that wouldn't explain her injuries, unless - June emptied the safe while Neal stood guard. ANGELA: Exactly. Neal aims at Office Valenti but June steps between them, raises her hand to stop Neal, but he fires. BRENNAN: She was trying to protect the policeman. CAM: June Harris was telling the truth. She didn't k*ll Valenti, Neal Watkins did. (Hodgins enters) HODGINS: He also made the b*mb. The watch used to make the timer? Was coated with a volatilized pigment used by the Sawyer Time Company. (They all head over to the computer. Hodgins pulls up a picture of a watch) BRENNAN: An American flag watch. CAM: Nice ironic touch. HODGINS: Watkins always used the same type of watch when making b*mb for the NLA. It was a signature. They found traces of them a ROTC headquarters, the IRS office- CAM: June told him she was going to turn herself in. HODGINS: He wasn't gonna let that happen. So he made a new b*mb using an old watch and k*lled her. And he left a message for anyone who thought the revolution was over. ANGELA: Sounds like a bad ex-boyfriend. BRENNAN: That's assuming she was in contact with him. CAM: And we have no way of knowing where that would have taken place if she had seen him. HODGINS: Not so sure about that. I have her air filter. It's like an entomological GPS. (Cut to: Medico Legal Lab - Cat walk. Booth is looking out over the balcony. Brennan approaches him, carrying a cup of coffee) BOOTH: What's taking Hodgins so long? BRENNAN: It's an exacting process. (She hands him the cup of coffee) BOOTH: (takes it) Ah, thank you. So um, how did your dad like his socks? BRENNAN: Fine. BOOTH: That's sorta a way to start a conversation there, Bones. BRENNAN: I know. BOOTH: Ya know, look. I'm - I should never have gotten in the middle of all this, I'm - I'm sorry. I was just - I'm just trying to help. BRENNAN: He wanted me to testify on his behalf. He just wants to use me. BOOTH: Well, he's s con man, Bones, that doesn't mean that he doesn't love you. He's just looking for a little payback. BRENNAN: Payback? BOOTH: Yeah. He's thinking that he got arrested so that he could spend some more time with you. I mean, you could at least return the favor by doing something nice for him. BRENNAN: I'm not sure I want a father who's always keeping score. BOOTH: Yeah. Sounds like you are too. BRENNAN: You know what? You're right. This is none of your business. BOOTH: You know what, Bones? You're never gonna forgive yourself if you don't cut the guy some slack just because you're afraid to get hurt. BRENNAN: Ugh, what the hell is taking Hodgins so long? (Cut to: Medico Legal Lab - Hodgins desk. He's looking through a microscope when Angela approaches) ANGELA: Where's the b*mb from the b*mb squad? HODGINS: She went back to the FBI to catalog evidence. Thank god. She was driving me crazy. It was just science all the time. Then, she tries to destroy perfectly good evidence- ANGELA: What about the breasts? HODGINS: I started thinking about them dragging on the floor when she's 70. (Angela leans over and kisses him) How are you doing? ANGELA: Well, that b*rned paper? Is a letter that she wrote. So I'm using the spectral comparator to locate the ink particles. HODGINS: Cool... ANGELA: The, uh, computer is rendering the content now, so. You? HODGINS: I found pollen. ANGELA: oh. HODGINS: Most of it Pinus Appalachiana. Shenandoah (he has a realization about something) Pine - which is only found on Shenandoah Mountain in West Virginia. There was also crushed Pendleton Leather Flower in the tire treads which is only found here in the Shale Barrens along the upper Potamic - it is very secluded between the towns of Hendersonville and Maple Flats. Booth! (he calls up to Booth, still up on the catwalk with Brennan) I know where you can find Watkins! (They start to head down.) ANGELA: That's nice work, Hodgins. You know, my computer, is gonna be rendering for a while. Wanna go to the Medieval storage room? (He reaches down and pushes the head covering for a suit of armor out from under his desk with his foot) ANGELA: Oh. HODGINS: Booth! What the hell is taking you so long. (Angela kisses him again) (Cut to: Booth's car.) BRENNAN: You told Reilly where Watkins is? BOOTH: Yeah, he's meeting us there. BRENNAN: He's too emotional. BOOTH: This is his case. He's invested. BRENNAN: He's irrational. Probably male menopause. BOOTH: What? He's a good man and you know what? There's no such thing. That is a sexist myth. BRENNAN: Factually, hormone production drops in your 50's. Sexual desire decreases. You have to deal with the reduction of muscle mass, erectile dysfunction- BOOTH: Hey, alright, hey. Let's just keep the conversation up, shall we? BRENNAN: And, there's evidence that certain men become very unstable. BOOTH: Do you want me to start talking about your father again? BRENNAN: You're very testy. BOOTH: And 35. I'm only 35. BRENNAN: Okay, okay. BOOTH: They have blue pills for that. (Cut to: Watkin's Residence. Booth & Brennan get out of the car and walk towards the house.) BOOTH: No. I don't like this, it's too quiet. BRENNAN: Wasn't Reilly suppose to meet us? BOOTH: Yeah. (They go around the side of the house, trying to get a look inside. Brennan takes out her g*n) BOOTH: Gee, why didn't you bring the big one? (They enter the house and walk through the rooms, still not seeing anyone. Suddenly, Brennan sees something in the other room.) BOOTH: Okay. (he pushes her shoulder back, wanting her to stay behind him) Bones. (They walk into the room and find Neal Watkins d*ad and Sam Reilly standing over him, holding a g*n) BOOTH: Easy, Sam. Put the g*n down, step away from the body. SAM: Booth, look at him. He did it to himself. I didn't do this, Booth. (Sam places his g*n on the arm of the couch) ACT VI (Cut to: Medico Legal Lab - Autopsy Bay.) CAM: .38 caliber slug - matches the revolver found at the scene. Now positioning is consistent with a self inflicted g*n sh*t wound but could easily have been staged. (Brennan and Zack are looking at x-rays on a screen) BRENNAN: Zack, bring up that hand x-ray. (it appears on the screen) Look at this. ZACK: Asymmetric narrowing on the first metacarpal phalangeal joints. BRENNAN: Ulna deviation, barely discernible. ZACK: Would you like my finger Dr. Brennan? BRENNAN: Please. CAM: What are you two thinking? BRENNAN: Neal Watkins had rheumatoid Arthritis in his hands. (she wraps Zack's finger with an ace bandage) This would approximate the strength of his arthritic finger. Pull. (she grabs Zack's finger and he tries to pull it away.) Harder. ZACK: I'm trying, Dr. Brennan. BRENNAN: Watkins fine motor function would be no greater than Zack's gauzed wrapped finger. CAM: Neal Watkins wasn't able to pull the trigger. BRENNAN: He couldn't have sh*t himself. ZACK: If he couldn't pull the trigger, he wouldn't have the manual dexterity to assemble the b*mb either. CAM: There's one man who knew exactly how Neal made his b*mb. BRENNAN: The same man who worked the case for 30 years. I'll call Booth. (Cut to: FBI - Interrogation Room. Sam is pacing. Booth & Caroline enter.) BOOTH: Hi Sam. Dr. Brennan determined that it wasn't a su1c1de. SAM: What? CAROLINE: The g*n was a plant. Wouldn't be the fist time - an Agent planted a g*n, would it? BOOTH: Well, Forensics searched the house and, uh, they determined that there wasn't enough evidence to suggest that Watkins made the b*mb that k*lled Harris. SAM: What about the watch? BOOTH: That's the thing, Sam. It turns out that two Sawyer Company American Flag watches were confiscated in '74 in LA raid. CAROLINE: We checked the evidence locker. A lot of things were missing - including a watch. SAM: It was a dog case, Booth. That crap was moved off site years ago. You know what happens during a move. CAROLINE: So, you had a 30 year obsession but you didn't keep track of your evidence. You have a good service record, cher. We can make a deal. SAM: Look. I know you have to do this dance, but there is a real k*ller out there. BOOTH: Look, I understand, Sam. I do. I think - you should find yourself a lawyer. (Cut to: Medico Legal Lab - Hodgins approaches the platform) HODGINS: I was cataloging the watch debris and noticed that the oxidation and bacterial erosion of the metal was inconsistent with watches that would have been stored in evidence for 30 years. CAM: But weren't the watches discontinued after '76? HODGINS: Yes, but I found a few available on line for collectors - still sealed. BRENNAN: You traced one to a buyer? HODGINS: Didn't have to. Since the watch was 30 years old, the b*mb had to put in a new battery - he left behind a thumb print. The casing protected it during the blast. I asked the bureau to run the print. (Angela enters) ANGELA: The letter has finished rendering. It's not addressed to Watkins. (Cut to: Medico Legal Lab - Angela's office. Brennan picks up a copy of the rendered letter) BRENNAN: (V.O) Dear Celia. I've done terrible things in my life, things I can't change. I know how much pain this will cause you, but never forget how much I love you. I know we didn't always agree on how, but we both hope for the same thing, a just world. (Cut to: Nash residence. Jeremy & Celia Nash heading out of their house as Booth & Brennan are walking up the walkway towards them.) BRENNAN: (to Booth) Funerals today? BOOTH: Yeah. BRENNAN: They seem like every other, normal, grieving family. BOOTH: That's what everyone seems, is it. BOOTH: Mr. Nash? You're under arrest for the m*rder of June Harris, AKA Amy Nash. CELIA: Oh, that's crazy. BOOTH: I'm sorry, Celia. (Brennan hands her the letter) We know about the watch. (Celia reads the letter while Brennan's V.O. continues) BRENNAN: (V.O.) Even thought I didn't f*re the g*n that took that man's life, I have to take responsibility for it and for my cowardice, hiding all these years.) JEREMY: I caught her sneaking out one night. She had been seeing him. She betrayed me, Celia. She betrayed us. CELIA: How could you do this? JEREMY: 25 years I believed she loved us but she used us to keep her cover- BOOTH: Let's go. (As Booth walks Nash to the car, Brennan stays behind with Celia - V.O. Continues) BRENNAN: (V.O.) - I tried to spare you and your father pain. I know what your father thought when he caught me going to see Neal, but I would rather die than betray your father. CELIA: (to Jeremy) She was trying to get him to surrender too! (Jeremy turns back to her) She was trying to do the right thing, daddy. BOOTH: Let's go. You got the right to remain silent. Anything you say can and will be used against you- (Celia continues reading the letter while Brennan comforts her) BRENNAN: (V.O.) If I've learned anything, it's that we can never let the chaos and injustice make us so blind with anger that we become part of the problem. Understanding, compassion, kindness and the only true revolutionary ideas. When we compromise those, we become what we despise and we lose our humanity. The world might see my legacy of one of v*olence and destruction, but I know that you are my real legacy and for that - I will be thankful everyday. (Cut to: Prison. Visitation Room.) MAX: Hi! I wasn't sure I'd ever see you again. BRENNAN: I thought maybe we could see if we remember that card game? MAX: Yeah, sure. (He pulls out a deck of cards from his pocket) (Cut to: FBI - Booth's office. Sam enters.) SAM: You know, I've kept this bottle of single malt on my desk since '75. I always said when we put this case to bed, I'd open it. I'd like you to help me with that, Booth. BOOTH: Listen, Sam. I - I want to apologize. SAM: Hey. I would have done the same thing myself (he pours Booth some Scotch.) Well, maybe not quite the same thing. I would have slapped me around a little bit. (Booth laughs.) To the changing of the guard. (they clink glasses and drink) (Cut to: Prison. Visitation Room. Brennan and her dad are playing cards.) (Cut to: Lincoln Memorial. It's night and Booth and Brennan are on the steps, talking. Booth is playing with the lid on his cup of coffee.) BRENNAN: How much scotch did you drink? BOOTH: Oh, just enough. You know, I would have invited you, but Reilly. He just - wow - he doesn't like you. BRENNAN: I understand. BOOTH: I'm sorry. Was that rude? BRENNAN: Not from someone who's been drinking. BOOTH: God, you know, I love this place. I love it. I love this country. You know, I tell ya something. If I was working law enforcement back in the day when they threw all that tea, alright, in the harbor - I'm good, alright, I'm - I'm good. I would have rounded everybody up and we'd still be English. BRENNAN: Ya think? BOOTH: Yup. Yup. Definitely. (he signs and takes a sip of coffee) BRENNAN: I saw my father. BOOTH: Wow. I didn't think that you were gonna - do that. BRENNAN: As an Anthropologist, I accept change as the natural order of things - but with him I didn't allow for transformation. Ya know, I predicated his behavior based on a set of outmoded preconceptions. It wasn't rational. BOOTH: Wow. I - I didn't get any of that. BRENNAN: If I was conducting an objective experiment on my father, observing his behavior, I'd have to conclude that he loves me. BOOTH: Hmm. Why? What happened? BRENNAN: We played cards. BOOTH: Cool. BRENNAN: I k*lled him. BOOTH: Good for you. (He leans up against Brennan's shoulder and it fades out with the two of them looking out at the Washington Monument) (END)

{"type": "series", "show": "Bones", "episode": "03x02 - Soccer Mom in the Mini-Van"}

foreverdreaming

"Death in the Saddle" Episode 3x03 (Prod 3x02) Written By: Josh Berman Directed by: Craig Ross, Jr. Transcribed by: ziggystarduzt Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER [EXT. VIRGINIA - WOODED AREA - DAY. A group of boy scouts are setting up camp in the middle of the woods. A LEADER: approaches AARON:, one of the boys, who is in the process of erecting a tent.] LEADER: Aaron, where's Joey? AARON: Takin' a leak. LEADER: (sighing) Buddy system! AARON: Come on! LEADER: Which way'd he go? AARON: I dunno, Jeez, Joey's gotta whiz like every ten minutes, and I- [From offscreen JOEY is heard screaming. Leader, Aaron, and another boy immediately run towards him. They find him a few feet from the main camp area, he is screaming as he has found a maggot-covered corpse in the bushes.] [CUT TO: EXT. WASHINGTON DC - WOODED AREA - NIGHT. DR. CAMILLE SAROYAN is leaning down, examining the corpse while SPECIAL AGENT SEELEY BOOTH: stands watching. Several FBI Agents are investigating the scene, and floodlights have been set up to aid in the investigation.] CAM: Trauma to the forehead... BOOTH: Eyes full of maggots, and all you see is the boo-boo on the forehead. CAM: Hands bound in front of him...Definitely not execution-style. BOOTH: What's the uh, shiny stuff on the nose? CAM: Some kind of emollient. It's around his lips too. You get anything out of the boy who found him? [Enter DR. TEMPERANCE BRENNAN:] BOOTH: Only thing that came out of the kid was vomit. BRENNAN: That would explain the pervasive smell... Why am I here? CAM: d*ad guy, foul play... it's your main function. BRENNAN: With bones. This is... very meaty. CAM: No, there's a bit of bone here...and...there. (Cam gestures towards the corpse) BOOTH: And look at all the maggots. BRENNAN: Bones! I said, not bugs. CAM: Lividity looks fixed. BOOTH: So. It's not a body dump, he was k*lled here. BRENNAN: This is all flesh! Why'd you call me in on this? BOOTH: Wasn't me! CAM: It was me. BRENNAN: Why? Is it because you're trying to think of excuses to put Booth and me together on cases? CAM: I wouldn't do that, Dr. Brennan. BRENNAN: Well, cause we worked things out, and we're fine. (To Booth) Right? BOOTH: Yeah. Hundred percent. CAM: That's...that's not why I called you in. BRENNAN: Then why? [Cam looks at the corpse for a moment, thinking] BOOTH: Feet are missing. CAM: Because his feet are missing. Which...suggests bone trauma, which immediately suggested you. BOOTH: Oh, look at that! Blood. Do you think that's from, uh, the wound on the forehead? [Booth shines his flashlight along a blood trail, which they all begin to follow] CAM: No, too much. BOOTH: Alright, looks like the blood trail stops here... CAM: You want the honour? BOOTH: The honour is all yours. [Brennan and Cam kneel down and begin to dig through the leaves.] BRENNAN: I got a foot! (Brennan holds a severed foot) CAM: Me too. (Cam holds up a second severed foot) BOOTH: Find a third one and I'll be impressed. [CUT TO: INT. MEDICO-LEGAL LAB - AUTOPSY ROOM - DAY. Cam and Brennan are examining the corpse, which, including the feet, is spread out on a platform.] CAM: I estimate time of death at around four days. BRENNAN: Hodgins took a look at the maggots and agrees. Trauma to the frontal bone would have been fatal. CAM: Well, tissue damage indicates some kind of blade. BRENNAN: So does bone damage. CAM: ...Dr. Brennan, you aren't... being competitive between flesh and bone, are you? BRENNAN: ...It's possible. CAM: (Amused nod) Absence of pronounced ecchymosis on the wrists indicates the hands were bound post-mortem. BRENNAN: Consistent with the feet- no hemorrhagic tissue, they were removed post-mortem... Was that competitive? CAM: No, I'm hearing tone, but... could be my imagination. [Enter DR. JACK HODGINS:] HODGINS: Angela is going to be hypnotised. BRENNAN: Why? HODGINS: She's going deep into her subconscious to remember her husband's name. So we can find him, divorce him, get married ourselves, and live happily for all eternity. BRENNAN: You won't live for eternity. [Enter Booth, with a case file.] CAM: I thought you had a name. BOOTH: A name for what? CAM: Angela's husband. HODGINS: Berimbau. But our private investigator says it's a nickname. BOOTH: Well, you can't get much off a nickname. BRENNAN: Berimbau is a little flute. Brazilian. [Hodgins and Cam grin, Booth looks annoyed.] BRENNAN: What? BOOTH: A little flute? HODGINS: Suddenly filled with a sense of... well-being. [Cam begins to remove and weigh the corpse's organs.] BRENNAN: The jury's out on the efficacy and validity of recovered memories. BOOTH: That's great, speaking of names...(Booth raises his file and scans it) I uh, ran the vic's prints, I got a h*t, Ed Milner from Maryland. HODGINS: The shiny substance you found on the victim's nose and mouth? It's sunscreen. Per the manufacturer, it protects and maintains the natural colour of coats, manes and tails. BOOTH: Coats, manes, and tails. Oh, my. HODGINS: Formulated for horses. BRENNAN: Any human applications? HODGINS: Manufacturer recommends against use on human skin. CAM: (Removing particles from the corpse's stomach) Guys? Contents of the victim's stomach are corn...raw oats, and dried molasses. BOOTH: Horse food? CAM: F.Y.I? There's such a thing as too much fibre. BRENNAN: Alright, I can draw inferences from multiple equine implications...(Brennan maximises x-rays of the corpse on a monitor) BOOTH: What? HODGINS: She's goin' along with the horsey thing. BRENNAN: Incised wounds extending into the periosteum of the maxilla between the molars and pre-molars. CAM: Ahhh. HODGINS: What? BRENNAN: His teeth and jaw show evidence of a bit. [Hodgins begins laughing. The others look confused] HODGINS: (Explaining) His name is Ed. [Cam and Booth begin chuckling as well] BRENNAN: Why is that funny? CAM: As in a horse is a horse... [Booth and Hodgins chime in] CAM, BOOTH & HODGINS: (in unison)...Of course, of course. [Brennan continues to look confused] BOOTH:...The famous Mr. Ed? BRENNAN: (Still confused) Mr. Ed? CREDITS ACT I [INT. FBI BUILDING - BOOTH:'S OFFICE - DAY. Booth is interviewing ALICE MILNER, Ed the corpse's wife. Mrs Milner is looking over her husband's case file, complete with photograph of the corpse] MRS. MILNER: He was supposed to be on a corporate retreat in Orlando, Florida. He's in marketing. BOOTH: Are you able to identify your husband's body from that photograph? MRS. MILNER: (Nodding, tearing up) Yes, that's it. I don't understand. Who could have done that? BOOTH: We found your husband's body just outside Harrisonburg, Virginia. MRS. MILNER: Virginia? BOOTH: Did he, uh, mention any recent...disagreements? Friends, coworkers, family members? MRS. MILNER: No. Ed was one of 'those guys'. When we got married, we owned an apartment building, if a tenant couldn't afford the rent, Ed would cut him a break. That's how he was with everyone. BOOTH: Do you have a ranch? Uh... own a race horse, a... pony ride... anything like that? MRS. MILNER: No, why? BOOTH: Did Ed ever go to the race track? Rodeos? MRS. MILNER: I'm not sure Ed even ever saw a real horse up close and in person. Why? BOOTH: I don't have anything concrete right now, but when I do, I'll let you know. [Mrs. Milner nods and breaks down crying.] [CUT TO: INT. MEDICO-LEGAL LAB - BRENNAN'S OFFICE - DAY. Brennan is at her desk, looking at sites about horses on her computer. Enter Booth.] BOOTH: Hey. BRENNAN: Hay is for horses! BOOTH: Heeey, that's funny, Bones! BRENNAN: I found it on this website about horses. BOOTH: Yeah? BRENNAN: Where do horses stay in a hotel? BOOTH: Bridle suite. BRENNAN: ...That's correct. BOOTH: Mm-hm. So did you find out anything useful? BRENNAN: The hooves of champion thoroughbreds are buried separately from the corpses. The hooves represent power, and are given their own resting spot. Our victim's feet were separated from his body. BOOTH: Wait, the victim's wife said he was at a corporate retreat, and his boss said he took time off to spend with his family. BRENNAN: He lied. BOOTH: Yeah, they could all be lying. BRENNAN: How did you know the answer to the bridle suite joke? BOOTH: I have a five year-old son. [CUT TO: INT. MEDICO-LEGAL LAB - AUTOPSY ROOM - DAY. Cam is in the process of weighing organs. Enter ANGELA MONTENEGRO] ANGELA: Hey. Have you seen Brennan? CAM: You just missed her. Booth tracked down the victim's last credit card purchase to a country inn in Virginia. Why, do you need her? ANGELA: Well I'm sort of hoping that she needed me. CAM: Well I admire your work ethic, but she didn't say anything to me. ANGELA: What about you? You need anything? CAM: I am weighing human organs. Not really your thing. ANGELA: Right. Okay. CAM: Are you passing the time until you're hypnotised? ANGELA: (Horrified) Did Hodgins tell everybody? CAM: Oh, he's excited. We all are. Delving into the subconscious to find the name of the mystery husband? Veeery romantic. ANGELA: Well, it won't be so romantic when I divorce him. CAM: Romantic for you and Hodgins when you finally get married... You nervous? ANGELA: No. No, I'm annoyed. I know about this hypnotism thing. I was a magician's assistant at a little gypsy carnival in Brazil. CAM: Now that's an opening line. ANGELA: Ugh, Mysterio was really cute, and I was younger then, and... the whole being sawed in half thing was actually kinda hot. CAM: We were talking about hypnotism. ANGELA: Right. Well this guy could rub an alligator's stomach so I could stick my head inside its mouth? But every time he hypnotised people? It was always a scam. CAM: Angela? Therapeutic hypnosis is a proven technique. Electro-encephalography shows an increase in activity in the cerebral cortex, which opens the subconscious. ANGELA: Really? CAM: Yeah! It alters the alpha and the theta waves. Read the Stanford University study, it's not a party trick. ANGELA: You read that? CAM: And I've been hypnotised myself. ANGELA: Wow...Why? CAM: Well, I was in Vegas. I got called up on stage, and apparently, I clucked like a chicken in front of three thousand people. But I have absolutely no memory of it. ANGELA: Was this little episode in the Stanford study? CAM: No, it should have been. For the next three days, every time someone said 'coffee', I'd cluck. Awkward! ANGELA:. Okay. Why am I not feeling better about this? CAM: Trust me. No crazier than you drinking cava and marrying a giant in Fiji. And Hodgins seems to be pretty cool with that, so... if he wants you to try hypnosis, I'd say... get drowsy. ANGELA: I guess you're right. I've done crazier stuff than this! CAM: Yeah! ANGELA: What can happen, right? CAM: There you go. [Angela begins to leave the room, Cam goes about her business. At the last minute, Angela turns back] ANGELA: (Curiously) Coffee? CAM: Brawk! ... Kidding. It's been two years. [Angela grins and leaves] CAM: Brawk! [CUT TO: INT. AMBASSADORA BED & BREAKFAST - DAY. Booth and Brennan are at the front desk of the bed & breakfast, attempting to interview LUCKY the proprietor.] LUCKY: So, you say you're with the F.B.I. [Booth shows Lucky his badge.] BRENNAN: That is the third time he's shown you his I.D. LUCKY: (Looking at a picture of the victim and scoffing) Why would I know this man? BOOTH: Because we have his credit card history and you're a part of it? BRENNAN: Sir, why are you being so difficult? DUDE: Not difficult. Discreet. BOOTH: What do you do? Run a service for cheating husbands? BRENNAN: (To Booth) Call in the S.W.A.T. team, they're anything but discreet. LUCKY: (Alarmed) O-okay. Okay. That's Mr. Ed. BRENNAN: A horse is a horse, of course, of course? LUCKY: That's the general idea, yes... Come with me, please. [Lucky begins to lead Booth and Brennan behind the desk and into a lounge area.] LUCKY: The Ambassadora is a place where people come to indulge in pony play fantasy twenty-four hours a day without fear of judgement. Mr. Ed? Is a pony. BOOTH: Is this some kind of a sex thing? BRENNAN: How'd you get there so quickly? BOOTH: The man said 'fantasy', I just made the leap. LUCKY: Ed took off a couple of days ago. Which was odd, since he'd prepaid. BOOTH: Prepaid for what? LUCKY: Oh! We're uh, we're in the middle of what you might call our... convention. So unless this is really important... I'd rather not disturb our guests. BOOTH: Well. Two miles from here, in the woods, Mr. Ed was found d*ad. [CUT TO: Lucky leads Booth and Brennan into a main room in the Ambassadora, where a number of half-naked people are leading around also half-naked, whinnying, leather-clad partners dressed as BDSM versions of horses. The "horses" begin to eat from a trough, while the "riders" sit down at a table for their own meal.] BOOTH: Wow, what's goin' on here? BRENNAN: It's a fetish. BOOTH: Uh, so the idea here is that one of them is the horse and the other one is the rider? LUCKY: Basically. BRENNAN: Well, this isn't about the horses. It's about a dominant versus submissive balance of power, a variation on sado-masochism. BOOTH: Those people are eating from troughs... (To Brennan) Do you think that's sexy? BRENNAN: Fetishism is a way of indulging in sexual activity, without actually engaging emotionally with the other person as a fully formed human being. BOOTH: Okay, sex is all about engaging. You don't wanna engage, you just stay home, and... you know. BRENNAN: Well, they have masturbation fetishes. Often involving women's shoes or undergarments- BOOTH: (Cutting Brennan off, embarrassed) Uh, can we just talk to Mr. Ed's mistress, dominatrix...whatever. LUCKY: I'm gonna have to talk to a few people, and ask permission to out them. We have three lawyers, a half a dozen doctors- [Brennan raises her voice and addresses the horses and riders, ignoring Lucky's protests.] BRENNAN: Excuse me? We need to speak to Mr. Ed's groom. Whoever...rode him last. BOOTH: That's a great way to cut to the chase there, Bones, okay. [Booth steps forward and flashes his badge] Alright, F.B.I. And sir, could you turn your behind around so it's... behind. [One rider, ANNE 'ANNIE OAKLEY:' MARIE OSTENBACK rises and turns towards Booth and Brennan.] [CUT TO: EXT. AMBASSADORA BED & BREAKFAST - DAY. Annie Oakley is walking in the mansion's gardens, being interviewed by Booth and Brennan.] ANNIE OAKLEY: My name in the world is, uh, Anne Marie Ostenback. Here, I'm Annie Oakley. BOOTH: Naturally. ANNIE OAKLEY: So Mr. Ed is d*ad? BRENNAN: How well did you actually know him? BOOTH: Obviously she knew him very well. BRENNAN: Sexual fetishes are all about role-playing, she probably never knew his real name. ANNIE OAKLEY: We met online over a year ago. We were a match, I mean compatible in every way. You have no idea how hard it is to find the perfect pony. BOOTH: Don't look at me. ANNIE OAKLEY: Mr. Ed was easy to handle, but he wasn't mindlessly obedient. BOOTH: Okay. ANNIE OAKLEY: And yes. We had sex, if that's your next question. BOOTH: When did you first meet in person, so that you could, you know, um... ride him? ANNIE OAKLEY: Uh, six months ago. I fell in love with him. BOOTH: Meaning, what, uh, a little light whipping? ANNIE OAKLEY: When I say love, I don't mean romantically. I mean the way a young girl feels about her first pony. BRENNAN: Have you ever heard of anything like one pony fighting another? ANNIE OAKLEY: No. No, pony play is not like that. BOOTH: Mr. Ed's body was found only a few miles from here. BRENNAN: Evidence on the body suggested an equine fetish. BOOTH: So you can understand why we might think that someone from your sex game community k*lled him. ANNIE OAKLEY: You should talk to his wife. BOOTH & BRENNAN: (In unison) His wife? ANNIE OAKLEY: Yes, she showed up here and the next morning, Ed was gone. BOOTH: Oh, well he didn't just run off and join a band of wild mustangs now, did he? ANNIE OAKLEY: You know, I'm speaking to you willingly. Without a lawyer present. You could at least pretend to show me some respect. BOOTH: (Sarcastically) Yeah, I'll try. ANNIE OAKLEY: The night Ed took off, I was in the s*ab with him. I'd worked him hard that day, and was rubbing him down. Which is when she caught us. BRENNAN: Did you know he was married? ANNIE OAKLEY: I didn't want to marry the man. I just wanted to play with the pony. BOOTH: How did he react when he saw his wife? ANNIE OAKLEY: He never broke character. BOOTH: What? BRENNAN: He remained a pony. ANNIE OAKLEY: I finished rubbing him down, and I went to bed. Alone. The next morning at breakfast he was gone, I assumed he went back to his wife. BOOTH: Okay. I'd appreciate it if you kept the fact that Ed Milner was m*rder to yourself. [Annie Oakley nods.] [CUT TO: EXT. SUV TRAVELLING ALONG ROAD IN WASHINGTON, DC - DAY. Booth and Brennan are discussing the case. Booth is driving, Brennan is flipping through a pamphlet from the Ambassadora.] BOOTH: What's worse? Okay, finding out that uh, your spouse is having an affair, or finding out that he has a secret life as a pony? BRENNAN: Pony fetishism has been around since the Greeks. BOOTH: Had to have been the wife, right? BRENNAN: Aristotle extolled the joys of being ridden like a horse. BOOTH: Aristotle also thought that the purpose of the human heart was to solve math problems. BRENNAN: I'm surprised you know that. BOOTH: Well, turns out I'm smarter than a fifth grader (chuckles). BRENNAN: And in Victorian England, scantily-clad women put on erotic shows dressed as ponies. BOOTH: Just saying, wife sees some woman in a harness rubbing her husband down, while he's nibbling on oats? That's harsh. BRENNAN: And in sixteenth century Turkey, the king kept s*ab of pony-girls and pony-boys for his pleasure. BOOTH: 'Kay, king of Turkey was a freak. BRENNAN: Why are you being so judgemental? BOOTH: When you turn someone into an object of sexual pleasure, it's wrong. BRENNAN: How do you know? BOOTH: It says in the Bible. BRENNAN: It does not! BOOTH: Then it got left out by mistake. BRENNAN: We are all hard-wired differently, if someone needs to shout 'Giddyup' to heighten arousal...what's wrong with that? BOOTH: Maybe if Ed lived like a man, he wouldn't have died like a horse. That's all. [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. Booth and Brennan are re-interviewing Mrs. Milner] BRENNAN: You knew your husband wasn't in Florida. MRS. MILNER: Yes. I lied. BOOTH: Why? MRS. MILNER: I was married to Ed for nine years. We have kids. My first concern was to make sure that they didn't find out that their father was a pervert. BRENNAN: So his fetish was a surprise to you? MRS. MILNER: Try complete shock! Why would Ed do that? We had a good sex life. BRENNAN: More likely, there was a part of your husband that could never have been satisfied by love alone. BOOTH: Bones that's one of those...We... (Exasperated sigh) (To Mrs. Milner) How did you track him down? MRS. MILNER: What? BOOTH: Well I mean you didn't just, you know, wander into his uh, his s*ab or- or paddock, or whatever. MRS. MILNER: No, I really did think he was in Orlando on a business trip. I got a call. BRENNAN: From whom? MRS. MILNER: A man. He said Ed was with another woman and told me where I could find them. He didn't mention the pony stuff. BOOTH: Did you recognise his voice? MRS. MILNER: No. BRENNAN: Anything distinctive at all? MRS. MILNER: (Sighing) An accent. Um, Australian, maybe? English? BOOTH: So... you walked in on Ed and his...um... BRENNAN: Rider. BOOTH: ...Rider. MRS. MILNER: Is that what they call it? BOOTH: What happened next? MRS. MILNER: I got the hell out of there, I drove home. BRENNAN: Did you hear from him again? MRS. MILNER: No, I engaged a divorce attorney right away, who said all communications should go through her. BOOTH: Did anyone see you come home that night? MRS. MILNER: Why is that important? BOOTH: I think you know why it's important, Mrs. Milner. MRS. MILNER: Agent Booth? If I had k*lled my husband, then I wouldn't need a divorce lawyer, would I? BOOTH: No. But you would need an alibi. ACT II [INT. FBI BUILDING - BOOTH:'S OFFICE - DAY. Booth and Brennan are discussing the interview with Mrs. Milner. Brennan is playing with a wooden bat Booth has in his office.] BOOTH: So you don't think she did it, hm? BRENNAN: No. BOOTH: (Indicating the bat) You wanna put that down? Why, because of the whole lawyer alibi thing? BRENNAN: No, because of the feet cut off thing. It was ritualistic. The k*ller knew about horses. [Booth and Brennan leave Booth's office, walking into and through the bullpen of the department.] BOOTH: Or maybe she started cutting him into little bits to scatter across the countryside and it was too much work for her, or maybe it made her sick, or he wouldn't fit in the trunk. BRENNAN: Booth. We are immersed in a culture here. BOOTH: Pony play is a culture. BRENNAN: Anthropologically speaking. And not just because of the feet: Ed's hands were tied together, historically ranchers bound the front two legs of horses to prevent them from straying. Not to mention all the other equine attributes associated with this case. Yes! This is a culture, and we need to investigate accordingly. [Booth and Brennan arrive at the elevator, both reach to press the button at the same time.] BRENNAN: Do you still think she did it? BOOTH: Naw, not now. BRENNAN: We need to find the mystery caller. [The elevator arrives, they enter it] BRENNAN: If he had a reason to contact Ed's wife, he had a motive to m*rder him. BOOTH: Right. So what, back to the Ambassadora? BRENNAN: Giddyup. BOOTH: Yeah, uh, don't- don't say that. [The elevator doors close.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. Hodgins observes while DR. ZACK ADDY coats Ed Milner's skull with a foamy substance called Microsil.] ZACK: There were radiating fractures along the edges of the wound, which suggest the tip of the blade was blunt. [Hodgins reaches for the tube of Microsil.] ZACK: I'm trying to determine the type of w*apon. HODGINS: Fill the negative space with Microsil, thus determine the approximate shape of the blade's tip. ZACK: Yes. HODGINS: You know, this guy got his rocks off pretending to be a horse? (Snickers) ZACK: Yes. HODGINS: (Thoughtfully) I've never tried that. ZACK: I pretended to be a horse a lot as a child. But there was no sexual component. What melon is in season? HODGINS: Wh- why? ZACK: Once I've ID'd a possible m*rder w*apon we'll want to compare an exemplar to the entry wound. HODGINS: ...Cantaloupe. [Hodgins smacks Zack on the back and walks away.] [CUT TO: EXT. AMBASSADORA BED & BREAKFAST - DAY. Booth and Brennan exit the mansion and find the "riders" running their "horses" through a series of routines.] BOOTH: Okaaay, what is this, sicko rodeo? BRENNAN: Stylised movements, uh, posturing as a kind of sexual signal. BOOTH: Who are these people? BRENNAN: In real life they tend to be very orthodox. You heard what Lucky said, they're lawyers...judges... FBI guys... BOOTH: (Laughing nervously) This is not normal, okay, it's uh... BRENNAN: It's what, Booth? BOOTH:...You're not interested in, uh... BRENNAN: Pony play?! No, but I'm the first to admit that in sexual situations, I have indulged in... role-playing. BOOTH: 'Kay, you know what, it's getting a little warm out here, what do you say we go back- [Lucky approaches from the group of "horses" and "riders".] LUCKY: Hey there! Any uh. Leads? BRENNAN: We're wondering if any of the riders or ponies has an accent. LUCKY: Uh, Thor. [Lucky gestures to CALVIN: "THOR" JOHNSON, who is working with Annie Oakley.] LUCKY: He grew up in England. BRENNAN: With Annie Oakley? LUCKY: Yeah, that's right. BOOTH: You know, I'm gonna need Thor's actual normal human name. LUCKY: CALVIN: Johnson. BOOTH: CALVIN: Johnson, that's great, (To Brennan) Come on. (To Lucky) Thanks. [Booth and Brennan walk away from Lucky, towards Thor.] BRENNAN: We all indulge in role-playing in sexual situations. BOOTH: Oh, not me. Completely normal here. BRENNAN: Booth, any time you look at a woman and make the judgement that she's beautiful, you're objectifying her. Any time I put on lipstick and nice clothes, I'm objectifying myself. It's more subtle than what these people are doing, but otherwise it's the same dynamic. [They come to Annie Oakley and Thor, who is prancing around in a circle like a horse, complete with leather harness, ears, and bridle.] BOOTH: 'Kay, you wearing lipstick, Bones, it's not like this. Uh, CALVIN: Johnson. [CALVIN: completely ignores Booth and continues prancing.] BOOTH: CALVIN:. Johnson. ANNIE OAKLEY: He's wearing a bit gag. [Brennan reaches for the elaborate bit gag] BRENNAN: Could I help you take that off? [CALVIN: starts whinnying loudly, Brennan steps back.] ANNIE OAKLEY: Not until I say so. BOOTH: Well, we either talk to him here, or we all go downtown and he misses a whole day of horsin' around. BRENNAN: How do you release him from his pony persona, is there a word? Motion? [Annie Oakley taps Thor twice on the forehead, he immediately straightens up and ceases to behave like a horse.] BOOTH: Oh, just tap him on the forehead. [Annie Oakley gives Booth a dirty look, CALVIN removes his bit gag.] CALVIN: So, what's up then? [CUT TO: EXT. AMBASSADORA BED & BREAKFAST - DAY. Booth and Brennan are now in a more secluded area of the mansion grounds, interviewing CALVIN: as they walk along.] CALVIN: Hardly even knew Ed. Never even spoke to the guy. BOOTH: Oh, well then why'd you call his wife? CALVIN: I'm fairly certain you can't prove that was me. BRENNAN: She recorded the call, we could do voice analysis. BOOTH: Yeah, you know what, and if you lie we'll charge you with obstruction of justice. BRENNAN: And public display of sexual paraphernalia. CALVIN: Okay then, yes. I called her, so what? BOOTH: Why'd you call her, CALVIN:? CALVIN: Swap recipes. BRENNAN: He did it so he could have Annie Oakley as his groom. CALVIN: Oh, come on, ratting on a guy to his wife is hardly a federal crime, is it? BOOTH: How'd you get his home number? CALVIN: It was under 'home' on his cell phone. Ed Milner's an idiot. BRENNAN: Was an idiot. BOOTH: Now he's a m*rder victim, so what happened there, Thor? Ed's wife showed up, but to your chagrin she left without him, so you did what you had to do in order to get your groom back. CALVIN: Annie's one hell of a jockey. But she's not worth k*lling for. I did not k*ll Mr. Ed. I may enjoy being dominated by the ladies from time to time, that doesn't make me crazy. BOOTH: Might wanna take a look in the mirror there, My Friend Flicka. [CALVIN:, annoyed, turns to leave. Booth grabs onto his reins and pulls him back to face him.] BOOTH: Whoa. Oh, no. CALVIN: I went to Stanford Law. Clerked for a federal judge. Might want to rethink your actions there, Agent Booth. [Booth stares at CALVIN: a moment, then releases his reins.] CALVIN: Thank you. [Exit CALVIN:.] BOOTH: Yeah, he's got motive. BRENNAN: He knows about horses. BOOTH: What was with all the lying? We've got voice tape, and public display of sexual paraphernalia... BRENNAN: It was role-playing! I was being all 'lard-ass and good cop.' BOOTH: Hard-ass and bad cop, Bones. Hard-ass and bad cop. [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. Hodgins enters, carrying a cantaloupe in each hand. Angela has several boxes in front of her, and is shaking a notebook emphatically.] HODGINS: ...What's goin' on? ANGELA: You first. HODGINS: Cantaloupes. Zack and I need 'em for an experiment. ANGELA: Of course you do. I talked to Dr. Jasper, that hypnotist. HODGINS: Yeah? ANGELA: She asked me to bring in photos. But all I could find are these. [Angela holds up a cubist-style painting and a photograph of several men and boys on a staircase.] HODGINS: Yeah, I'm not sure those'll be any help. ANGELA: Which is why I'm looking for the wedding photo. HODGINS: You were married on the beach at dawn in the middle of nowhere. ANGELA: Well, when I got off the phone with Dr. Jasper, I remembered that somebody snapped a Polaroid of me right after I said "I do." And I stuck it in a book as a bookmark, but I, I can't find it. You know, I really hate going through the story of marrying a guy. I didn't even know his name. People are looking at me like I'm nuts. HODGINS: You are. ANGELA: (Sarcastically) Thanks a lot. HODGINS: Come on, Angie, embrace the irony. It's what makes you you. You married him, then you're gonna marry me. None of it makes any sense. ANGELA: I'm supposed to take advice from a guy who's walking around with honeydew melons? HODGINS: Cantaloupes. It's a common mistake, and hey! You need to relax. You want me there when you go under? I can hold your hand or something... ANGELA: (Annoyed) I'm not going under. I'm being hypnotised. HODGINS: Oh-kaaay... [Hodgins clears his throat, raises his cantaloupes in the air, and begins to back out of Angela's office] HODGINS: This is me, walking away with my melons so you can relax. I love you. Psycho. [Exit Hodgins, grinning.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. Zack is removing the now-dry Microsil from the fracture on Ed Milner's skull. Hodgins enters, still carrying the cantaloupes.] HODGINS: Ta-da! ZACK: The w*apon was blunt, an inch wide, and curved. HODGINS: That's unusual ZACK: Not if you're a horse. HODGINS: Um, I'm not a horse. ZACK: But the victim was. At least, he pretended to be one. [Zack holds up a Kn*fe.] HODGINS: What is that? ZACK: A hoof Kn*fe. They're curved to conform with the natural shape of a horse's foot. Could I have one of those honeydews? HODGINS: It's a cantaloupe. [Hodgins hands a cantaloupe to Zack, trading him for the Kn*fe.] ZACK: My research shows that horses are slaughtered by a single blow to the forehead. HODGINS: Alright, now I'm thinking that we should place the melons at exactly five foot eleven, which was the victim's height. And then we should devise a plan to pull the cantaloupe away, because he most likely saw the Kn*fe coming- [Zack, ignoring Hodgins, s*ab the Kn*fe into the cantaloupe.] HODGINS: ...Okay. Fine. [He s*ab the Kn*fe into the other cantaloupe.] HODGINS: You know, we used to think things through together. ZACK: I... I apologise. It's possible that my time in Iraq transformed me into a man of action. I'll watch out for that. [Hodgins compares the marks on the cantaloupes to the fracture in the victim's skull.] HODGINS: Looks like we found the right w*apon. ZACK: Mr. Ed wasn't just playing like a horse, and having sex like a horse... HODGINS: He was slaughtered like one, too. ACT III [INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY. Hodgins is explaining his theory of the m*rder to Cam.] HODGINS: Alright now, the victim's hands were tied together like this- [Hodgins demonstrates by tying twine around Cam's outstretched wrists] HODGINS: -With baler's twine. CAM: Bales of hay baler's twine? HODGINS: Yep. It's embedded with a UV protected filament that prolongs the life of the twine in sunlight. The technology is patented, and they sell directly to the consumer. They had only two hundred and twenty eight sales last year. CAM: Booth can get a warrant to identify all the pony players and cross reference. HODGINS: I'm on it. [Hodgins turns and quickly walks away, leaving Cam standing with her wrists still bound.] CAM: Hodgins? Hodgins! [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA:'S OFFICE - DAY. Angela has her eyes closed, and appears to be meditating. She hears a sound, but keeps her eyes closed.] ANGELA: Is somebody there? Hodgins? [Brennan has entered her office, and responds.] BRENNAN: Why don't you just open your eyes? ANGELA: Ah. Sweetie. It'll break the spell. BRENNAN: What spell? Are you still hypnotised? [Angela finally opens her eyes, and gives a disappointed sigh.] ANGELA: No. It never took. BRENNAN: Why? [Angela stands up and sits in a chair across from Brennan] ANGELA: Cause that doctor said that I wasn't relaxed enough. I mean, can you believe that? I mean, how would she know if I'm relaxed or not? BRENNAN: ...You're twisting your bracelet, your voice is half an octave higher than usual, and you smell like nervous sweats. ANGELA: Oh, don't say that... Really? I'm going back there at six. She says that if my pulse rate is still above sixty, that she's gonna push me off 'til next week. BRENNAN: Rapid pulse rate, high blood pressure, they're indicators of emotional distress. ANGELA: What, you think I don't want to be hypnotised? BRENNAN: ...I simply made a factual observation. ANGELA: Ah. You think I'm afraid of disturbing old memories. You think that somehow I- I like this idea of Berimbau as some sort of untouchable fantasy figure. Hmm? That somehow finding his real name will just bring him down to Earth and make this whole... meshugaas banal and uninteresting. BRENNAN: (confused) I don't...know...what 'meshugaas' means. I'm not sure I know what any of that meant... Why do I feel like I need to apologise for something? ANGELA: I'll be ready next time. Okay? You'll see. Could you excuse me? Sweetie? [Brennan gets up to leave] ANGELA: Hey! Shut that door behind you. [Brennan, confused and irritated, leaves. Angela checks her watch and continues to look unsettled.] [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. Booth is in the midst of interrogating Lucky. He is showing Lucky the baling twine.] BOOTH: You recognise that? LUCKY: Yeah. That'd be twine. BOOTH: Yeah. Fairly specialised stuff, huh? Doesn't deteriorate in the sun... only the best for your pony clients. LUCKY: Get it off one of my hay bales? BOOTH: Got it off the corpse of Ed Milner. LUCKY: Do I need a lawyer? BOOTH: That's your call. LUCKY: I didn't k*ll Ed. BOOTH: We traced the owner of that twine to the Ambassadora Ranch. LUCKY: Any of my guests could have taken this twine off my hay bales. BOOTH: Your company used to be co-owned by your ex-wife 'til recently? LUCKY: I paid her off in the divorce. BOOTH: Yeah, your ex-wife being Anne Marie Ostenback? Rider named Annie Oakley? Ed Milner's sex partner, you can see how things are starting to line up against you here, Lucky. LUCKY: We aren't married anymore. BOOTH: You're gonna tell me that it doesn't bother you to see your ex-wife playing sex games with other men? [Lucky is silent. Booth picks up a page of paper and shows it to Lucky.] LUCKY: What's that? BOOTH: It's a warrant. LUCKY: I already told you, I've got that twine all over the ranch. BOOTH: We'll be looking for a hoof Kn*fe. LUCKY: I've got a hoof Kn*fe. BOOTH: Great! LUCKY: But it was stolen. Four days ago, from my truck. BOOTH: Did you report the theft? LUCKY: Come on, like the cops are gonna care about a ten dollar Kn*fe? Think I know who did it, though. BOOTH: I'm listening. LUCKY: I have a rider client. Named Tom Mularz. Couple days ago he starts passing out fliers advocating the consumption of horse meat. But, what do you expect? He's a butcher. BOOTH: Why'd he break in your truck? LUCKY: Well, I took the fliers from him, I tossed them in the truck, and I kicked him out of the convention. BOOTH: So he took back the fliers and the hoof Kn*fe. LUCKY: I dunno. All I know is I came out the next morning, the fliers were gone, so was the Kn*fe. (startled) That is the same morning that Ed Milner was missing! BOOTH: (Sarcastic) Wow... you just figured that out. [Booth shakes his head patronisingly.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. Zack is examining Ed Milner's foot bones when Hodgins enters.] HODGINS: Aww, I found something very interesting! ZACK: The victim's feet were severed from the body with remarkable skill. HODGINS: Excellent insight, Zack. But the polite response is, 'Really, Hodgins! What did you find?' ZACK: There's a sharp-force disarticulation from the distal tibia and fibula, passing cleanly above the talus. HODGINS: No I wasn't asking you, I was telling you you should ask me. ZACK: Really Hodgins, what did you find? HODGINS: The feet? Were severed with the hoof Kn*fe. ZACK: I know. HODGINS: Because I told you. ZACK: No, because I examined the cuts under the confocal laser scanning microscope. How did you find out? HODGINS: (Irritated) Traces of steel left on the skull matched traces of steel left on the feet. ZACK: Same w*apon. HODGINS: (Highly agitated) Same w*apon. You suck all the fun out of every moment of personal triumph! [Zack looks confused. Hodgins scoffs with disgust and storms out.] [CUT TO: INT. BUTCHER SHOP - DAY. Booth and Brennan enter the small butcher shop to find it unattended.] BRENNAN: (Sniffing) I hate the smell of a butcher shop. BOOTH: Oh what, maggots and rotting faces and burst guts don't bother you, but the smell of a butcher shop does? BRENNAN: It's a very small step between selling d*ad meat and making meat d*ad. I'm considering becoming a vegetarian. [Booth reaches for the service bell on the meat counter, Brennan rings it before he can.] BOOTH: Not me. BRENNAN: Yeah, that's why I said 'I', not 'we'. Zack said that the k*ller was adept at cutting through bone. BOOTH: Like a butcher. [Once again Booth reaches for the bell but Brennan gets there first. Brennan notices a case of pamphlets on the counter and picks one up.] BRENNAN: (Reading) 'Horse meat. Sweet, rich, lean, and soft.' [TOM MULARZ approaches from a back room, wearing a blood-splattered apron.] TOM: Can I help you? BOOTH: Yeah, we're looking to score some horse meat. TOM: Unfortunately right now there's only two slaughterhouses in the U.S. and they don't export to Virginia. BOOTH: Oh, that's a shame. You Tom Mularz? TOM: ...Why? [Booth pulls out his badge to show to Tom.] BOOTH: I'm Special Agent Seeley Booth, this- [Tom suddenly turns around and bolts for the back door. Booth and Brennan begin to follow him.] BOOTH: (To Brennan) Go around, cut him off. [Booth chases Tom out the back door, Brennan runs around the building and cuts him off, effectively trapping him in the back alley.] BRENNAN: Stop! Or I'll...kick you in the testicles! [Tom tries to evade Brennan, Booth grabs him and slams him against the wall, he falls down in a heap.] BRENNAN: Woah! You are strong! BOOTH: Well, you know, I try to stay in shape. (Incredulous) 'Stop, or I'll kick you in the testicles'? BRENNAN: (Shrugs) Worked. BOOTH: Tell you what, you and me? We're gonna work on the cop talk. [Booth leans down to handcuff Tom.] ACT IV [INT. FBI BUILDING - INTERROGATION ROOM - DAY. Booth and Brennan are in the process of interrogating Tom, who now has a large bruise on his forehead.] TOM: What'd you h*t me with? BRENNAN: A building. BOOTH: You know what, I've been thinking about the psychology of all this- [Brennan sighs and stands up, annoyed.] BOOTH: (To Brennan) Alright, you know, I know that you hate that, but just go with me here. Okay? Tom is a BRENNAN: I could see that. Symbolically. TOM: (Confused) Who's Ed Milner? BOOTH: Mr. Ed ring a bell? TOM: He's d*ad? BOOTH: Yeah. TOM: Oh, man. He was a good pony. BOOTH: Okay! BRENNAN: Did you ride Mr. Ed? TOM: (Stuttering) No! N- no, I'm a rider... But I- I prefer female horses! I just- I just admired his- his style... Why'd you throw me into a wall? BOOTH: Why'd you run? TOM: Well, you're F.B.I. BOOTH: Well, I need a little bit more than that. TOM: (Resigned) I'm a deserter. They send the F.B.I. after deserters. BOOTH: Deserter from what? TOM: The National Guard. I signed up to save people from floods and earthquakes and stuff, but... not to k*ll. BRENNAN: We found your fingerprints on Lucky's truck. TOM: Well, I broke into it to get my fliers back. They're mine! BRENNAN: Your horse meat fliers. TOM: Why can't they see? That if we revere horses sexually, then eating their flesh is an act of holy communion! [Booth and Brennan both make horrified faces.] BOOTH: You know what, there's crazy pony players? And there's really whacked out crazy pony players. BRENNAN: Yeah. BOOTH: What'd you do after you got your fliers back? TOM: I drove straight to my folks' in Jersey. BRENNAN: When did you get there? TOM: Before midnight. They can vouch for me! And uh, plus I got credit card receipts from gas. BOOTH: You deserted the National Guard. TOM: I'm not a k*ller. BRENNAN: You're a butcher! TOM: Well, not a people butcher! I'm innocent! [Booth and Brennan share a look.] [CUT TO: INT. - DR. JASPER:'S OFFICE - DAY. Angela is sitting on the couch in the office of her hypnotherapist, DR. JASPER:, who is in the process of taking Angela's pulse.] ANGELA: How am I doing? Because the pressure of having to have a low pulse could be driving my pulse up, and I in no way want to be penalised for that. DR. JASPER: Fifty-eight beats per minute. Very nice, Angela. ANGELA: I did some deep breathing. You're not gonna make me cluck like a chicken, are you? (From Dr. Jasper's confused look) Sorry. [Angela lies back on the couch.] ANGELA: b*mb away! DR. JASPER: Let's begin. Angela? Close your eyes. [Angela closes her eyes.] DR. JASPER: Take a deep, cleansing breath in... And... out. Very good. Take in another breath... (Dr. Jasper breathes in deeply) And, out. [Dr. Jasper's voice begins to sound echoed and distanced as Angela begins to slip into a hypnotic trance.] DR. JASPER: Focus on your arms. They're very heavy. Imagine them sinking into your chair. [Angela continues to drift off.] [CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - DAY. Brennan is examining some x-rays on a computer screen when Cam approaches.] CAM: Got your page, what's up? BRENNAN: When you washed the maggots from the eye sockets, were there any remaining ocular tissue at all? CAM: No. Little buggers ate the eyes clean through to the bone. BRENNAN: I have an alternate explanation. CAM: For the eyes missing? [Brennan nods and gestures to the skull x-ray she has been examining.] BRENNAN: Check out the tiny nicks around the supraorbital process, the lachrymal bone... Sphenoid... CAM: You think the k*ller gouged out the eyeballs? BRENNAN: I think 'gouged' is a good description- using some kind of curved instrument. CAM: Probably the hoof Kn*fe. The m*rder cutting off the feet, gouging out the eyes, this... was a bloody violent k*lling. BRENNAN: K*llers are often driven by fury. CAM: No, Dr. Brennan, the feet weren't lopped off, they were removed carefully, the eyes were gouged out- this was done by someone who was not squeamish about flesh. BRENNAN: The butcher's alibi checked out. CAM: Booth said some of those pony people were lawyers, judges... and doctors. BRENNAN: You think a doctor did this? CAM: Someone who's good with a Kn*fe and not afraid of blood? Sounds like a doctor to me. BRENNAN: Annie Oakley is a doctor, and she was the victim's groom. But, she wasn't the only doctor at the convention. CAM: I found evidence of sperm in Ed Milner's urogenital tract. BRENNAN: Why is that relevant? CAM: Annie Oakley claims that she rubbed down her pony and then went to sleep. BRENNAN: You think she had one last romp with the decedent? CAM: Well, if she lied about that... What else is she lying about? [CUT TO: INT. - DR. JASPER:'S OFFICE - DAY. Angela is still in the progress of being hypnotised. The echo effect on Dr. Jasper's voice is still present.] DR. JASPER: Very good. We're ready now. To begin the journey. If you can hear me, Angela, nod your head. [Angela nods her head.] Very good. You're on the island of Vatulolo in Fiji, in the village of Nakavala. [Fade to Angela's hypnotic vision, in which she is standing on the Rialto Bridge in Italy, and appears as if in an impressionistic painting.] ANGELA: (V/O) I'm pretty sure I'm on the Rialto Bridge in Venice. DR. JASPER: (V/O) No. You're on the beach. In Fiji. [The image changes to a Fijian beach at sunset. It remains in the style of an impressionist painting, and now has a ripple effect.] DR. JASPER: (V/O, CONT'D) In front of you is a red door. [The image cuts back to Angela on the couch.] ANGELA: No. There's not. DR. JASPER: (Frustrated) I need for you not to fight me, Angela. [The image cuts back to Angela's beach vision. A red door now appears.] DR. JASPER: (V/O, CONT'D) Do you see the door? ANGELA: (V/O) I see the door. DR. JASPER: (V/O) When you pull the door open, your husband will be standing in front of you. [The vision version of Angela approaches the red door.] DR. JASPER: (V/O, CONT'D) When you see him, you will greet him by his proper name. ANGELA: (V/O) I'm going to pull it open. DR. JASPER: (V/O) Pull the knob. [Vision Angela pulls the door open. A large wasp flies at her, and she screams. The image turns back to Angela sitting on the couch, still screaming.] DR. JASPER: Angela, I'm going to count to three. And when I reach three you're going to open up your eyes, you're going to feel relaxed, and refreshed. You're going to remember everything but you're not going to be scared. One... Two... Three. [Angela opens her eyes and looks uncomfortable.] ANGELA: Did it work? DR. JASPER: Angela. You need to tell me your husband's name. ANGELA: (Sighing) I opened the door... and I saw a wasp. DR. JASPER: A White Anglo-Saxon Protestant? ANGELA: No, a-a-a- big, flying, stinging insect. DR. JASPER: Buzzing around your husband's head? ANGELA: No, it- no, it was the size of a human being! And it was a very large human being. DR. JASPER: I see. What does that mean to you? ANGELA: Nothing. DR. JASPER: It must. ANGELA: I'm sorry. I have no idea. DR. JASPER: Well you're not what I would call a... compliant personality. ANGELA: This is my fault? DR. JASPER: Well, perhaps another session will... explore this wasp. [Angela, looking non-plussed, grabs her purse.] ANGELA: Yeah. And next time I'll open the door to- to what? A giant snake? I don't think so, Doc. [Angela gets up and leaves.] [CUT TO: INT. - AMBASSADORA RANCH - s*ab - DAY. Brennan and Booth are executing a search warrant and interviewing Annie Oakley. Lucky follows close behind.] BRENNAN: You're an eye surgeon, Dr. Ostenback. Ed Milner's eyes were cut out of his head. LUCKY: Woah, don't you have to wait 'til I call my lawyer? BRENNAN: Uh, we have the right to execute the warrant. You have the right to call your lawyer. ANNIE OAKLEY: Lucky, Sparkles is a litigation lawyer. BOOTH: Oh, a lawyer named 'Sparkles,' now I'm- I'm shivering [Lucky leaves to call Sparkles the litigation lawyer.] ANNIE OAKLEY: Look. You're making a mistake. I did not k*ll Ed Milner. BRENNAN: (To Booth) She actually k*lled her pony, Mr. Ed. ANNIE OAKLEY: Look, I loved Mr. Ed. BRENNAN: But he didn't love you back. I mean, not enough to leave his wife. BOOTH: What happened, Annie, did he talk to you before you slapped him in the forehead and returned him into a human being? ANNIE OAKLEY: You don't know anything. BRENNAN: I'm pretty sure that he told you he was going back to his wife. And you convinced him to engage in one last session of pony play. BOOTH: You took Lucky's truck out to the pasture, you had sex with him and you- [Booth yanks quickly on a hanging rein, making a slapping sound.] Finished him off. [Brennan locates the hoof Kn*fe hanging on the s*ab wall and picks it up.] BRENNAN: Hiding in plain sight! Thanks for making this part easy. ANNIE OAKLEY: Th- that's a hoof Kn*fe. So what? BRENNAN: Your DNA will be on the handle, and Ed Milner's blood on the blade. BOOTH: Mr. Ed's blood. BRENNAN: Your pony misbehaved, so you s*ab him. In the forehead. BOOTH: You cut off his feet, you bound his wrists, but his human eyes were staring back at you, so you gouged them out. ANNIE OAKLEY: I left my husband for him. I left Thor for him... and he was gonna leave me? What was I supposed to do? [Booth and Brennan glance at each other.] [CUT TO: INT. MEDICO-LEGAL LAB - MAIN PLATFORM - EVENING. Angela walks towards Hodgins, who is sitting at his computer.] ANGELA: Hey. HODGINS: So, I uh, I looked up 'wasp' in dream theory. ANGELA: I love dream theory. HODGINS: I know you do. And guess what I found? A wasp signifies anger and envy. (Sarcastically) These are good. Any chance it was a bee? ANGELA: No, Jack. [Angela hands Hodgins the book "The Furies" by Keith Roberts, which features a large wasp on the cover.] HODGINS: A book about nuclear radiation creating a giant wasp. ANGELA: I was reading it in Fiji. I mean, between all the snorkelling and the... HODGINS: Sight-seeing. ANGELA: Let's go with that. HODGINS: What's it mean? ANGELA: Look inside. [Hodgins opens the book to find a Polaroid photo of Angela on the beach at sunset, embracing a large black man.] HODGINS: That's Birembau! ANGELA: Mm-hmm. HODGINS: Well his face is turned, so there's still not much to go on- God, the guy is a giant. ANGELA: Flip the picture. [Hodgins does so to find an inscription, which he reads aloud.] HODGINS: "Angie and Grayson." His name was Grayson! ANGELA: (Nodding) Grayson Barasa. Once I say his first name, the rest of it just flows out. Grayson Barasa. HODGINS: You did it, Angie! You really do want to find him. ANGELA: (Nodding) I really, really do. HODGINS: To divorce him. ANGELA: I want a divorce. And then I want a wedding. [Music starts playing as Angela and Hodgins begin to kiss passionately. Over Angela's shoulder, Hodgins holds up the picture of her and Barasa to look at.] [FADE TO: INT. - ROYAL DINER - NIGHT. Booth and Brennan are seated at their usual booth, eating dinner.] BOOTH: How's that salad? BRENNAN: There are many health benefits to being vegetarian. It's a rational choice in a world where food supplies... are affected by global warming issues. BOOTH: What about global taste issues? BRENNAN: Is that meat sweet, rich, super-lean, and soft? [Booth throws his burger down.] BOOTH: What, does it taste like horse meat? BRENNAN: Maybe you should consider going vegetarian, too. BOOTH: I didn't lose my appetite because you mentioned horse meat, I lost my appetite because you made me think about all those people parading around, pretending to be something they aren't, just so they could have crappy sex. BRENNAN: How do you know it's crappy? BOOTH: Gotta be, Bones, come on! It's gotta be! BRENNAN: Why?! [Booth leans forward towards Brennan.] BOOTH: Why? I'll tell you why. Here we are. All of us are basically alone, separate creatures just circling each other. All searching for that slightest hint of a real connection. Some look in the wrong places, [Cut to a sh*t of Zack, in the lab, examining a bone.] BOOTH: (V/O, CONT'D) Some, they just give up hope because in their mind they're thinking 'Oh, there's nobody out there for me.' [Cut to a sh*t of Cam, applying lipstick in the mirror.] BOOTH: (V/O, CONT'D) But all of us, we keep trying over, and over again. Why? Because every once in a while, [Cut to a sh*t of the picture of Angela and her husband lying next to the copy of "The Furies"] BOOTH: (V/O, CONT'D) Every once in a while, two people meet. And there's that spark. [Cut to a sh*t of Hodgins and Angela making out in the lab.] BOOTH: (V/O, CONT'D) And yes Bones, he's handsome. And she's beautiful. And maybe that's all they see at first... [Cut back to Booth and Brennan in the diner.] BOOTH: (CONT'D) But making love? Making. Love. That's when two people become one. BRENNAN: It is... scientifically impossible for two objects to occupy the same space. BOOTH: Yeah, but what's important is we try. And when we do it right, we get close. BRENNAN: To what? Breaking the laws of physics? BOOTH: Yeah, Bones. A miracle. Those people- role-playing and their fetishes and their little sex games- It's crappy sex. Well, at least compared to the real thing. BRENNAN: (Considering) You're right. BOOTH: (Defensive) Yeah, but- Wait a second, I just won that argument? BRENNAN: Yup. [Booth and Brennan grin at each other as the scene fades to black.] THE END

{"type": "series", "show": "Bones", "episode": "03x03 - Death in the Saddle"}

foreverdreaming

"The Secret In the Soil" Episode 3x04 Written By: Karine Rosenthal Directed by: Steven DePaul Transcribed by: killmotion Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. ACT ONE (Opens: BOOTH, BRENNAN and SWEETS and in SWEET'S office in session.) SWEETS: Okay, Dr. Brennan, Agent Booth. Together. A little closer. Okay, yeah, that's perfect. Beautiful. Now keeping your back straight, I want you each to lean forward. BOOTH: No. SWEETS: Excuse me? BRENNAN: Come on, Booth. I'm sure this is just one of those meaningless exercises meant to illustrate the importance of supporting each other. BOOTH: We agreed to see another therapist, not be action figures for a 12-year-old. SWEETS: I'm 22, Agent Booth. I have a doctorate in psychology from the University of Pennsylvania, where my dissertation on the effects of job stress was published. BOOTH: That's great. I'm sure your mother is really proud of you, Sweets. SWEETS: Dr. Sweets, or Lance, you know, if you're more comfortable with informality, but I'd prefer, out of respect for each other and the process of psychotherapy, that we at least try to, uh... BOOTH: Sign the forms so I can get out of this suit and I could have a Saturday night. BRENNAN: I don't care how young you are. I've never believed in psychotherapy. SWEETS Agent Booth, Dr. Brennan, this isn't a game. The FBI is considering severing your partnership. BRENNAN: What? BOOTH: Why? SWEETS: Why? Dude, you arrested her father. BRENNAN: He was just doing his job. SWEETS: Yeah, but come on, he, like, he arrested your father. He's going to have to be a witness against him. Circumstances such as these tend to stir up a lot of scary feelings. BOOTH: I don't have scary feelings. Maybe you need a little night-light at night to sleep. SWEETS: Agent Booth, you've been trying to intimidate me since the moment you stepped in here. And you've succeeded. BRENNAN: Don't...scare the boy, Booth. SWEETS: Now, I need you both to, uh, fill out these questionnaires and get 'em back to me. Don't share your anwsers It'll help me evaluate whether Dr. Brennan's services should be signed to a new agent. BOOH: That's not going to happen. SWEETS: Like it or not, Agent Booth, I'm the therapist in charge of this case, so I suggest that we work in cooperation rather than conflict. BRENNAN: I can cooperate. SWEE Good. Agent Booth? BOOTH: I'm still going to call you Sweets. SWEETS: Yep. (Cut to: BOOTH and BRENNAN in the FBI SUV.) BRENNAN: It's some kind of personality test. BOOTH: I can't believe he gave us homework. You know, probably his. What kind of kid works on a Saturday night? BRENNAN: Oh, that's my fault. I told him I wasn't available during the week. BOOTH: Whoa, whoa, why'd you go and do that? You know, I had, I had seats right behind the dugout. (His phone rings.) Booth. BRENNAN: Don't look on my paper. BOOTH: Okay, yeah, got it. Well, there's only one thing more fun than therapy on a Saturday night and that's a d*ad body. (Cut to: crime scene, with the usual cop cars, and forensic workers.) BRENNAN: Look at all the cars. I thought the VA hospital was closed. BOOTH: Well, it is, Bones, but I mean, come on. It's the weekend, right? An abandoned building surrounded by acres of secluded land. Use your imagination. Teenagers, hormones. BRENNAN: You're saying they're here to fornicate. BOOTH: Yes. Nice image, very, uh, biblical. (They walk up to CAM.) CAM: These two were on their way to a romantic encounter under the stars and literally tripped over the remains. BOOTH: Oh, I'm guessing that k*lled the mood. CAM: I've got patchy tissue. But this level of decomp pushes things into your territory. I haven't touched it yet. BOOTH: Definitely not homeless...nice watch, good shoes, at least what's left of them. BRENNAN: Male, middle-aged. Level of decomp would suggest he's been out here a few weeks, but... BOOTH: I don't get it. Kids coming here every night and they're just noticing him now... CAM: Dumped at the top of the hill? BOOTH: And he rolled down. CAM: Would explain the amount of fresh mud and leaves on the body. BRENNAN: These bones are still greasy. Did you take an internal temperature? CAM: With this degree of decomp, why would it matter? BRENNAN: Maybe he hasn't been d*ad as long as he looks. The body is still radiating a lot of heat. CAM: Wow, you're not kidding. BOOTH: We used to use the local golf course. I remember taking Mary Ann Milano to the ninth hole... sand trap. She had long hair all the way... CAM: You are so going to regret telling this story. BOOTH: Okay, now what do you got? BRENNAN: 127 degrees? BOOTH: Wow, that's really not normal. CAM: No, that's way past really not normal. BOOTH: You're saying that before the body was dumped it was... CAM: Cooked. BOOTH: Cooked? BRENNAN: Cooked. ACT TWO (Medico-Legal Lab - Platform. ZACH, BRENNAN, and HODGINS.) HODGINS: Has it occurred to either of you that this might be another victim in the Widow's Son case? ZACH: Based on what? HODGINS: Because the victim was cooked like an entree. Same as that guy in Germany. BRENNAN: There's no evidence here to suggest cannibalism...no bite marks. HODGINS: No condiments. ZACH: We have a b*llet hole in the sternum, Dr. Brennan. What guy in Germany? HODGINS: He ran a computer ad online, said he was looking for someone to eat. BRENNAN: There's an excessive amount of mud and debris from the dump site. It makes it difficult to get a clear view of the injury. HODGINS: Yeah, tell me about it. I have to separate and distinguish particulates and insects from the body's original location. ZACH: People actually replied to the ad? HODGINS: Oh, yeah. Guy ended up feasting on a computer engineer. ZACH: That's extremely disturbing. (CAM: enters.) HODGINS: Well, hello, my exotic princess. CAM: What a charmingly inappropriate greeting, Dr. Hodgins. ZACH: I think he's talking to a bug. CAM: Well, now I feel a bit... rejected. HODGINS: Looks like something from the Nitidulidae family. Where did you come from, you gorgeous creature? Do you have any friends? HODGINS: Boy, he melted like ice cream on a hot summer day. CAM: So when do I get my turn with him? BRENNAN: Oh, we should be finished within...20 minutes. CAM: Excellent. HODGINS: Wow. I'm finding a large concentration of bristletails and harvester ants d*ad by the victim's feet. That is odd. CAM: The guy was cooked, Hodgins. Odd is kind of a relative term. (Cut to: BRENNAN in her office, BOOTH walks in.) BOOTH: Hey. Angela called. She wanted me to...Hey, is that the test from Dr. Sweets? BRENNAN: Yes. BOOTH: Well, what'd you put for number seven? Because I put 12 to 15 times a day, and now I'm thinking I really misunderstood the question. BRENNAN: We're not supposed to discuss our answers. BOOTH: Come on, Bones, the teacher's not in the room, let me see. BRENNAN: Is this how you got through school, Booth? BOOTH: No. Well, maybe algebra, but... (ANGELA enters.) Hey, Booth, I got your I.D. Franklin Curtis, age 54. His wife Margie reported him missing yesterday. BOOTH: Whoa...Augusta county. He was rich. ANGELA: Yeah. Founder of the Natural Sun organic supermarket chain. BRENNAN: There's one near my apartment. Excellent selection of local produce. BOOTH: Totally overpriced. A carrot is a carrot. ANGELA: Hey, it's worth it. Organic, there's no pesticides. It's from sustainable farms. Every time that I buy something there, I feel so virtuous. BOOTH: Guy started off with a single roadside produce stand, which he grew into a nationwide supermarket chain. BRENNAN: An organic capitalist. BOOTH: Ambition like that is bound to create a few enemies. (HODGINS enters.) HODGINS: I tested fabric samples from the victim's pants They were covered with chloropicrin. BOOTH: Why the pinchy face, Bones? BRENNAN: Franklin Curtis built his whole career on organic produce and chloropicrin... HODGINS: Is a pesticide. (Cut to: HARDING home with MARGIE CURTIS, her daughter KAT, BOOTH and BRENNAN.) MARGIE: I was at a yoga retreat with my daughter. When Frank didn't answer the phone, I got worried. (KAT enters.) KAT: Here, Mom. Ignatia Amara. It's a homeopathic remedy for grief. MARGIE: When we came home, there was a cup of herbal tea on the counter as if he'd just...stepped out for a moment. BOOTH: I noticed the fields as we drove in. You still operate the farm? KAT: No matter how big the business got, Dad always wanted to remember how it all started. BRENNAN: Your farm, it's...certified organic, correct? No pesticides besides natural predators? MARGIE: Of course. BOOTH: Your husband, was he having any personal problems, recent arguments? MARGIE: No, everybody loved Frank. KAT: Mom. MARGIE: Your dad was a wonderful man. KAT: My dad was kind of obsessed. He'd pressure conventional farmers to go organic. MARGIE: "Pressure" makes it sound so...He was an extremely generous man. He offered to support them financially, while they made the transition. BRENNAN: What if a farmer didn't want to switch? KAT: Dad would turn things over to his lawyers. They'd find some legal loophole. Property taxes, zoning, who knows? Eventually Dad would just buy them out. BOOTH: And he'd force people off their land. I see. Any farmers he was trying to convert? (Cut to: outside, BOOTH and BRENNAN are walking up to ANDREW HARDING on part of his land.) BOOTH: Yeah, Mr. Harding? HARDING: Something I can help you with? BOOTH: Yeah, FBI Special Agent Seeley Booth. This here is my partner Dr. Temperance Brennan. I'd like to ask you a few questions about Franklin Curtis. HARDING: You can tell that son of a bitch that the only crop that will ever grow in this land is tobacco. I don't give a crap how many suits he sends over here. BRENNAN: He, he didn't send us,Mr. Harding. Franklin Curtis is d*ad. HARDING: Well, I wish I could muster up some remorse. BOOTH: Wow, No love lost between the two of you, I see. HARDING: The man was trying to kick me off of my own land. My family has been on this farm for over 150 years. Tobacco built this country, yet these self-righteous eco-hippies have the nerve to look down their nose at us. BOOTH: Did you see Frank last Thursday? HARDING: N-Not that I can recall. BOOTH: Really? Because Virginia Pesticide Control Board reports that you registered an application of chloropicrin to your field last Thursday, the same day Frank disappeared. (Pulls out a sheet of paper.) HARDING: So? It's a fumigant insecticide. It's perfectly legal. BRENNAN: It was all over Frank's clothing. BOOTH: All... over. (Waves sheet as he says it.) HARDING: Okay, he did come over. He said he was giving me one last chance before he started playing dirty.I was spraying the fields. I may have accidentally aimed the chem hose at him. BOOTH: Accidentally. HARDING: Look, I swear I wasn't trying to hurt him. I just wanted him off my property. You understand? Who the hell was he to take my land from me? (Cut to: BOOTH and BRENNAN in the FBI SUV.) BOOTH: I'm just saying the guy had a point. If pesticides are so bad for us, then how come people live longer now than they did before they used pesticides? BRENNAN: You're over-simplifying an enormously complex issue.. BOOTH: Meaning you don't have a good answer. BRENNAN: The arguments in favor of organic farming aren't just about food safety.They're about prevention of soil erosion, protection of water quality, carbon emissions from shipping, not to mention... BOOTH: Whatever, you know what, you're not going to see me paying four dollars for a tomato. BRENNAN: You know, a researcher at the University of Florida proved that alligators who swim in pesticide contaminated waters have smaller genitalia than their clean-water counterparts. BOOTH: No way. BRENNAN: Way. (Cut to: Medico-Legal Lab, with CAM) CAM: See? Right there. There's some kind of pattern on what's left of the skin tissue. I'm hoping a more artistic eye than mine can make sense of it. ANGELA: Regular circular shapes, cross-hatching, I'd say button marks. Like buttons from the victim's shirt were pressed into his flesh while he decomposed. CAM: Yes, that's exactly what they are. ANGELA: Glad to help. CAM: Here's the thing, though. Our victim's clothing doesn't have any buttons. (Cut to: BOOTH and BRENNAN in the FBI SUV.) BOOTH: Yeah, in this whole environmental footprint thing, right, I mean, why shouldn't I leave a footprint? I'm here, right? Hey, why should I have fewer rights than any other species? Hey, Bones, you know we're having a lively discussion here. BRENNAN: Tobacco has to be cured. BOOTH: Yeah, I know, and it kills you. We're on the same side with that one. BRENNAN: Curing at tobacco farms is done in curing barns, using indirect fired burners. BOOTH: Oh, so if Frank's body were in Harding's curing barn, that would explain how it got cooked. (BRENNAN's phone rings.) BRENNAN: Brennan. BOOTH: That should be enough to get a warrant to search the farm. BRENNAN: There's what? CAM:, in the lab: Skin slippage. Our victim was pressed up against another body and during whatever heating process the two went through, the second corpse's tissue basically melted onto our victim. BRENNAN: Thanks. BOOTH: What, we got big news from the nerd posse? BRENNAN: When we search the tobacco farm, we'll be looking for more than the m*rder site. We'll be looking for a second victim. ACT THREE (HARDING home, with LIZBETH, BOOTH, BRENNAN and various federnal and forensic personnel.) LIZABETH: I'm making lemonade. BOOTH: Lemonade! LIZBETH: It's awful hot today. HARDING: It's an intrusion, Elizabeth, not a garden party. BOOTH: Agent Booth, ma'am. LIZBETH. Elizabeth Harding. Pleasure to meet you. BOOTH: Listen, we won't be any longer than we have to. LIZBETH: Shame about Mr. Curtis. HARDING: Uh, we don't have to talk to them, Elizabeth. LIZBETH: Don't mind Mr. Grouchy. BOOTH: Did you know Mr. Curtis personally? LIZBETH: Oh, of course. Although, maybe not as personally HARDING: Elizabeth... LIZBETH:...as he might have liked. BOOTH: How's that? LIZBETH: Andy didn't tell you? BOOTH: No. LIZBETH: Oh, he get so jealous. No reason. Looks aren't everything. Mr. Curtis was a big flirt. Always making passes at me. HARDING: It didn't seem relevant. LIZBETH: And right under his poor wife's nose, too. Fool thought he could get me to convince Andy to sell the farm. HARDING: Elizabeth! LIZBETH: Oh, don't you start again. When I told Andy, I don't think I have ever seen him so mad. What a temper you have. BOOTH: Thank you, Mrs. Harding. You have been very helpful. LIZBETH: Tell Andy. He doesn't think I can do anything right. So how many lemonades? BOOTH: Oh, how many lemonades? (Turns to ask various FBI guys in the garden, working.) BOOTH: Make a pitcher. Great. (Medico-Legal lab, ZACK, HODGINS.) HODGINS: Put solar panels on my house. Compact fluorescents in every socket and still feel guilty when I use a paper napkin. ZACK: I've been looking at low-impact housing. I saw a free-standing house that was 118 square feet. This entry to the sternum might not be a b*llet hole. HODGINS: Wait, wait, wait. 118 square feet? Dude, that's smaller than the janitor's closet. ZACK: There's room for a bed, kitchen on one wall and a small bathroom. I don't really see why I would need more. Isn't the goal to reduce our impact on the environment? HODGINS: Our lives aren't only about function. We are allowed to enjoy ourselves occasionally. ZACK: That's why I work. HODGINS: Yes, finally. Identified my mystery bug. Carpophilus nitidulidae. King of the lab! It's an agricultural pest, found on pineapple plants. (Cut to: HARDING farm, with BOOTH, various FBI agents strewn about.) WOMAN FBI AGENT: Agent Booth? There's nothing, the curing shed is clean. BOOTH: Yeah, but the body was cooked, and there should be another body, too. WOMAN FBI AGENT: Not here. (Enter LIZBETH.) LIZBETH: More lemonade? WOMAN FBI AGENT:Yes, please. BOOTH: (to WOMAN FBI AGENT) No, no, no, just go back inside and check. (to LIZBETH) I'll take half a glass. (Phone rings.) Booth. (BRENNAN and ANGELA in BRENNAN'S office, talking to BOOTH on speaker phone.) BRENNAN: He was around pineapple plants at the time of his death. BOOTH: Pineapples? ANGELA: Hodgins found insect activity that's only found on pineapple plants. BRENNAN: But the closest place they're grown commercially is Florida. BOOTH: You're saying that the body was moved from Florida? BRENNAN: I don't have an explanation, I'm just giving you the facts. ANGELA: I found this article about the environmental impact caused by transporting crops over long distances. It mentions this farmer in Virginia who was trying to grow tropical crops in a hot house. BOOTH: Like pineapples? ANGELA: Like pineapples. BOOTH: (to ANGELA and BRENNAN) Thanks.(to LIZBETH, with lemonade) Thanks. (Cut to LYNDON PAGE'S house, the kitchen, with BRENNAN and BOOTH.) PAGE: Boy, sorry to hear about Frank. He was a good man. A big supporter of what I'm trying to do here. BOOTH: All right, Mr. Page... PAGE: Please, call me Lyndon. You ever eat a pineapple for the same day it was picked Agent Booth? BOOTH: Actually, no, and... PAGE: Let me make you each a smoothie. BOOTH: That's okay. BRENNAN: I'd love one. BOOTH: Frank Curtis ever visit your hot house? PAGE: Once, back when I first built it. He had some advice on how to maximize sun exposure. BOOTH: What's he doing? BRENNAN: He's powering the blender. The wheel rim is attached to a generator. This is rather ingenious. PAGE: Stay fit and save energy. BOOTH: I'm sure it'll catch on; so, you and Frank, you ever have any problems? PAGE: No, never. Probably helped that I didn't have a wife for him to flirt with. BOOTH: Seems Frank had a habit of hitting on other people's wives. PAGE: All great men have their foibles. Go ahead and check out the hot house. I'll bring these out soon as they're done. (Cut to: hot house with BRENNAN and BOOTH.) BOOTH: Frank Curtis's wife stood to gain the most from her husband's death. If she found out he was cheating... BRENNAN: But you said her alibi is solid. BOOTH: That doesn't mean we can't, you know, double check. I bet Sweets was picked that on all through school. BRENNAN: And that's relevant now, why? BOOTH: You're kidding me, right? Scrawny kid like that sees me coming, a former jock, and he's thinking to himself, "Time for a little payback," you know? Make him fill out all those stupid forms. thr*at to take my partner away from me. BRENNAN: These tubs are too small to fit anything. We're not going to find the second victim here. BOOTH: Yeah, you know what, you're right. So what do you say we go check... Bones, was that you? BRENNAN: Was what me? BOOTH: That smell. BRENNAN: I don't know what you're talking about. BOOTH: Come on. Why don't girls just admit it? It's a natural bodily function. You're a scientist. BRENNAN: Booth, I don't...That had to be you. BOOTH:: It wasn't me! BRENNAN: "He who smelt it, dealt it." BOOTH: How do you even know that phrase? (PAGE enters.) PAGE: Phew, sorry about that smell. Guess I left the vents open. (Hands them their smoothies.) Community composting facility is about a mile away, but when the winds blow westerly, it smells like it's around the corner. BRENNAN: Do you take agricultural wastes to the composting facility? PAGE: Sure, almost every organic farmer in the county does. It's a great program. You give them your waste and in return, they give you certified organic compost at a fraction of the cost. (BRENNAN hands back the cups to PAGE.) BOOTH: Whoa, I wasn't done with that. BRENNAN: I have an idea. Thank you very much, Lyndon. Your smoothies are excellent. BOOTH: Hey, hey, hey, do you have any "to go" cups? PAGE: The road to the apocalypse is paved with disposable food containers, my friend. (Cut to Medico-Legal lab, with HODGINS, and BOOTH and BRENNAN on the phone in the FBI SUV.) HODGINS: Compost, of course. The identifying organisms would have started dying as soon as the body was removed from the heat. BRENNAN: But how high do the temperatures get? HODGINS: Inside a large compost heap, as high as 170 degrees. BOOTH: That's hot enough to cook a body. BRENNAN: And if Lyndon contributes his waste to the pile, that could explain why the pineapple beetle was there. HODGINS: Hey, you guys going to check out a large compost pile? BOOTH: (quietly) It's wrong how excited he sounds. Wrong. (Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and GAVIN LEE.) LEE: We've got five people on staff full time. But there's 43 farmers with keys to the gates. You all right? BOOTH: Yeah...oh, just the smell. LEE: We've probably got a couple masks in the office, you two want me to go... BRENNAN: I'm fine. Agent Booth tends to be squeamish. BOOTH: Look, I'm fine, okay? So you were saying 43 farmers? LEE: They're welcome to dump their own waste, otherwise we schedule a pickup with our truck when it's-- TIM: Hey, Gavin. LEE: Oh, Tim Peck, Clay Ainsley, couple of our local farmers. This is Agent Booth, Dr. Brennan. They're here about Frank. (CHARLIE ROGAN enters.) CHARLIE: Truck stopped running again, Gavin. I think it needs a new fuel filter. LEE: I just replaced it two weeks ago. CLAY: Yeah, when I switched to bio-diesel, I went through at least four fuel filters. It's a conversion, loosens up the deposits. BOOTH: You work here? CHARLIE: Yes sir. Charlie Rogan. BOOTH: Did you know Frank Curtis? CHARLIE: Very well. I only just heard what happened to him. I dated his daughter all through high school. Gavin introduced us. If there's anything I can do...Mr. Curtis was a great man. CLAY: (scoffs) BOOTH: Oh, you disagree? CLAY: Frank Curtis was in it for the money, not the cause. TIM: Then why did he donate his entire estate to environmental groups? We're talking millions. Even our corp could see some. CLAY: You ever been to his house? 4,000 square feet, brand-new everything. Left his air conditioner on all the time. Yeah, fat lot that man cared about the environment. TIM: Don't mind him. The smell out here always puts him in a foul mood. BOOTH: Alright, look, I'm going to need names and addresses of every employee... (groans) And a list of participating farmers. BRENNAN: And the facility has to be closed until all of the compost is searched. BOOTH: We can get a warrant if you want. LEE: I do. (Cut to SWEETS' office with SWEETS, BOOTH and BRENNAN.) SWEETS: Two independent people often find themselves...Agent Booth, are you listening? (BOOTH has his knew up against the table flipping his phone for any possible messages.) BOOTH: What? BRENNAN: The judge will call when the warrant is issued, Booth, pay attention. BOOTH: What, I'm in the middle of an investigation. I get distracted. BRENNAN: So it's not my investigation, too? BOOTH: It's too early in the morning for this. SWEETS: No, no, no, this is good, let's talk about conflict. When you guys argue, how do you come to a resolution? BRENNAN: We don't argue. SWEETS: Come on, remember, zone of truth, right here. BOOTH: Fine. We might bicker a little bit, but that's not arguing. BRENNAN: Bicker? I don't bicker. BOOTH: No? What about the whole environmentalism thing? BRENNAN: That was a discussion. BOOTH: You pretty much told me my penis was going to shrink if I didn't eat organic food. BRENNAN: That's not bickering, that's being a good friend. BOOTH: My penis is just fine, thank you. SWEETS: Now we're getting somewhere. All right, I think we're in that truth zone. BOOTH: Stop with the whole truth zone thing, alright? Bones and I are trying to catch a guy who cooked a tree hugger. So just score the personality test so we can get back to crime fighting. SWEETS: Yeah, that's good, Agent Booth. Now let the anger lead you to the fear. You can't be whole, you can't do your job to its fullest, unless you get in touch with that fear you feel. Now Dr. Brennan and I are going to close our eyes. Follow the anger, all right? Feel it? Feel it softening. You feel that? (BOOTH and BRENNAN both snicker, as BOOTH gets his text.) SWEETS: Very mature, guys. BOOTH: Got to run, Sweets. Got the call. Let's boogie, Bones. And, um, look, next time, you really should tell me if there's going to be an essay on the test. (Cut to: Medico-Legal lab, with ZACK examining the victim's bones as CAM: walks in.) CAM: I just got off the phone with Hodgins. He's knee-deep in compost. ZACK: He must be happy. CAM: Happy as a pig in...what pigs like to be in. ZACK: A sty? CAM: You said you had things to show me? ZACK: From the injuries, it appears there was a struggle. You can see the bruising and fresh hairline fractures on the femurs and left ulna. CAM: Consistent with defensive wounds? ZACK: That would be my assessment. CAM: So, there was a fight before he was sh*t? ZACK: He wasn't sh*t. CAM: I thought you said it was a b*llet hole. ZACK: I was mistaken. It occasionally happens. The hole is actually a congenital abnormality. A sternal foramen. CAM: So we're back to no known cause of death? ZACK: Not quite. I found multiple puncture wounds with hinge fracturing on the scapula and posterior aspects of several ribs. CAM: He was s*ab? By what? ZACK: I'm working on it. (Holds up two sharp objects.) CAM: Okay then. Enjoy. (Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and HODGINS. Hodgins and BRENNAN are in the pile, searching for evidence.) BOOTH: Oh, God, I'm never going to get over that smell. HODGINS: This place is awesome. The thermophilic bacteria content is off of the charts. BOOTH: No security cameras. Too high-tech for the granola crowd. That means we have about 100 suspects. BRENNAN: Are you coming in? BOOTH: No... you know what? That's your thing. And I'll just, uh, mess things up if I come up there. HODGINS: I just heard a crunch. Definitely not plant life. I'd love to try this feeding fungi. (Bends down to investigate, brushes off some compost to reveal a skeleton. ) BRENNAN: That's adipocere. BOOTH: Is that good or bad? BRENNAN: Good for us. Bad for the victim. Female, probably in her early 20s. HODGINS: It would attribute to decomposition to the microbial activity of the compost pile... BRENNAN: She's been d*ad about the same time as Curtis. BOOTH: Even d*ad, Frank was lying with another woman? ACT FOUR (Cut to Medico-Legal lab -Platform with ZACK, CAM:, and HODGINS.) ZACK: These three phalanges still have some tissue. CAM: And fingernails. I may be able to get some scrapings, maybe even a print. HODGINS: Calliphoridae didn't have a chance to oviposit. She must have been buried in the compost just hours after she died. CAM: Can you pinpoint how long it would take for her to reach this level of decomp? HODGINS: Well, given the carbon to nitrogen ratio of the compost I sampled, she's been in there since last Wednesday. ZACK: Meaning she died the day before Frank? CAM: Who catches two people cheating, but kills them a day apart? (ANGELA enters.) ANGELA: My sketch isn't matching any of the missing women on file. HODGINS: Well, maybe no one's missed her yet. ANGELA: Poor thing. Everybody should be missed. HODGINS: Oh, you are such an angel. (HODGINS leans in to kiss ANGELA.) CAM: I will get a bucket of cold water, I swear. ZACK: There's perimortem trauma to the skull. But it's not severe enough to cause death. I also found multiple broken ribs, and the sternum is severely fractured. ANGELA: Somebody tried to crush her? ZACK No, these injuries are consistent with inexpert use of cardiopulmonary resuscitation. CAM: Somebody tried to save her. (Cut to BOOTH in the Curtis home with MARGIE CURTIS.) MARGIE: The woman you found... who was she? BOOTH: Well, we were hoping you might know. MARGIE: I told you, I was out of town. I have no idea. BOOTH: But you were aware that your husband wasn't always faithful. MARGIE: Yes, I was. BOOTH: Yet you stayed with him. I get it. Big house, comfortable lifestyle. MARGIE: I stayed with Frank because I loved him. I accepted his faults. BOOTH: I'm sure you'll accept the life insurance money, too. MARGIE: I'm not even thinking about money, Agent Booth. How can you even? My husband hasn't even been d*ad for a week. BOOTH: I'm aware of that. Since you were so forgiving of your husband's infidelity, why didn't you mention that in our first conversation? MARGIE: Kat. I couldn't do that to our daughter. She idolized Frank. I can't ruin that, especially now. (KAT enters, with CHARLIE ROGAN.) KAT: Mom. BOOTH: Mrs. Curtis, I...I came over to tell you and Kat how sorry I am. Gavin said he'd try to stop over later. I didn't mean to interrupt. KAT: No, Charlie, it's okay, stay. Mom, I knew since high school. Charlie knew, all my classmates knew. MARGIE: Oh, God. CHARLIE: Come on, Kat. Not now. KAT: I pretended that I didn't. For you. (Cut to: BRENNAN'S office, where she is on her couch reading and BOOTH walks in.) BOOTH: Okay, so Margie said Frank kept an office in town. Turns out that office was an apartment. BRENNAN: Where he took his women. BOOTH: Yeah, okay, Bones, that's right. Come on, let's go to the apartment. BRENNAN: You know I used that device on in one of my novels, and my editor thought it was trite. BOOTH: Ha! Maybe it was Frank's take on being environmentally friendly, making a friendly environment. Get it? BRENNAN: Apparently not. (Cut to the apartment of FRANK CURTIS. BRENNAN and BOOTH walk in the door as BOOTH complains about the latex gloves. Alas! Booth wears gloves like a squint instead of poking at thins with his pen! Success!) BOOTH: You know, I really hate these gloves. No. No sign of forced entry. BRENNAN: These sunglass frames are made of bamboo. BOOTH: Oh, is that weird? BRENNAN: Well, most frames are made of metal or plastic, sometimes vinyl. BOOTH: Maybe they belong to the Eco Avenger. BRENNAN: Who? BOOTH: Frank. Toiletries in the bathroom, bra hanging over the shower rod. Definitely a woman living here. BRENNAN: Dried blood on the coffee table. BOOTH: Let's call forensics and have the place swept. BRENNAN: Send everything to the... BOOTH: To the Jeffersonian, yup. Got it. Including the whole... Yeah, the entire coffee table. Here...Here we go. Take-out receipt from, uh, two weeks ago. Hop Lee's Chinese Kitchen. Name on the credit card...Emma Billings. BRENNAN: Booth? BOOTH: Yeah. BRENNAN: I think we found our second victim. BOOTH: Emma Billings. (Cut to: Medico-Legal lab. BRENNAN and ZACK are discussing the bones of the second victim.) ZACK: She has an interior superior margin fracture to the C-5 vertebrae. BRENNAN: What about the posterior half of the vertebral body? Any linked sagittal fractures? ZACK: Yes. BRENNAN: So...if she fell and h*t her head on the coffee table at this angle, that could account for the broken vertebrae. ZACK: It's a statistically rare possibility, but one that would have k*lled her instantly. (CAM: enters.) CAM: FBI sent over some info on our latest victim. She was a cashier at one of Franklin Curtis's Natural Sun Markets in New Jersey. BRENNAN: How'd she end up in Virginia? CAM: They think she was hiding. Earlier this year, she accused one of her coworkers of stalking her. Check him out. BRENNAN: Wouldn't want him following me. CAM: I know, right? Guy's name is Noel Liftan.He was fired. Emma filed a restraining order. Booth is trying to track him down. Any progress on time of death? BRENNAN: It appears to have been accidental CAM: That'll explain CPR ZACK: But Frank were s*ab multiple times. CAM: Right. Not so accidental. (BRENNAN'S phone rings.) BRENNAN: Hey, Booth. CAM: What about the m*rder w*apon used on Frank? Find anything yet? ZACK: These puncture wounds...I still can't find any w*apon this small and curved. CAM: They're close together. He didn't seem to move much. ZACK: Which is odd, because the wounds appear deep. BRENNAN: Okay, call me after. Booth found Emma's stalker. He's been staying at a motel right across the street from where Emma was k*lled. (Cut to FBI investigation room with BOOTH and NOEL LIFTIN.) NOEL: Don't look at me like that. You can't arrest me for renting a motel room. I didn't break any laws. I followed her, okay? But the motel room is over 150 feet from Emma's apartment building. I measured. BOOTH: Then I guess I got no reason to suspect you. I mean, you were just keeping an eye on her. NOEL: I was. BOOTH: Yeah. NOEL: Frank Curtis. BOOTH: Who? NOEL: Frank Curtis. BOOTH: Frank Curtis. NOEL: You should talk to him. Okay. He treated Emma like he owned her. It was so messed up. Wow, the reflections on this table, the patterns are beautiful. BOOTH: Noel. Focus. Frank Curtis. NOEL: Oh, sure. Frank comes in for one of his regional visits. You know, and has the manager hire Emma. The next time he comes in, he can see that Emma's falling for me. So he has me fired and then tells Emma to take out a restraining order. BOOTH: Oh and the the fact that you called her 20 times a dayand slept in her driveway, that had nothing to do with it? NOEL: I guess you've never been in love. BOOTH: Where were you last Wednesday and Thursday? NOEL: Mostly I just stay in my motel room, you know, keep an eye on Emma's building. Only times I ever leave is to go out and sell my products. BOOTH: Your products? NOEL: Hemp oil-based body products. I make them myself. BOOTH: There's a surprise. I guess you're telling me you don't have an alibi. (Cut to: Medico-Legal lab - Platform with HODGINS: I reviewed the forensic samples from the apartment. Traces of triglycerides, diglycerides, and free fatty acids on both the carpeting and the furniture. It looks like some vegetable oil. BRENNAN: Could it be hemp oil? Booth said the person stalking Emma Billings sells hemp-based body products. Yeah, that's one possibility. BRENNAN: Re-examine any clothing from Frank and Emma's bodies.See if you can find additional traces of the oil. HODGINS: Okay. (CAM enters.) CAM: Dr. Brennan, I need you to see some thing. (BRENNAN, CAM and ZACK walk to a screen to review evidence they've just found.) ZACK: Fracturing to Emma's sternum I concealed a malformation that became apparent once I finished reconstruction. A sternal feramin. BRENNAN: Emma Billings and Frank Curtis both shared a congenital abnormality. CAM: When Zach told me his findings, I decided to run DNA tests on the tissue samples from both victims. Multiple matching RFLPs. Our victims were related. If our m*rder thought he k*lled Emma and her lover, he was very wrong. BRENNAN: He k*lled Emma and her father ACT FIVE (Cut to: Medico-Legal lab with ZACK, BRENNAN, and ANGELA.) ZACK: I've tested over 40 different knives, ice picks, leather awls. I couldn't find a m*rder w*apon to match. BRENNAN: Well, with decomp and postmortem trauma from being rolled down the hill it's very difficult, Zach. ANGELA: Okay, this will help you visualize the pattern of the wounds. ZACK: Usually I can determine the w*apon. This is a very frustrating m*rder. ANGELA: I'm sure he'll apologize when we catch him. There are five puncture wounds to Frank's chest. ZACK:The result of repeated s*ab by an unknown and very frustrating object. BRENNAN: Perhaps not. What if Frank Curtis had broader shoulders? Angela, move the scapuli apart slowly. A little more. ZACH: The wounds become equidistant. BRENNAN: You're probably looking for an instrument with multiple sharp pointed objects projecting from it. ZACK: A pitchfork. ANGELA: How'd you get pitchfork? ZACK: These three wounds mark the termination of a three-tine pitchfork's penetration. BRENNAN: Makes sense. ZACK: I'll go match the exact type and make. HODGINS: I've got results from the clothes. You were right. Same vegetable oil on both Frank and Emma's clothing. But I found a high concentration of methanol and sodium hydroxide mixed in. BRENNAN: So, the oil isn't from body products. HODGINS: No, it's from bio-diesel fuel. (Cut to: BRENNAN, BOOTH and ANGELA in the FBI SUV.) ANGELA: So your suspect is going to give me a description of your suspect? I'm not following. BOOTH: Yeah, the stoned hippie guy. He's all we have so far. I mean, he'll tell you what the guy looks like who went into Emma's place and then you draw. ANGELA: I've never really found stoned guys that dependable. Except for cookies. They always have good cookies. BRENNAN: You're grasping at straws, Booth. We should wait for more information. BOOTH: It has to be somebody in the composting facility. Uh, they have pitchforks to turn the heaps, don't they? BRENNAN: Pitchforks are used on every farm in the area. BOOTH: But not bio-diesel, okay? The owner, Gavin, said he just replaced a fuel pump on his truck when he switched to bio-diesel. BRENNAN: One of the other farmers also said that he just switched. And he has a key, he could've dumped the body the middle of the night BOOTH: I'm sorry, but whose side are you on? Uh, don't say the facts, because that just annoys me. BRENNAN: You want us to base our actions on your gut again? BOOTH Yes. You have your shiny machines, I have my gut. ANGELA: Is it always like this when you two are together? BRENNAN: Yes.; BOOTH: No. (Said simultaneously.) ANGELA: It's kind of hot. (Cut to: FBI investigation room with BRENNAN, BOOTH and ANGELA entering to NOEL, already in the room.) BOOTH: What the hell is he doing? BRENNAN: It's a Vedic chant. BOOTH: All right, Noel, let's go, on your feet. NOEL: A bass player taught it to me. I'm trying to calm myself, man. Emma's d*ad and I'm innocent. How many times do I have to tell you that? BOOTH All right, you know, Noel. Just want to ask you some more questions, that's all. NOEL: Who are the chicks? BOOTH: Hey, be respectful, be a gentleman. Let's go, up, up, up... Come on. There you go. That's it, okay. This here is Dr. Brennan. Angela Montenegro, she's an artist. NOEL: Cool. BOOTH: Yeah, groovy. BRENNAN: Did you see a truck parked outside Emma's apartment building last Wednesday? NOEL: How would I know? I mean, it's not like I kept a log of everyone going in and out of the building. BOOTH: Listen, Noel, you're the primary suspect in Emma's m*rder. So if you do not cooperate, you're looking at 20 solid years keeping tabs on your cell mate. NOEL: All right, fine. I remember a truck, it had a cool logo from some organic composting place. BRENNAN: We need to know who was driving the truck and if he went in to Emma's building. NOEL: What, you think I have bionic vision or something? BOOTH: No, but you got binoculars... they're in every starter stalker kit... so give Angela something to draw. NOEL: I like artists. ANGELA: I'll crush you like a bug, dude. Describe the guy. NOEL: Uh, he's a young dude, maybe 26, about my height, average, kind of buff, Caucasian, uh, brown hair, he was wearing sunglasses. Kind of looked like they were made out of wood or something. Far out, huh? Wood. Hey, do you guys have medical marijuana in DC? Because I get anxiety att*cks. BOOTH Give Angela something to draw. NOEL: Um... he had a, uh, square jaw, um, straight nose, cute ears. (Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and GAVIN LEE. BRENNAN is spraying to check for blood as BOOTH interrogates LEE.) LEE: Charlie Rogan got 'em from Frank Curtis. Why? What's going on? BOOTH: Why did Frank give Charlie a pair of sunglasses? LEE: No real reason-Frank wore 'em one day to pick up compost, Charlie admired 'em, so Frank gave 'em to him. He was like that. BOOTH: Can you think of any reason why Charlie would want Frank d*ad? LEE: Of course not--he's a good kid; he loved Frank. (BRENNAN walks up with a pitchfork in hand.) BRENNAN: This is the m*rder w*apon. BOOTH: There you go. BRENNAN: Bag it. BOOTH: It seems like Charlie and Frank had a thing for the same girl. Charlie gets jealous, he gets into a fight with the girl, kills her, and then he goes after Frank's story. As old as time, my compost friend. (CHARLIE ROGAN walks up.) CHARLIE: Need something, Gavin? BOOTH: Yeah. Charles Rogan, you're under arrest for the m*rder of Frank Curtis and Emma Billings. (BOOTH begins to cuff Charlie.) CHARLIE: Oh, God, no. Th-This isn't what you think! Gavin, I didn't...I swear I didn't... LEE: Don't. Don't say a word, Charlie. CHARLIE: Gavin... (BRENNAN answers her phone, with CAM: on the other line.) BRENNAN: Cam, we've got the m*rder w*apon used on Frank Curtis, plus evidence linking Charlie to the scene of Emma's m*rder. CAM: Yeah, well, I hate to throw ants in your picnic, but I recovered DNA from beneath Emma's fingernails...Charlie Rogan didn't att*ck Emma Billings. Her assailant was female. BOOTH: What is it? BRENNAN: Charlie didn't k*ll Emma. BOOTH: What? He was there. CAM: But there's more. I noticed some odd similarities, so I compared Emma's own DNA to that of her attacker. There was a 25% commonality. BRENNAN: Half sisters. It was Kat Curtis- she k*lled Emma. (Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.) KAT: My father promised he'd stop fooling around. My mother was so humiliated. BRENNAN: So you went to Emma. KAT: I had the key. I was waiting for her. I scared her, I guess. BOOTH: And you fought. KAT: She fell. I never meant to hurt her. I just, I wanted my dad to end things. It just looked like she bumped her head. BRENNAN: But she was d*ad. (Cut to: FBI interrogation room with BRENNAN, BOOTH and CHARLIE ROGAN.) CHARLIE: Kat called. We were still friends. I knew she'd never hurt anyone. It was an accident. BOOTH: So you told Cat you'd get rid of Emma's body while her and her mother went out of town. BRENNAN: But you leave your sunglasses. CHARLIE: It's not like I'd done this before. BRENNAN: And Frank sees them the next time he goes to visit Emma. CHARLIE: He came at me, man, one night at work. Frank went nuts. Wanted to know why I was at his place, where Emma was. BOOTH: He had a pitchfork. CHARLIE: I was turning the compost when he was yelling at me. BOOTH: He knew what would happen to you and Kat if you found out. CHARLIE: He came at me. I didn't even know I'd done it. It was like someone else jabbed him with it. BRENNAN: But the body, Charlie, why'd you move Frank's body? (Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.) KAT: For my mom, for the insurance. BOOTH: Of course, no payout without a body. (Cut to: FBI interrogation room with BRENNAN, BOOTH and CHARLIE ROGAN.) CHARLIE: So I tossed him where we knew he'd be found. (Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.) KAT: Dad left everything to nonprofits. That insurance money was all my mom would have. BRENNAN: You did it for your mother? KAT: I never meant for any of this to happen. I never meant to hurt anyone, I just...I wanted my mom to be happy. BRENNAN: Kat...your father wasn't having an affair with Emma. He'd had a relationship with her mother a long time ago. Emma Billings was his daughter. She was your half sister. KAT: What? Oh, my God. Oh, my God, no. Oh, my God, no! (Cut to: SWEETS' OFFICE with SWEETS, BRENNAN and BOOTH.) SWEETS: So, case finished? BRENNAN: Yes. SWEETS: Congratulations. BOOTH: Yeah. SWEETS: You don't seem too happy. BOOTH: Well, because sometimes, if you win, you end up with somebody else's pain and screwed-up life. You work for the FBI, you should know that. SWEETS: Must be a challenge for you to access those feelings. BRENNAN: Okay, stop. You don't know Booth. You don't know me, you have a limited view of us based on superficial data you've accumulated on a standardized questionnaire, and a subjective analysis from talking to us that is not at all scientific, so back off. SWEETS: Just trying to help. BRENNAN: By questioning his humanity? BOOTH: Okay, Bones, now you're going a little bit overboard. He's just a kid. Right? I mean, the worst thing that's probably ever happened to him was he lost at Mortal Kombat. SWEETS:Are you normally this protective of him, Dr. Brennan? BRENNAN: We are partners. Our lives depend on being protective of each other. SWEETS: And you feel the same way, Agent Booth? BOOTH: Sweets, I can only hope that one day you know what a real partnership is. SWEETS: You two are very close, that was evident in your superficial, standardized questionnaire and my unscientific observations. BOOTH Yeah? SWEETS: You complement each other. BOOTH: No, she never compliments me. Did you compliment me in the questionnaire? BRENNAN: "Complement," not "compliment." "Ple." He means that we complete each other, as a team. BOOTH: Yeah, right. SWEETS: Now, we've got a lot to work on over the next few months. BRENNAN: Meaning we get to stay together? SWEETS: Yes. BOOTH: I'm sensing a "but." SWEETS: However, BRENNAN: It's the same as "but." SWEETS: I have observed some underlying issues that need to be addressed. BOOTH: Issues? SWEETS: Yes. There's clearly a very deep emotional attachment between you two. BOOTH: We're just partners. SWEETS: And why do you think I would have thought otherwise? BOOTH: 'Cause you're 12. BRENNAN: Don't read into anything that Booth said. We're professionals. There's a line that doesn't even need to be there. BOOTH: Not at all, I mean, if there were no more m*rder, I would probably not even, you know, see her. BRENNAN: That's very true. BOOTH: Might have coffee. BRENNAN: Probably not. BOOTH: What? BRENNAN: What? BOOTH: You wouldn't even have coffee with me? BRENNAN: Well, in your scenario, we wouldn't even know each other because there are no m*rder. BOOTH: Were. I said "no more m*rder." BRENNAN: Then fine. I mean, we could have a coffee. So that's clear, then? I mean, we'd have coffee and that's our relationship? Coffee. BOOTH: Yeah, let's move on. END.

{"type": "series", "show": "Bones", "episode": "03x04 - The Secret in the Soil"}

foreverdreaming

"Mummy in the Maze" Episode 3x05 Written By: Scott Williams Directed by: Marita Grabiak Transcribed by: xxblackxsatinxx Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. Teaser Ext. roadside halloween maze - day It's Halloween, and many kids have gathered around this maze dressed up in an assortment of costumes. The camera pans around a number of people as the host exclaims the rules of the game. host Come, my brave children, to the hideous Halloween maze. Avoid the creepies and the crawlies that live in every dark corner of the maze. And the first one to reach the centre and emerge alive will win the grand prize. AHA! A p*stol is sh*t, declaring the beginning of the race, as the children break through the starting line and push past each other into the maze. The maze is covered with traps and d*ad ends. As the kids run around, the camera follows one boy, MATTY, a heavy-set boy dressed as a fuzzy bear. Matty is clearly lost and frightened as he runs around aimlessly in the maze. Matty comes across the hanging skeleton, scared by it turns in the other direction. Matty runs into the large witch at the intersection and he turns, once more, scared. Through the tunnels of the maze, you can see other children running about, trying to get to the centre. Matty whimpers and looks around, scared. Matty: Where am I? Matty looks down one of the pathways of the maze, and there sits a skeleton in an electric chair indicating a d*ad end. A woman dressed in a cat costume lunges out at Matty and scares him. Matty stands in front of the large black witch. Matty (CONT'D): I'm lost! Somebody help me! Matty begins to run. A GRIM REAPER jumps out at Matty. Matty screams and begins to run again. Matty runs passed the noose. The bottom half of a hanging mummy can be seen quickly. Matty comes face to face with the mummy. CLOSE ON The mummy's face. A spider crawls out of the eye socket. BACK TO SCENE Matty begins screaming. The spider falls on his nose. Matty faints. Ext. Halloween maze - night The maze is all lit up with hanging ornament lights. Sirens wail in the background, as witnesses are being interviewed. DR. POTOSKA leads BRENNAN and BOOTH into the maze. Potoska: Right this way, miss. Booth admires the costumes. Booth: Now, that's an excellent costume. What are you wearing? Brennan: What? Now? Booth: No, not now. At the Jeffersonian's Halloween Ball. Int. halloween maze - night Booth and Brennan followed Dr. Potoska. Brennan: What I always wear. Are you going this year? Booth: I'm the official unofficial FBI liaison to the Jeffersonian. Of course I'm going. Dr. Potoska notes the wolfman. Potoska walkies another officer. Potoska: We just passed the wolfman. Deputy (o.s.): Go straight towards the guillotine and veer left. Potoska turns to look at Booth and Brennan. Potoska: It's a maze. What can I do? Booth, Brennan and Potoska continue through the maze. Brennan: Dr. Potoska, how were the remains discovered? Potoska: A kid passed out. Brennan: What k*lled him? Potoska: Oh, the kid didn't die. He just fainted. Brennan: Then why am I here? They walk past a hanging skeleton. Potoska: Well, when Matty fainted, I was here with my own kids. I'm a pediatrician, but I'm also the coroner. Booth: Small town. They continue to walk through the maze. As Potoska begins, and continues to talk, Booth gets separated momentarily from Brennan and Potoska. Potoska: Yeah, well, Matty revived easily enough. Uh, he's what you call a nervous-type kid. But then I saw what it was that made him faint in the first place and I almost fainted too, because it was a mummy, which I told the sheriff, who called the FBI, who called the Jeffersonian. And now here we are, lost in this stupid maze looking for the mummy. Booth reappears and joins Brennan and Potoska. Booth: A mummy? Potoska (in walkie) Yeah, I do not see a guillotine. Potoska looks at a scarecrow wearing a cowboy hat. Potoska (CONT'D): What would you call that? Brennan: A cowboy? Booth: No, it's a scarecrow. Deputy (o.S.): Look, just keep turning to the right, all right? Let me know when you reach the dragon. The trio turn, and are greeted by a red and green monkey face with big white teeth. Potoska (to walkie): d*ad end, with teeth. Deputy (o.S.): That's because you turned left at the globin. You were supposed to turn right. Potoska turns around. Booth: Look, when you say a mummy? You mean... ? Potoska: Wrapped in bandages, curse of King Tut. You know, a mummy. Brennan: No offense, but I'm not certain a pediatrician is qualified. Potoska: Pediatrician AND coroner. See that? Yeah. They stand in front of the electric chair. Potoska (CONT'D): (in walkie) Okay, we are at the electric chair. Deputy: There's an electric chair? Booth: Look, just tell the guy to throw his flashlight up in the air, will ya? Potoska: The FBI requests that you toss your flashlight into the air. The DEPUTY is with the mummy. Deputy: Ten-four. The Deputy tosses his flashlight into the air. Booth sees it. Booth: Ah! There it is. Potoska: Oh, let's see if we can get there this way. Potoska begins to walk in the opposite direction. Brennan follows him. Booth stops them both. Booth: Guys? They stop to turn and look at him. Booth turns around and knocks down the haystack wall. The Deputy stands on the other side of the now fallen wall. The Deputy stands next to the mummy. Booth climbs over the fallen hay bundles. Potoska (to Brennan): After you. Booth stumbles on the bales of hay, regains his balance and breaths in. He looks up and sees the mummy. Booth: Oh! Brennan and Potoska follow Booth and climb over the fallen hay bundles. Booth (CONT'D): What do you think, Bones? Brennan examines at the mummy. Brennan: Well, ocular contents dry, ramus collapsed, leathery skin. These are actual human remains. Potoska: A mummy. Brennan: How long will it take to get out of this maze? Booth: Not as long as you might think. Booth takes out his car keys and holds them up. Booth presses a button and his car alarm chirps. Booth turns around and knocks down the nearby hay wall. Booth's SUV is right on the opposite side of the now demolished wall. Booth climbs over the fallen hay bundlers and looks back to Brennan and lifts his arms with a look on his face that says 'it was that easy.' End of teaser Act I INT. MEDICO-LEGAL LAB / EXAMINATION TABLE CAM and ZACK examine the mummified remains. HODGINS, currently offscreen, is also on the platform. Cam: It takes a steady flow of dry air over a long period of time to achieve this kind of desiccated mummification. Zack: The Incan Ice Woman of Peru, the Tarim Basin mummies of China, the peat bog Tollund Man in Denmark. Zack turns to look at the x-rays up on the screen. HODGINS sits at a desk, his feet up, and a pumpkin full of candy in his lap. Hodgins is sucking on a lollipop. Hodgins: How old are we talking? Zack: Buttons, zipper, rivets. She's probably wearing jeans. Hodgins: So, freakazoid m*rder-mummification rather than fascinating history? Cam: She? Zack: Shape of the innominate bone indicates female. Cam: Now listen, boys. The Jeffersonian Halloween party, it's compulsory. Donors, patrons, angels, benefactors. So we all show up in costume and do our duty. Hodgins is about to say something but Cam silences him with a finger. Cam (CONT'D): I don't want any argument on this. Zack: I will be the back end of a cow. Hodgins: So, now costume? Zack: Naomi, from Paleontology, has agreed to be my front. Cam begins to cut the dressings from the mummy. Hodgins: Oh, so many jokes, so little time. Cam shakes her head as she smiles. Hodgins (CONT'D): It's fine. We're all in. I'll be Edward John Smith for Halloween. Cam looks up to Hodgins with a look of confusion on her face as she frowns. Zack notices. Zack: Ill-fated captain of the Titanic. Cam: What about Angela and Brennan? Zack: Dr. Brennan always wears the same costume to this things. She loves it. Cam: Help me remove these. Cam and Hodgins slowly pull the dressings apart. Hodgins: What's with the smell? Cam: Cedar oil? Zack: Also used in mummification. Cam: What about this clear coating over the skin? Hodgins: Lacquer? Cam: She was painted to death? Hodgins: The clothing came from a church-run thrift store. Cam: How could you possibly know that? Zack: There is no bug or slime specific to church thrift stores. Hodgins: You don't know that. I'm the bug and slime guy. You're just the auxiliary bone guy who dresses up like the back end of a cow. Cam: Hodgins? Hodgins sighs, and rips off the label on the clothing and holds it up for Cam to read. Cam (CONT'D): Free Church of America Thrift Store, huh? Tell Booth. Zack: I knew it wasn't bugs or slime. Hodgins: No, you didn't! And that's what makes me, King of the Lab! Cam glares at Hodgins. Hodgins (CONT'D): A loyal servant of the Empress. Hodgins nods respectively towards Cam. Cam smiles with content. Zack looks from Cam to Hodgins, raising an eyebrow. Int. Free church of american / thrift store - day Booth and Brennan walk among the clothing racks at the thrift store while talking with PASTOR BILL JONAS. Pastor: Clothes from this ministry were found on a d*ad body? Well, I'm afraid that happens fairly often. Brennan: Why? Pastor: Because we're a charitable congregation. Homeless people know that we'll provide them with what they need. Pastor: Jonas puts down the painting he was carrying as Brennan opens the case file and shows him photographs. Brennan: Do you, by any chance, remember these specific pieces of clothing? Pastor: This is from your m*rder victim? Brennan (nods) Mm-hmm. A TEENAGE BOY wearing a long black trench coat interrupts them. Boy: Jonas? Do you have anything like this in red? Pastor: You're looking for something that screams "Satan," right? Boy: Basically. Pastor: I think we have a pink cape in the back. Maybe we can dye it. The boy leaves. Booth: What kind of church dresses kids like Satanists? Pastor: Let me show you. At Halloween we do a Hell House. Fornication, theft, m*rder, gambling, usury, sodomy, abortion. The pastor shows them a miniature of the Hell House. Brennan: It's kind of horrific, isn't it? Pastor: Well, abandoning the path of righteousness is horrific, Dr. Brennan. This is our way of remaking a pagan holiday, Halloween, into a positive celebration of Christian values. (to girl) Excellent prost*tute, Stephanie. A GIRL, dressed provocatively, walks by them and smiles. Stephanie: Hey. Booth: Anyone ever dress like a mummy? Pastor: We've never featured a "false idol" room, though, now that you mention it, it's not a bad idea. Brennan: Ancient Egyptian religious beliefs endured for almost 4,000 years, twice the length of Christianity. Booth: Look, any of your kids suddenly disappear? Pastor: No. Brennan: What if the children that you save from abortion grow up to be usurers and sodomites? Pastor: I don't respond to mocking semantics, Dr. Brennan. Booth: Nor do I, but she's serious. Pastor: In that case, my serious answer would be that in being given a chance to live a life, the aborted soul will have a multitude of opportunities to repent for their sins and live bathed in the Holy Spirit. Brennan nods. Brennan: Thank you. Booth: (surprised) Thank you? Brennan looks to Booth. Pastor (O.s.): You're welcome. Int. Royal diner - day ANGELA and Hodgins sit across the table from a red-headed woman named AMBER KIPPLER. Amber: My name is Amber Kippler. I'm a senior investigator with Doyley Private Investigations. Hodgins: Mr. Doyley assured me he'd be taking a personal interest in the search for Ms. Montenegro's husband. Amber: Interest, yes. But I'll be doing the actual footwork. Mr. Doyley is taking a very personal interest, only not from up close. Angela: Do you have a lot of experience at this kind of work? Amber: Angela Montenegro is not your birth name. You changed your name on your 18th birthday because it came to you in a dream. Angela's jaw drops. Angela: Um... Hodgins' eyes widen as he looks at Angela. Hodgins: You never told me that. Angela: I never told anybody that. Amber: If I can discover something nobody knew about a client I'm not being paid to investigate, imagine what I can do for real. Hodgins: Good point. Angela: (insisting) I never told anybody about that. Amber: Yes, you did, actually. A girl named Roxie whose heart you broke in second year art school. Angela: Oh... (smiles) Roxie. Angela chuckles. Hodgins: Wow! (to Amber) What do you know about me? Amber: Wouldn't it be better if we got to Ms. Montenegro's husband, Grayson "Birimbau" Barasa? Hodgins: You found something? Amber: I found the actual human man—in Florida, in the Keys. No Name Key, very remote. Angela: Did you talk to him? Amber: Absolutely not. Hodgins: Why? Amber: My instructions were to locate. That being achieved, we can now discuss contact. Hodgins: We want you to contact him. Angela: And get him to sign the divorce papers. Amber: By "get him" do you mean... Amber looks at Hodgins and Angela. Angela and Hodgins look at her as if insisting the rest of the sentence. Amber (CONT'D): ...force him to sign them? Hodgins: If necessary, do you have a g*n? Angela: Or just remind him of who I am and ask him politely. Hodgins: What are you? Canadian? Amber: We'll do this one step at a time. Ext. road - day Booth's SUV is cruising down the road. Booth (O.S.): Didn't that pastor guy make you mad? Brennan: No. INT. BOOTH'S SUV - day Booth He's a fundamentalist. Brennan: I appreciate consistency. Booth: Oh what, the consistency of trying to scare kids into Christianity? Brennan: How do we keep kids from smoking? We tell them it gives them cancer. Booth: It does give them cancer. Brennan: According to science. Booth: You know, that's all you care about is science. Brennan: In the end, even someone who believes in empiricism and science has to take a leap of faith. Booth: What? Brennan: I believe in what I can hear, taste, see, touch and measure. You believe in what you feel. Pastor Jonas believes that God speaks to him through a sacred book. Booth's cell phone rings. Booth: Yeah, well, I feel like we're on the wrong side of the argument here. Booth checks his phone. Booth (CONT'D): Oh, it's Cam. Booth puts Cam on speakerphone. Booth (CONT'D): (to Cam) What's up? Cam (O.S.): I really need you to come back. Int. Medico-legal lab / outside brennan's office - day Cam is on the phone and walking. Cam: I got a couple here, says they think the mummy in the maze is their daughter. Booth: Oh, that'd save us some time on identification. Cam: Their daughter only disappeared last week. Brennan: The remains we found were at least a year old. Cam: Look, I'm great with corpses, but when it comes to loved ones, let's just say there's a reason why I'm not a pediatrician. So if you got a siren, turn it on. Booth: Right. Booth hangs up. Cam turns around to look at the couple in Brennan's office. Int. Medico-legal lab / Brennan's Office - day Booth and Brennan are talking to Megan Shaw's parents, DON SHAW and MARGIE SHAW. CLOSE ON Photo of a red-haired teenager. Don Shaw (o.S.): Megan is fourteen. She didn't run away. Margie Shaw (O.s.): Something terrible happened. Booth: She's a very pretty girl. Brennan: What makes you think the remains we found are your daughter? Margie Shaw: The news said that you found the body of a teenage girl in a fun house. I suddenly knew it was Megan. Brennan: Suddenly knew? Booth: Mr. and Mrs. Shaw, it wasn't a fun house. It was a maze. Brennan: And the remains we found are more than a year old. Margie Shaw: You're certain? Brennan: Yes. Don Shaw: Oh, I see. Angela knocks on the glass pane, gesturing that she wishes to talk with Booth. Booth: I'm sorry. Excuse me. Brennan: I don't understand why you're disappointed. Your daughter might still be alive. Margie Shaw: (her voice breaking) Megan is not still alive. Angela hands Booth the sketch. Brennan: How are you so certain? Margie Shaw: I just am. I can't explain it. I'm her mother. Booth takes a seat next to Margie and Don. Booth shows them Angela's sketch. Booth: I'm sorry. Does this face mean anything to you? Don Shaw: No. Margie Shaw: Does she have something to do with Megan? Booth: This is the girl that we found in the maze. Brennan's phone rings. Don Shaw: Definitely not Megan. Margie begins to cry. Brennan answers her phone. Brennan: Yes? Int. Medico-legal lab / cam's office Cam Dr. Brennan, another mummy has been found at Shoreline Amusement Park. Brennan turns and looks at Booth. Ext. Shoreline amusement park - night Brennan and Booth quickly make their way through the park. Brennan: Perhaps the fact that Megan Shaw disappeared from here and there's another mummy here is a coincidence. Booth: Fact, Bones, there are no coincidences in a m*rder investigation. Booth flashes his badge to the officer who points them towards the Dungeon of 1000 Corpses. Brennan: You do know the strict definition of a fact, right? It's not the same as a funny feeling. Booth: Just because somebody says they saw a mummy doesn't mean they actually did. Booth and Brennan walk up to a BREATHLESS WOMAN sitting on a gurney accompanied by an EMT, PETE GELLER. Breathless Woman: I know what I saw. Geller: Keep the mask on, please, ma'am. Brennan: What's wrong with her? Geller: Anxiety att*ck. Brought on by this dungeon here. I spend half my time on these calls. Brennan: (to the woman) You know it's not real, right? You're overreacting to an excessive amount of stimuli. Geller: Keep the mask in place, ma'am. Brennan: Plus, you should lose some weight. Geller (to Brennan): Um, ma'am? Booth: Bones, a little compassion. Breathless woman: I'm not overreacting. There's a d*ad body in there! Geller: A thousand of them, to be exact. Geller turns and motions to the sign. Close on Sign that indicates DUNGEON OF A 1000 CORPSES BACK TO SCENE Breathless woman There's a real one. I'm a nurse, trust me! I know a d*ad body when I see one. Brennan (to Geller): Did you see anything? Geller: Not much time for that. Just went in, got her, got her out. Booth leans in, and pulls the oxygen mask away from the woman so she can speak. Booth: Right. What did you see? Breathless woman: A corpse. Past the k*ller clown. Booth lets go of the mask, his eyes wide. Booth: (in a higher pitch than usual) Clown? Booth looks at Geller. Geller: You okay? Booth: Yeah. Booth stands up straighter, his posture stiff. Brennan: You sure? Booth: Sure. Brennan: Come on. Brennan heads to entire the dungeon as Booth points to the breathless woman. Booth: Clown. Int. Dungeon of 1000 corpses - night The inside of the dungeon has lights flashing, and a background sound of shrill screams. Booth walks in and stops when he sees the k*ller clown. The clown has wrinkly skin, and long sharp teeth. Brennan enters behind him. Brennan: What's wrong? Booth jumps and squeals. He pulls out his phone. Booth: Um... the phone rang. It's Cam on the phone. It's ringing. Brennan: Coulrophobia. Booth: Euh? Brennan: The fear of clowns. Coulrophobia. May explain why you sh*t that clown last year. Booth: Look, I have no problems with clowns. I can stand right here. See? Brennan: Uh-huh... Booth answers the call. Booth: On the phone. (brings the phone to his ear) Booth. Int. Medico-legal lab / cam's office Cam is on the phone with Booth. Cam: We got an ID on our maze victim off of Angela's sketch. Booth: Great. Uh, details to follow. Booth pulls the phone away from his ear, except Cam continues. Cam: I think you want to hear this now. Name's Stella Higgins, fifteen years old, disappeared a year ago today. Brennan: What's she saying? While on the phone, Booth is obviously uncomfortable with the clown. Booth keeps looking back to it as if expecting it to come alive. Booth: (to Brennan) ID and date of disappearance of our maze victim. Cam: Stella was last seen at Shoreline Amusement Park. Booth: Wow! Brennan: What wow? Booth: More coincidences. (to Cam) Uh.. Thanks! Booth hangs up the phone. Booth (CONT'D): The maze victim disappeared from here. So we just go right past the clown. I can walk right past the clown, like she said. Just right... Booth begins to walk past the clown, just as he is facing the clown, the clown begins to rotate and the clown's arm nearly touches Booth. Booth dodges the clown's arm as he lets out a scream. Booth and Brennan continue through the dungeon. Brennan: t*rture dungeon. Brennan imitates the "evil laughter" coming from the speakers. Booth: Yeah, okay. Clown, scary. Not you. Booth and Brennan enter the t*rture chamber and begin to look through the various dummy corpses. Booth scoffs. Booth (CONT'D): Oh, gee! You're kidding me, right? Booth points to a mannequin strapped to a t*rture chair. Booth (CONT'D): Look at the eye, uh? It's a Ping-Pong ball. Brennan walks up to a pile of corpses, and looks at one in particular. Brennan: Not this one. Booth: How do you know? Brennan: Human remains, Booth, it's sort of my speciality. This is a d*ad person. End of act I Act II Int. Medico-legal lab / examination area Zack is examining the most recent victim when Cam walks across the platform towards him. Cam: Okay, the first thing Booth needs to know is if this is Megan Shaw. Zack: It is not Megan Shaw. Cam: I agree. It would be impossible to mummify a body like this in just a little more than a week. Zack: Dental records do not match. Zack begins to examine the victim's hand. Cam: Lacquer and cedar oil. Looks like the same m*rder. Zack: That's leaping to a conclusion. Cam: I said looks like, Zack. Looks like is not leaping. Zack: Her phalanges, fingers, are broken. Metacarpals... cracked. Cam: You've seen something like this before? Zack: In Iraq, there were some remains. They'd been buried alive. Cam: This person was buried alive? Zack: (hesitantly) I'm not comfortable... Cam: It looks like this person was buried alive, correct? Angela interrupts them. She puts up a picture of a dark haired girl with a tattoo. She clips a second picture up underneath it, of a bird tattoo. Angela: The tattoo on the second victim's shoulder matches that of Judith Suzanne Evans. Sixteen when she went missing. Cam: How long ago? Angela: Two years, almost to the day. Cam: From? Angela: Shoreline Amusement Park. She was there with her big sister and a couple of her friends. Hodgins walks in holding a case file. Hodgins: Skin and hair removed from beneath Stella's fingernails turns out to be her own. Also, the lacquer used on both victims is completely generic. It's widely available. Zack: She pulled out her own hair? Angela: What makes somebody do that? Cam turns around and fiddles with the computer. Cam: There are small puncture marks, hundreds of them, all over her body. Like insect bites, but larger. CLOSE ON Computer screen; zoomed onto the victim's skin. Small puncture marks can be seen all over. BACK TO SCENE Hodgins In both cases, the lacquer was infused with a number of particulates including a spore I'm trying to identify. Cam addresses Zack. Cam: Are you ready to admit that it looks like both these girls were k*lled and mummified by the same person? Zack: I'm not prepared to... Cam/Angela/Hodgins: ... jump to that conclusion? Zack nods in agreement. Ext. Shoreline amusement park / dungeon of a 1000 corpses - night Booth gathered all the employees of the Dungeon and the manager. Among the employees there's a man wearing the same grim reaper costume from the maze. Manager: Come on. You expect me to know when one body appeared in a pile of bodies? That's not reasonable. Booth: An actual genuine corpse appears, and you don't notice? Manager: The place is called Dungeon of a 1000 Corpses. Booth: Which is why an entire FBI forensics team is sweeping this facility. The camera pans over a GOTH GIRL with several piercings named LOLA. Lola: This hole counts as a facility? Booth notices the grim reaper. Booth: I know you. Grim Reaper: No. Booth: Yeah. You were at the maze the other night. Same costume. Grim Reaper: Oh... yeah. Booth: Yeah. You're just recalling that, huh? What's your name? Grim Reaper: Gregg. Booth: Little hint. FBI asks for your name, you give the whole name. Manager: His name's Gregg Liscombe. He's worked here three years. You're not supposed to wear the costume to other gigs, dude. Dilutes the effect. An FBI forensic tech arrives. Forensic Tech: All the other bodies are fakes, Agent Booth. Booth: Okay, we'll just keep the entire fun house as a crime scene. Forensic Tech: Yes, sir. The FBI forensic tech leaves. Manager: In that case, can I send my people home? Booth: Oh, no, all your people have got to talk to my people. (to Gregg) And you're coming with me. Gregg: Why? Booth: Two places with d*ad bodies, and you're standing in the doorway dressed as the Grim Reaper. Gregg: It's my job, man. It's not like I adopt the persona. Lola: Don't say anything without a lawyer, Gregg. Manager: Tell you what else, Gregg's got the keys to the place. Lola: Shut up, Dan! (steps forward) He's got keys, too and so does cleaning crew and park security. Booth: Wow, how about you? You got keys? Lola: I got nothing else to say without a laywer present. Booth: Okay, that's great, pincushion, 'cause you were practically invisible until now. Now you're bucking as number one suspect. Lola rolls her eyes at Booth. Int. Medico-legal lab / EXAMINATION AREA - day Cam, Brennan and Zack are on the platform looking at their latest victim's photograph. The two mummies are on separate tables on the platform. Brennan: Judith Evans, age 16, our victim from the Dungeon of 1,000 Corpses. Zack explains his findings with the help of x-rays. Zack: I've identified stress fractures to both tibias, as well as tears to the medial collateral and anterior cruciate ligaments in both knees. Brennan: Catcher's knee. Cam: There's nothing in the bio about Judith Evans being a baseball player. Zack: Compressions to vertebrae C1 through C7 indicate that her neck was bent like this. Zack demonstrates by showing how her neck must have been bent. Brennan: But forced. Cam: I am not liking the picture that's forming inside my head. Phalanges cracked, and her fingernails shredded, her head forced that way, her knees jammed up against her chest. Do we think Judith Evans was buried alive? Hodgins enters the platform. Hodgins: I... uh... I have... another bad image of how Stella Higgins died. Brennan: Spiders? Hodgins: Tarantulas, to be specific. Cam: Poisonous spiders? Hodgins places a slide under a microscope and brings it up on the computer monitor as he explains. Hodgins: That's a common misconception, though the lack of poison doesn't make the bite any less painful. This is an urticating hair from the Theraphosinae family. Zack: It appears to be barbed. Hodgins: Yeah. It's very irritating. Hey, little-known fact: tarantula hair was the main ingredient in itching powder for decades. Zack: Is there any correlation between these hairs and the fact that Stella Higgins scratched herself so badly, and pulled out her own hair? Cam: She's bitten all over. There had to be dozens of tarantulas on her so, yeah, there's a correlation. Hodgins: I was operating under the assumption that the mysterious spore was transported by the tarantula, but I was wrong. Brennan: How do you know? Hodgins: Because there's no tarantula hairs on Judith Evans, but plenty of the spores and particulates. She has carcinogenic dibenzopyrene isomers, asbestos, polycyclic aromatic hydrocarbons, manganese and barium and steel dust. Cam: Which adds up to? Zack: Internal combustion engines. Hodgins: Traffic, except for the steel dust. I have no clue about the steel dust. Cam walks over to the computer while discussing about the tox screens, and brings up both tox screens on the computer monitor for comparison. Cam: Well, Stella's tox results show chloroform, ephedrine, theophylline, clonydine and methamphetamine. Close on Computer screen with the victims tox screens. BACK TO SCENE CAM (CONT'D): Judith's remains show trace evidences of the same compounds, but in different concentrations. Brennan: Ephedrine is synthetic adrenaline. Hodgins: Most of those are heavy stimulants. Zack: Their metabolisms would race. Heart rates would accelerate dangerously. Cam: Spiders, live burial, drug-induced panic... is our m*rder literally scaring girls to death? INT. FBI BUREAU / BOOTH'S OFFICE Booth is talking with a young woman. SANDY EVANS, Judith's sister. Sandy: I always felt, somehow, that Judy was still alive, even after two years. It's crazy, huh? Probably guilt, right? For letting my little sister out of my sight? Booth: Look, you can't blame yourself. Sandy: Did my sister suffer? Booth remains silent, not answering the question. Booth: You know, we got the best people in the world figuring out exactly what happened that night. Booth circles his desk, and takes a seat behind it. He goes through the case file. Booth (CONT'D): So, you and your sister went to the amusement park together? Sandy: It's kind of the thing to do on Halloween. My mom made me take her. I didn't want to. I mean, I loved Judy... Booth: But she was your kid sister, pain in the ass. Sandy: She made me take Judy, even though I didn't want to, and Mom never got over that. Booth: How did you and Judy get separated? Sandy: Judy got scared. She didn't want to go in the fun house. Booth: Why? Sandy: There was this huge monster above the door. Judy freaked. She said go ahead, she'd wait outside. Judy was claustrophobic. Booth: How bad? Sandy: Pretty bad. She wigged out when we were driving down. There were six of us jammed in a car. We had to stop and let her out a couple times. Booth: Do you remember if there was a Grim Reaper that night at the entrance? Sandy: Yeah, there was. Booth walks around his desk, sits next to Sandy and shows her Gregg's photo. Booth: Could that be him? Sandy takes the photo of Gregg. Sandy: Yeah. When we came out looking for Judy, he told us she had taken off with some guy. Booth: The police could never confirm that. Int. Fbi bureau / interROGATION ROOM Booth slams a mugshot of Gregg down on the interrogation table. Booth: Registered sex offender. He was present at two places where the remains of young girls were found. Booth and Brennan are questioning Gregg. Gregg: Coincidence. Brennan: Statistically improbable. Booth: Scientifically improbable but, in the real world, impossible. Brennan: Do you recognize these two girls? Brennan places two photographs, one of Judith Evans, and one of Stella Higgins on the table infront of Gregg. Gregg: Man, every girl that comes in there talks to me. I don't remember them. Brennan: Why does every girl talk to you? Gregg: Cause I'm cute, scary. Booth: Yeah, you do pretty well with the teenage girls, don't you, Gregory? You get them all tingly? Gregg: All right, that sex offender thing? It's a joke, man. Look it up. I got drunk, and I took a leak in a public fountain. Brennan: Yeah, we did look it up. There was a group of school girls on the other side of that fountain. Booth: Four times, you've been caught with your pants down, all around teenage girls. Coincidence? (points to Judith Evans photograph) Two years ago, you told this girl's sister that she took off with some guy. Brennan: Do you remember her? Gregg: Yeah, sure. It's the girl that disappeared. Booth: The thing about you guys, you're all the same. You sniff each other out. Who was the guy? Gregg doesn't say anything. Brennan: Judith Evans disappeared October 24th, two years ago. Stella Higgins, one year ago, a week before Halloween. Gregg: So? Brennan adds a third photo, Megan Shaw. Brennan: So, Megan Shaw vanished from the same place. Booth: You can see the common element here, can't you, Gregg? You. Gregg: Coincidence. Brennan: There are no coincidences in a m*rder investigation. Gregg: Well, it's got nothing to do with me. Booth slaps Gregg up the side of the head. Gregg (CONT'D): Ow! Geez, you can't... Did you see that? Brennan doesn't stop Booth from slapping Gregg upside the head again. Booth grabs Gregg by the shoulder and forces him to look at the photographs. Booth: Hey! Megan Shaw was 14 years old. Understand me? Who was the guy? Brennan looks at Booth, then slaps Gregg. Booth (CONT'D): Good sh*t, Bones. Brennan: (smiles) Thanks. Gregg: There was no guy! It was Lola. Booth: Lola? The girl with the piercings? Gregg: Yeah. Booth: What the hell were you doing with her? Gregg: It's not what you think. The girls come with me, maybe we get it on a little. Lola likes that. Brennan: Your girlfriend likes to see you with little girls? Gregg: She likes to interrupt. You know, maybe smack them around a little. Booth: Smack around? Gregg: Yeah. It gets Lola hot, for us, for later. Sometimes, maybe she goes a little too far. Booth and Brennan exchange a look. End of act II Act III Int. Medico-legal lab / angelA'S OFFICE Angela and Hodgins follow Amber Kippler into Angela's office. Hodgins: How did you get to and from a remote, nameless Florida key so fast? Amber: It does have a name. Its name is No Name Key. Your confusion is natural. Amber takes a seat on one of the couch. Hodgins and Angela sit opposite of her. Angela: Uh, did you talk to my husband? Amber: Mr. Barasa was very pleasant, very pleasant. I mean, wow! He smelled exactly like a fresh wind just after a summer storm. Hodgins: You smelled him? Amber: Part of the private investigator credo, Dr. Hodgins, insure that the client, that's you. Amber looks to Angela. Angela: ... and him. Angela motions to Hodgins. Hodgins: I'm paying. Amber: The credo says make sure the client is committed to their objective at each step, ergo, fresh wind after summer storm reminder. Angela: Despite the storm, I want a divorce. Amber: In that case, the news is disappointing. Mr. Barasa was nice, but adamant, no divorce. Hodgins: Was it because he doesn't remember getting married? Amber: Mr. Barasa totally remembers everything. He built this for you. Amber pulls a folder out of her briefcase, and hands Angela a photograph. Amber (CONT'D): A house. Hodgins looks from Amber to Angela. He leans back and looks at the photograph. Hodgins: A shack! Amber: A whimsical cottage. Angela: It's darling. He built a house? For me? Hodgins: Okay, let's be honest. It's a shanty. Amber: Here's what Mr. Barasa said 100% verbatim, word for word. Hodgins: Verbatim means word for word. Amber: What? Hodgins: You sort of said it twice. Angela: Hodgins. Amber: I quote literally to the letter, Ever has it been that love does not know its own depth until the pain of separation? Hodgins: Wow. The guy writes poetry. Angela: (rolls her eyes) Please. Amber: He was talking about you, Ms. Montenegro, with tears in his eyes. Angela: He should get a grip. Amber picks up her things, and stands up. Amber: What would you like me to do next? Hodgins: What are you gonna do here, Ange? This guy built you a house. He cried a little bit. Amber: He smelled like a fresh wind after a summer storm, and you can practically see the lights of Havana from the porch of that cottage. Angela stands up and crosses her arms. Angela: I want a divorce. If I'm gonna shack up with anybody, it's this guy. Hodgins stands up, and surpresses a smile. He looks to Amber. Hodgins: We're gonna discuss this between ourselves, Miss Kippler. I'll let you know how we want to proceed. Amber: Okay. Amber begins to leave, but turns around before exiting. AMBER (CONT'D): Did I mention he's the most beautiful man I've ever seen? Don't blame me. PI code: Keep it real. Amber leaves, and Hodgins scoffs. Int. Fbi bureau Booth and Brennan exit Booth's office, and walk past several desks. Booth: That girl Lola gets off on inflicting pain. Brennan: Were you gonna h*t her, too? Booth: No, not with a closed fist. Brennan: Why? Booth: Why? That leaves a mark. A SHORT STUBBY MAN walks up to Booth and Brennan. Burns: Agent Booth. Booth: Yeah? BURNs Spoke with the Shaws. Asked if their daughter had any specific phobias. Booth: Yeah? Burns: Snakes. Booth: Snakes. Burns: One crawled up out of the drain of her bathtub when she was a child. So since then... Booth: Okay, that's good. Just call all the pet shops, the reptile specialists... I don't know, the World of Snakes, and see who's been buying 'em all up. Burns stops walking, and then goes back on his tracks to do what Booth instructed him to. Booth and Brennan head towards the elevators. Brennan: Does Lola strike you as a snake person? Booth: Look, I'll deal with Lola. You go back to the lab. Brennan: Why? (presses the elevator button) I won't h*t her unless you say so. Booth and Brennan walk into the elevator. Booth: Look, I'll do my street thing, you do your lab thing, all right? (presses the button) Together, we catch bad guys. That's good math. Booth sighs. Brennan gives Booth a sideways glance as the doors shut. Int. Medico-legal lab / EXAMINATION AREA Hodgins, dressed as the Captain of the Titanic, looks through a microscope. Cam, dressed as Catwoman, peers over his shoulder. Cam: The lacquer holds tarantula hairs, your mystery spores and particulates, which suggests heavy traffic. Hodgins: I'm aware of the parameters. I told you all that stuff. Cam: I'm thinking aloud. It's a technique. Brennan walks up to them. She isn't dressed in her costume yet. Brennan: Are you concentrating on the spores? Hodgins looks through his scope, slowly getting annoyed. Hodgins: Yes, I'm looking at them now. Cam: He's aware of the parameters. Brennan: And the unexplained source of the steel dust? Hodgins pries himself away from the scope. Hodgins: What I'd like is to look up from this microscope in about... hm... ten seconds and find myself totally alone and able to concentrate. Cam and Brennan take a couple of steps away from him, and patiently wait. Hodgins resumes his examination through the scope. HODGINS (CONT'D): Oh, not nearly far enough. Not even close. Brennan and Cam move to the far end of the platform. Brennan looks at Cam. Brennan: Is that your costume? Cam: Uh, yeah. Brennan: It's sexually alluring. Cam: Thank you. I'm Catwoman. Brennan looks at her blankly. Cam (CONT'D): ... the superhero. Brennan: Oh! Cam: One of the most powerful female superhero figures. Brennan: (scoffs) I don't think so. Cam: Are you kidding? Catwoman? Brennan: Can you fly? Cam: I have nine lives. Brennan: Super strength, super speed, force people to tell the truth? Cam: I think I'm pretty fast. Brennan: Pretty fast is not super speed. Hodgins walks up to them and rips off his gloves, in doing so interrupts their argument by catching their attention. Hodgins: Hawaii. Cam: Hawaii? Hodgins: The spore is Atronecium from the Haleahi Nebulae. It's a Hawaiian orchid hybrid. Brennan: The victims were mummified in Hawaii? Hodgins: How else would Hawaiian pollen get absorbed into the wet lacquer? Cam nods. Int. Shoreline amusement park / DUNGEON OF 1000 CORPSES - night CLOSE ON Sign : Dungeon of a 1000 Corpses BACK TO SCENE Booth walks up to Lola. Lola is fixing a display. Booth: Lola. Remember me? Booth flashes his badge. Lola: Not one word passes through these lips without a lawyer's okay. Booth: Right, and if you can't afford one, which is my guess, one will be provided. Probably a crappy one who studied law on the Internet. Lola: What do you want? Booth: You att*cked both of those two d*ad girls. Lola: Oh... Did Gregg tell you that? Booth: Yeah, and this one, too. Booth pulls a photo of Megan from his pocket and shows it to Lola. Lola: I didn't k*ll anyone. Booth: That's right. It was Gregg who forced you to do that. You know what? If you don't tell me what I need to know in two seconds, I'm gonna start removing your piercings and I'm not gonna start with the ones on your face. Lola: Look, I roughed 'em up, all right? Booth: Oh? Lola: That's it! I was gone. I was out of there, man! Why do you think I'm never charged? Booth begins to handcuff Lola. Booth: Yeah, okay. Lola: I'm gone, man! Booth: Just remember, Maryland and Virginia both have the death penalties. Keep that in mind before we find Megan's body. Let's go. Lola: These are really tight, man! Booth escorts Lola out of the Dungeon. Ext. Washington - night Brennan (V.o.): Don't you have to put on your costume? Booth (v.o.): I already did. Int. Medico-legal lab - night Booth holds up a case folder. Booth: I got of the k*ller from Sweets. Booth is dressed up as a nerd squint. He wears a clean buttoned up shirt, with a Jeffersonian labcoat over top. He has dark thick rimmed glasses with white tape in the middle. BRENNAN (o.s.): You mean Dr. Sweets. ZOOM OUT Booth's complete assemble is finished off by the beige pants that are way to short for him and the ginormous calculator tucked into his belt. Booth: Well, it's only theory, Bones. I mean, it's what he's best at. I mean, he's only twelve. Sweets says the k*ller is definitely a male. BRENNAN (o.s.): Gregg is a male. Booth: No, Gregg and Lola work their sick little thing together. (reads the file) Sweets says that the k*ller works alone and has a respectable blue-collar job. In his public life, he's into saving people, he's unmarried. Oh, he has a police or military background. Brennan steps out dressed as Wonder Woman. Brennan: You do realize that Sweets is describing you, right? Booth turns around and sees Brennan. Booth: Wow! Brennan: How do I look? Booth: Good. Wonder-ful. Get it? Brennan: Yeah. Booth: 'Cause you're Wonder Woman. Brennan: I know. What are you supposed to be? Booth: Oh, I'm a nerd squint. Booth leans over, and pushes his glasses up. He pulls out his big calculator and pushes a few buttons. BOOTH (CONT'D): (nasal voice) You see, what is the rationale behind that conclusion? Brennan heads towards the platform. Booth follows. Brennan: That's not what they look or sound like. Booth: (nasal voice) You mean "we." That's not what 'we' look or sound like. Brennan: Okay. Booth: You see what I did right there? I corrected you, you know, in character... (laughs) ... as a squint! Brennan and Booth meet up with Zack. Zack is dressed up as the back end of a cow. Zack: Angela and Hodgins have a few things to show us before we go to the party. Zack stares at Booth. Booth: What? Zack doesn't answer Booth. Brennan and Zack turn and enter Angela's office. BOOTH (CONT'D): What? Int. Medico-legal lab / angela's office / imaging unit - continUOUS CLOSE ON The monitor indicates a location marked by a star. Angela (v.o.): This marks the location of Shoreline Amusement Park. Blinking yellow triangles appear on the map ANGELA (CONT'D): These are the locations of three pet shops the FBI says sold out of snakes in the last week. Angela is dressed up as Cher with a large shimmering, feathery, black headgear. She's clad in skimpy black outfit. She explains her findings to Cam, Zack, Brennan and Booth. Booth plays with his calculator as he listens. Brennan: How many snakes in total? Angela: Over a hundred. Cam: Let me guess, they all paid cash? Angela: Yep. Cam removes her Catwoman mask. ANGELA (CONT'D): And the last place sold out about an hour ago. Booth: Whoa. An hour ago? Booth takes off his glasses. Brennan: Booth, Megan Shaw is still alive! Booth: Wait a second. Both Gregg Liscombe and Lola are in custody. Sweets was right. They didn't do it. Cam shouts out the door. Cam: Hodgins! (to the others) Hodgins has been isolating locations where the d*ad girls could have been exposed to the metal particulates he found in the lacquer. Booth: Okay, how many? Cam: One hundred and twenty-six, not including Hawaii. Booth: (shaking his head) No, one hundred and twenty six, that's not good enough. Hodgins walks into Angela's office. Brennan: Megan Shaw's still alive. Hodgins: What do you want me to do? Zack: He wants us to guess. Hodgins: Well, my guess is Hawaii. Cam shakes her head. Cam: Not Hawaii. Booth steps up to Hosgins BOOTH Well guess again, but better. Hodgins: No, sorry. Angela: Booth, they don't guess. Booth: (turns to Angela) Who's they? Cam and Angela both point to Zack, Brennan and Hodgins. cam / angela Them! Booth: Well, that's just stupid. Zack: We do not guess. Booth: You know what? You're a horse's ass. Zack: Cow. I'm a cow. See my udder. Brennan: I need Zack and Hodgins. The rest of you can go to the party. Booth: How can we go to a party when a 14-year-old girl's being tortured to death by snakes? Brennan: People like us can't work at full capacity with people like you constantly interrupting with irrelevancies. Hodgins: (softly) It's true. (to Angela) I love you, but it's true. Angela nods. Cam: Okay, we're out of here. Angela: This is my office. Cam: Let's go, Cher. Cam looks at Angela as she heads for the door. Booth: Okay, well, I'll tell you what. I'll just sit right over here in this chair and I'll wait. Booth sits in a nearby chair. He crosses his arms over his chest. Brennan: Booth, no! Brennan rests her hands on her hips. Booth: Fine. (stands up) I'll wait outside, okay? With this chair. (grabs up the chair) I'll be outside with this chair. Booth walks out of the office with his chair. Once everyone left the room, Hodgins turns to face the others. Booth sits outside the office door. He faces them, intending to wait. Zack is at the computer while Hodgins and Brennan watch over his shoulder. Zack: I'm worried that Naomi from Paleontology will feel strange being only the front half of a cow. Hodgins: She got the good end of that deal. Hodgins takes off his captain hat, as he sets himself infront of a computer. Brennan: Who's stronger, Catwoman or Wonder Woman? Hodgins / Zack: Wonder Woman. Brennan: I concur vehemently. Hodgins: All right, now, ignoring the Hawaiian pollen, these 126 sites represent loci where the necessary concentrations of particulates can be found: underground garages, tunnels, etc. Brennan: Dr. Sweets says we can assume that the m*rder works for a living. Hodgins: You want us to go on psychology? Brennan: Let's assume the k*ller has to get back and forth from his... Zack: In comic books, it's always called a lair. Brennan: ... from his lair in time for his job, sometimes during high traffic hours. Can you remove the sites which make that improbable? Zack: Assuming he needs to sleep. Hodgins: Say, six hours a night. Brennan: Twelve-hour shift. Zack: Leaving six hours for travel and t*rture. Hodgins: At a maximum of two hours travel time. So, what, remove everything more than a hundred miles away? Zack: Too simplistic. If it's on a highway, it could be up to 120 miles away. Secondary roads, taking traffic patterns into account, less than 50. Depending on the time of day and weather conditions... Brennan: It'll go faster if you do the calculations in your head, Zack, and don't explain it to us. Zack: Thank you. Zack begins to ment*lly calculate the possibilities. He works on the computer, and then it beeps. He's narrowed it down. Hodgins: How many does that leave? Zack: Thirty-one. Hodgins: No. No way the police can h*t all those, not spread thin on Halloween. Brennan: We can narrow it down further. Factor, mummification. Zack: Yes, particulates plus mummification requires... Brennan: A steady, continuous supply of dry air. Hodgins: A large oven with blowers. Brennan: I'd like to assume that the automotive particulates arrived with the bl*wing air. Hodgins: Heated underground parking lots. Zack: How is that not guessing? Brennan: Einstein referred to such assumptions as acceptable "intuitive leaps." Zack: I acknowledge Einstein as a scientific authority. Zack turns back to the computer to continue his calculations and to factor in the new particulates. Hodgins watches him work. Zack: (CONT'd) (sighs) But he failed us this time. Brennan: The answer is in the anomalies. Hodgins: (mutters) The Hawaiian spore. Brennan: And steel dust. What makes it? Hodgins: Grinding, drilling, abrading. Zack: Scraping, milling. Hodgins: Train wheels. Hodgins looks at Zack and Brennan. Hodgins: (CONT'D) Okay, intuitive leap. When a train turns, it grinds the rails, creates a steel dust. Brennan: Subways which also provide warm, dry air. They're vented. Okay. What we need now are florists who carry Hodgins' Hawaiian flower which are situated directly over subway tracks. Brennan turns to leave. Hodgins: Wow. Hodgins turns to watch Zack, notices Brennan leaving. Hodgins: (CONT'D) (to Brennan) Hey, where you going? Brennan: To get Booth. Call me when you find the florist. Brennan leaves. Hodgins turns to exchange looks with Zack. End of act III Act IV EXT. STREET STOCK – NIGHT Booth's SUV. BOOTH (v.o.): You're sure about this? INT. BOOTH'S SUV - NIGHT Booth is driving. Brennan: Not at all. Booth: Because you guessed. Brennan: But we do not guess. Booth: I think you did. I dare you to put that lasso of truth around you. Brennan: Now you're being completely irrational. This lasso doesn't actually work. These bracelets aren't actually made of Amazonium. They're stainless steel. They can't stop a b*llet. Brennan's phone rings. Booth: Oh-kay. She answers it on speakerphone. Brennan: Brennan. Cam (o.s.): Aloha Floral Supply between Friendship Heights and Bethesda. INT. MEDICO-LEGAL LAB / ANGELA'S OFFICE Angela grabs the phone from Cam. Angela: The store sits right over the Red Line. Brennan: Thank you. She hangs up. Booth is on the radio frequency walkie talkie. Booth: Dispatch, 22-7-0-5. Dispatch (man): Twenty-two 7-0-5, Dispatch. Booth: Twenty-two 7-0-5 requests backup and local units at Aloha Flowers between Friendship Heights and Bethesda. Brennan tugs on his shirt. Booth (CONT'D): Oh. Please be advised that agents are UC dressed as a Squint and Wonder Woman. Dispatch (man): Repeat, 22705. Booth: Just picture a scientist nerd brainiac dweeb, dork, whatever. Brennan: And Wonder Woman. Booth: And Wonder Woman. Dispatch (man): Acknowledge, 227-11. EXT. ROAD – NIGHT Booth's SUV. EXT. ALOHA FLORAL SUPPLY – NIGHT Booth (v.o.): (groans) Aahh. It's closed. Booth pulls the SUV up to the front, and parks it. Booth and Brennan exit the SUV. Booth (CONT'D): Go around the back. They go around the side of the building, and stop at a padlocked vent. Brennan: Dry air. Booth: Subway. Florist. Okay, stand back. Brennan steps back, as Booth sh**t the lock. INT. BASEMENT – NIGHT – CONTINUOUS Booth and Brennan climb down the ladder into the basement. They look around and come to gate padlocked shut with a gain. Brennan cocks her big g*n. Booth: Okay, where did you even find a place to carry that? She pushes him toward the padlocked and chained wire gate door. Brennan: Look, could I please sh**t this one? Booth tugs on the chain and the padlock falls off. He opens the gate. They both enter the subway access area. Booth leads. Brennan follows. A train passes near them. Brennan notices an open door off to the side. Brennan (CONT'D): Booth? Brennan walks up the short stairs and enters the room. INT. SUBWAY ACCESS AREA / t*rture ROOM Inside the room Booth and Brennan come across a worktable, several empty vials and syringes. Brennan smells the table. Brennan: Cedar oil, lacquer. This is where the k*ller mummified the bodies. Booth looks at the empty vials on the floor. Booth: Ephedrine, other... other drugs. Booth realizes who the m*rder is. Booth (CONT'D): I know who the m*rder is. Brennan: Who? Booth hears footsteps and looks up. Booth: Let's get out of here. Booth rushes out of the room. Brennan follows. INT. SUBWAY ACCESS AREA – NIGHT BOOTH Lola beats up the girls, leaves them bleeding. Who shows up to help? Access to drugs. Brennan: The EMT. Smart. You should wear a lab coat at all times. Booth: Puts them in the back of his ambulance, he knocks them unconscious. A girl's scream can be heard. Booth (CONT'D): Just stay there. Booth reaches for the padlock on the door. It's locked. The girl screams again. Booth (CONT'D) Screams are coming from inside. Brennan: Can I sh**t it? Booth: No! Brennan fires at the padlock! The b*llet bounces off the lock and hits Booth. He yells, hoping up and down as he clutches his leg. Booth (CONT'D): Yow! Geez! Brennan: Oh! Sorry! Sorry, Booth! Booth: You sh*t me! Damn it! I said no! Don't sh**t! No! Brennan: Are you all right? I think the b*llet bounced off my bracelet. Just like Amazonium. Booth: Geez, Bones. Booth clutches his leg. Brennan takes the padlock off and opens the door. The floor is littered with snakes . Brennan screams as she jumps up on the nearby box. Booth (CONT'D): What are you doing? They're not poisonous. Brennan: I know. I know. Booth: Then why don't you come down? Brennan: It seems I'm not completely in control of my actions. Booth turns and offers his back to her. Booth: Just get on my back. Brennan climbs onto his back. Piggy back style. Booth (CONT'D): (groans) Ooh! God, Bones. Booth, with Brennan on his back, enters the room. INT. SUBWAY ACCESS AREA / SNAKE ROOM - NIGHT BOOTH Ow. Megan Shaw is in a far corner, attempting to stay away from the snakes. She's terrified. BOOTH (CONT'D): Megan? Brennan: It's okay. Booth: Can you understand me? Booth and Brennan approach Megan. Megan looks up and screams. Brennan glances over her shoulders and sees a k*ller CLOWN in the doorway. He cocks his g*n. Brennan raises her g*n and sh**t. The sh*t hits the door as clown ducks back from the doorway. The backfire causes Booth to drop Brennan. Brennan falls back and hits her head against the wall. Brennan: Ugh! My head. Booth: Just stop sh**ting at things, Bones. Booth heads out of the room to chase after the clown. Brennan: But, he had a g*n! Booth: You stay here. Anyone comes through that door, you sh**t their heads off—except me. Brennan lifts her g*n up towards Booth. Brennan: My g*n is too big for me. Booth: I could've told you that a hundred times. Here, take mine. Booth exchanges g*n with Brennan. Booth (CONT'D): Guard Megan. Booth heads towards the exit, his g*n raised. Brennan reaches out towards Megan. Brennan: Come on, Megan. Come here. Megan and Brennan huddle in the corner. INT. SUBWAY ACCESS AREA / NIGHT Booth carefully and slowly leaves the room. Booth walks away from the room, searching for the k*ller clown. Both travels along the wall, his back to it, and his g*n raised. Booth stops and hears the clown jump down from above. The clown cocks his g*n. Booth turns around. The clown fires, misses , hitting the concrete near Booth. Booth ducks and fires. Inside the room, the sh*ts can be heard. Megan whimpers. Brennan: It's okay. Booth turns and leans against the wall. Booth reaches for and holds his waist. The k*ller clown rushes forward. Booth: Damn it. Booth checks his side and he's been h*t and is bleeding. The clown looks around the corner. Booth sees him and fires. Booth moves. The k*ller clown steps out and fires at Booth. The clown takes his mask off, the k*ller clown is EMT Pete Geller. Booth (CONT'D): How could a guy with military training miss with a g*n? What were you, Navy? Geller removes the shells from his g*n. Geller: Infantry. Geller drops the shells on the floor as he reloads his g*n. Inside the room, Megan whimpers. Brennan silences her. Brennan: Okay. Geller: Which is how I know you're carrying the 50-caliber 500. Well, that's five sh*ts. (cocks his g*n.) And by my count... (snaps the g*n.) ... you only got one sh*t left. Geller steps out and fires. Booth checks his g*n and groans. Geller: (CONT'D) That's one dumbass g*n to bring to a sh**t! (taunts) Where's your backup, Booth? Shouldn't they be here by now? Inside the room, Brennan tries to get Megan to remain silence. Brennan: You need to be quiet. Can you do that, Megan? Megan nods. Brennan stands up. Megan and Brennan make their way towards the door. Outside, Geller hears Megan whimpering. Geller turns his head toward the snake room. Brennan and Megan reach the door just as Geller turns and fires at the door. His sh*ts h*t the door. Brennan and Megan scream. Booth: Bones, you all right? Brennan: We're okay. We're okay. He's using you to get to us. Geller: Not for long, Booth. I'm just gonna stick my g*n in there and empty the barrels. Booth picks up an access panel and uses it as a shield as he makes his way back to the snake room. Geller: (CONT'D) Your girl is gonna look like hamburger. Geller turns around and fires at Booth, his sh*ts h*t the access panel. Booth falls back as he drops the panel. Geller ducks behind the open snake room's door. Booth gets uo. Booth cocks his g*n and aims for Geller BOOTH One sh*t. Booth fires. The sh*t went right through the metal door and h*t Geller. Geller grunts. Geller falls to the floor with a loud thud. Booth (CONT'D): One hell of a sh*t. Brennan and Megan finally exit the room. Brennan points her g*n on Geller's motionless body. Booth (CONT'D): Now can you see why I hate clowns? EXT. WASHINGTON – NIGHT EXT. JEFFERSONIAN – NIGHT INT. MEDICO-LEGAL LAB / LOBBY - NIGHT Angela meets up with Amber Kippler. Angela: Ms. Kippler. Amber: Wow. Ms. Montenegro, you look amazing. Halloween, right? Angela: Look, Hodgins and I haven't really decided what we're gonna do next. Amber: I tried to seduce him, you know. Angela: Hodgins? Amber: Ew. No. Your husband. I took off my top and everything. Angela: Why? Amber: I've been told I have alabaster skin that's really impossible to resist touching. Angela: Isn't that some kind of conflict of interest? The PI code? Amber: On the contrary. I did it totally for you, the client. Angela: Mm-hmm. Amber: I was testing your husband with my wiles so that I could properly advise you. Angela: You are a very dedicated investigator. Amber: Which is why I have to tell you something I didn't want to say in front of Dr. Hodgkins. Angela: Hodgins. There's no k. Amber: Your husband is deeply, deeply in love with you. Also, he has incredible abs and forearms. So what I'm suggesting is that I take you down there, mediate a meeting, and see if any old sparks don't flare back into life. Angela: I'm in love with Hodgins. Amber: Now. Angela: Forever, Ms. Kippler. Amber: Did I mention the little catch in his throat when he said your name? Angela: Look, all I want out of him is a divorce, okay? So if you want to see him again and you want to rub your alabaster all over him and shake his snow globes, be my guest. All I want is the divorce. Angela begins to leave. Amber: I hear you. I believe you. I just wanted to make sure. Angela: And please don't ever say "ew" about Hodgins again. Amber: Beards. I don't like beards. Rspecially in conjunction with huge, blue eyes. Makes me feel like I'm staring into one of those Russian religious icons. Angela doesn't comment. She turns and leaves. Amber turns . Hodgins is walking towards her. Amber (CONT'D): Oh, Dr. Hodgkins. Hodgins: Hod-gins. Were you just talking to Angela? Amber: Yes. I was telling her that her husband is extremely physically attractive. Hodgins: Okay. Enough with that now. Quit trying to drive a wedge. Amber: It's a fact. On a scale of one to ten, he's ten to the tenth power. Hodgins: What am I? Amber: You're a solid 7.5, which is quite respectable. Hodgins: Your job is to help me and Angela to be together. Amber: Dr. Hodgkins, domestic issues make up the core of our business. And I have to tell you, most of the time they go back. Hodgins: They go back? Amber: They go back to their husbands or their wives most of the time. It's a fact. Hodgins: And you think Angela should go back to her husband? Amber: I don't have an opinion about should or should not. I'm more interested in will or won't. But in this case, in my opinion. I don't think she's going back to her husband. Hodgins: Even after you practically threw him at her? Amber: Exactly. Aren't you glad I did? Now you can sleep like a baby because of my thorough approach. Hodgins begins to leave. Amber smiles. Hodgins turns back. Hodgins: Thank you. Amber: That's right, "thank you." Hodgins and Amber both leave. INT. MEDICO-LEGAL LAB / LOBBY – NIGHT The lab is dark and empty. The doors open. Booth and Brennan walk into the Jeffersonian. Brennan: Where is everybody? Both Brennan and Booth look horrible. Booth: At the party, I guess. Brennan: We could still go. Booth: Ah, we look like hell. Brennan: It's a Halloween party. We could be Wonder Woman and, what's Superman's secret identity? Booth pulls his nerdy glasses out of his shirt pocket, and places them on his face. Booth: Clark Kent. Brennan: Yes. We could be Wonder Woman and Clark Kent after a really, really bad date. Brennan takes a seat on the steps. Booth: Yeah, bad date because you sh*t me. Brennan: It was only a flesh wound. And you dropped me on my head. Booth: After you sh*t me. Okay, I think I got you on this one. Okay, Wonder Woman? Booth removes his glasses and takes a seat next to Brennan. Booth sighs heavily, and Brennan looks at him. Brennan: I'm sorry you had to k*ll someone. I know you hate that. Booth: Yeah, he had it coming. Brennan: You hate it. I'm sorry that happened to you. Booth: We saved the girl. That's a pretty good date. Brennan: Except not really a date. Booth: I know. It was... Brennan: ... work. Not a date. Booth: Really, really hard one. Brennan: And we're not really Wonder Woman and Clark Kent. We're Brennan and Booth. Booth: Look, you're the one who brought up the date analogy. Brennan and Booth share a moment of silence. Brennan: You hungry? Booth puts on the nerdy glasses again. Booth: Yeah. Brennan: Me, too. Booth and Brennan get up. Booth leads, and Brennan lags behind. Booth: Okay, let's go grab a bite to eat. While Booth heads towards the door, Brennan stops, and begins to spin around in a circle with her arms up at her sides. Booth turns around. Booth (CONT'D): What the hell are you doing? Brennan stops spinning. Brennan: Nothing. They head out of the Jeffersonian. End.

{"type": "series", "show": "Bones", "episode": "03x05 - The Mummy in the Maze"}

foreverdreaming

"The Intern in the Incinerator" Episode 3x06 Written By: Christopher Ambrose Directed by: Jeff Woolnough Transcribed by: frogggirl2 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Interior - Day - Sirens are blaring and lights are flashing in a brick basement at the Jeffersonian. Two men in overalls enter and walk down the corridor) JANITOR #1: Smoke comes out of the vents in the first floor break rooms. JANITOR #2: You're sure you turned the flame down last night? JANITOR #1: Totally, one hundred percent guaranteed, positively sure. Alarms gone off before but the smoke was always gray. JANITOR #2: One time a possum got caught in the shaft, smoke came out like this. JANITOR #1: Dr. Addy was conducting an experiment on a pig yesterday. I told all them eggheads not to toss d*ad animals down the incinerator shaft. JANITOR #2: (They stop in front of the incinerator door) Since when do they listen to us. (Opens the incinerator door) JANITOR #1: Holy crap! (Covers his mouth, coughing) JANITOR #2: (Looking inside) Definitely not pork! (Camera pans into the incinerator. A burnt body lies inside above the flames. Cut to later, f*re is out and Brennan and Cam are looking inside.) BRENNAN: At four hundred degrees, bone chars in six hours and turns to ash in eight. CAM: Charring, no ash. Six to eight hours? Dumped into the incinerator between one and three a.m. (Booth enters behind Cam and Brennan, who do not notice ) BOOTH: Ugh. Alive or d*ad before he or she went into the incinerator? CAM: Can't tell yet. BRENNAN; (Turning to Booth and notice a file in his hand) What's that? BOOTH: Guest log. ((Looking at the file) No visitors checked out after nine thirty-six last night, and no one checked in before eight o' two this morning. CAM: Meaning the victim probably works here. BRENNAN: Meaning the k*ller does too. (Interior - Day - Autopsy room at the Jeffersonian. Brennan is looking at the computer screen while Cam examines the remains.) BRENNAN: Pubic bone is female. CAM: There's no carbon in the trachea. (Pulls out the trachea and unrolls it like a fruit rollup) She was d*ad before she was thrown down the chute. BRENNAN: Extensive fissures, fractures and breaks to the entire skeleton. I'll have Zack determine which were caused by heat and which by trauma. (Angela enters) ANGELA: Heads up, they called Bancroft in from a hearing on the hill. BRENNAN: Who's Bancroft again? CAM: God. ANGELA: The supreme honcho of the Jeffersonian. BRENNAN: I think I met him once. ANGELA: Okay, I am ready to start the facial reconstruction. (Brennan removes the skull from the rest of the remains and places it on a surgical tray) BRENNAN: I haven't put on tissue depth markers yet. CAM: I haven't finished removing all the carbonized brain matter. (Angela comes to a halt in front of the skull, and stares at it intensly, horrified) BRENNAN: Once you've done that, Zack can clean the skull. (As Angela stares at the skull it changes from burnt to a whole, healthy female face.) Angela? Angela? Angela? ANGELA: Yeah? CAM: Are you alright? BRENNAN: What's wrong? ANGELA: (Looking anxiously at the skull) Um . . . Uh . . I'm fine. I'll start after the tissue markers are . . . Let me know. (Angela exits.) CAM: What the hell was that about? ACT I (Interior - Day - Angela's office at the Jeffersonian. Angela is looking at an image of the skull on her computer. Brennan enters.) ANGELA: You won't like it. BRENNAN: Like what? ANGELA: I've ID'd the victim. BRENNAN: That's impossible. ANGELA: I told you you wouldn't like it. BRENNAN: There are no tissue markers, you can't just look at a skull and see the person. ANGELA: Sweetie, I've done hundreds of these reconstructions: the depressed labella, the narrow nasal aperture, the chipped lateral incisor. BRENNAN: You can see a face from that? ANGELA: The chipped tooth was from a skiing accident when she was sixteen. BRENNAN: Ange. You know the victim personally? ANGELA: (sighing and pulling up an image of an young, attractive blonde on the computer) Kristen Reardon. She's an intern, we had coffee a couple of times. (Walking over to the couch) She didn't want to be a scientist. She wanted to go into design. She was jut here to make her father happy. She was young and eager and keen and . . . she was just really, really young. BRENNAN: Wait, Reardon. (Walking to Angela) As in Dr. Ted Reardon? ANGELA: Yeah, he used to work here. (Sitting down on the couch) BRENNAN: I took a course from him in ancient pharmacology. (Sitting in the chair across from Angela) ANGELA: Look, I know that we can't say anything until you do the tissue markers and we go through channels, but, I'm telling you, I know this is Kristen. BRENNAN: Poor Ted. ANGELA: You wanna know something else? She was seeing somebody who worked here. BRENNAN: Is that relevant? ANGELA: Well, Booth will think so. Especially since it was a married man. BRENNAN: Well, did she tell you? ANGELA: No, just that they had had their first kiss at the opening of that Egyptian exhibit and that it had been hot and heavy ever since. BRENNAN: I'm sorry, Ange. ANGELA: No, I'm-I'm sorry. I'm just really freaked out by this one. BRENNAN: Because you know the victim. ANGELA: Well, and the k*ller! I mean, look around! Do you like thinking that somebody we see every day could've thrown Kristen down the incinerator? (Interior - Day - Platform above the Main Examination area at the Jeffersonian. Bancroft and Booth are standing across from each other, Booth leaning against the table.) BANCROFT: How can I aid your investigation? BOOTH: Well, Dr. Bancroft, I'd like print outs from the Jeffersonian's security detailing who was and was not in the building BANCROFT: Done. BOOTH: I'd also appreciate it if you'd tell your people to cooperate with the FBI. (Bancroft moves toward Booth) BANCROFT: Yes, of course, Agent Booth. I don't know if you've had much cause to work with scientists; difficult people, by nature, combative, skeptical, resistant. BOOTH: I've noticed. BANCROFT: Have you identified the victim yet? BOOTH: Unofficially? (Bancroft nods) An intern by the name of Kristen Reardon. BANCROFT: No relation to Ted Reardon? BOOTH: His daughter. Dr. Reardon left the Jeffersonian for George Town University? BANCROFT: In the interest of full disclosure I was instrumental in that move. BOOTH: You fired him. BANCROFT: I facilitated a necessary change. BOOTH: Necessary change. BANCROFT: Excellent scientist, poor administrator. Does Reardon know about his daughter? BOOTH: Dr. Brennan is informing him now. BANCROFT: I'd like to be kept in the loop on this, within the constraints of the law of course. (Raises his hand for Booth to shake it.) BOOTH: (chuckling, and shaking hands) Sure. (Interior - Day - Main examination area of the Jeffersonian. Cam and Booth are watching through the window as Brennan tells Reardon about his daughter.) CAM: Ted Reardon? Victims's father? BOOTH: Yep, Bones is telling him his daughter's d*ad. CAM: Rumor has it, Bancroft banished Reardon from the Jeffersonian because he felt thr*at, politically. BOOTH: I know. Let's leave Bones to it. (They walk away) CAM: Would it be insensitive to mention that my father's sixtieth birthday is coming up? BOOTH: Sixty already? Wow! CAM: Uh-huh. We're having a big birthday dinner for him on Thursday night. BOOTH: Alright, you give him my best! CAM: You do it yourself. You have to come with me! BOOTH: What? No! Not your family. CAM: I can't spend the night defending the fact that I still live alone to my family. BOOTH: You never told them we broke up? CAM: You wanna' make a man miserable on his sixtieth birthday. BOOTH: You want me to pretend that I'm your boyfriend? CAM: Yes, between six-thirty and ten on Thursday. BOOTH: (Groaning) Camille, you're an adult. You can't live your life afraid of what your family thinks! CAM: Seeley, it's not going to be like this forever. One day he'll die! (Cam exits) (Interior - Day - Bone storage room. Booth is standing outside the door, talking to Brennan who is going inside) BOOTH: Tough going in there? BRENNAN: I've never had to tell someone his child is d*ad. I mean, I've been there when you did it, but, to actually . . . it's extremely unpleasant. BOOTH: Yeah. (Moving from the doorway into the room) Listen, did you get a change to, uh, ask him about his daughter's love life? BRENNAN: Yes, he said as far as he knew she wasn't seeing anyone. BOOTH: Kristen was lying to her father. KLIMKEW: (A slight man with glasses, Dr. Klimkew, enters) Dr. Brennan, is it true? Kristin Reardon is d*ad? BRENNAN: Evan, special agent Booth. He's in charge of the m*rder investigation. (To Booth) Dr. Evan Klimkew, Kristen Reardon's supervisor. KLIMKEW: m*rder? Kristen was m*rder? BOOTH: What does Kristen Reardon do? KLIMKEW: Authentications. Other museums and high end collectors use us to authenticate their acquisitions. BOOTH: That a big department? KLIMKEW: Three to five interns, all doctoral candidates, my assistant and myself. That's it. BOOTH: It's a competitive environment, right? KLIMKEW: Of course. You put a bunch of neurotic, Type-A overachievers together and you dangle a prize over their head. BRENNAN: Dr. Klimkew is referring to the Bates fellowship. KLIMKEW: The top intern receives seventy-five thousand dollars and a gold star on their resume. Kristen was the frontrunner. BRENNAN: I had heard that her heart wasn't in it. KLIMKEW: Didn't show in her work. God, this is terrible. Does her father know? BOOTH: Who was the main rival for the Bates money? KLIMKEW: Uh, that would be Neil Tyler. BOOTH: Neil Tyler. Where can I find him? KLIMKEW: We're authenticating the artifacts in you're serial k*ller vault. BOOTH: So, what does your wife think of these, uh, (pointing at Klimkew's wedding ring) you know, these late hours? KLIMKEW: (Puts his hands in his pockets) I'm separated. That's your answer. BOOTH: Seeing anyone now? KLIMKEW: Are you serious? BRENNAN: It's a m*rder investigation Evan. KLIMKEW: No, I'm not seeing anyone. BOOTH: Thank you, Dr. Klimkew. (Interior - Day - Serial k*ller vault ("Gormogon") at the Jeffersonian. Neil Tyler, young, African-American, is bent over an artifact with a magnifying glass. Booth and Brennan are standing and watching) TYLER: The spinner appears to be Masonic in origin: bloodstone, gold. What's interesting is, in the center, instead of the traditional "G" for God, there's a skull. BRENNAN: Gormogon iconography. TYLER: Strange, huh? BOOTH: Gormogon? Okay, what's that? BRENNAN: It's an eighteenth century . . . TYLER: It's an extinct group (standing) dedicated to eradicating the influence of the Free Masons and Illuminati in Europe in the eighteenth century. That could be the largest collection of Gormogon artifacts in the world. BOOTH: That's great. You and Kristen Reardon were here last night? TYLER: That's right. Kristen worked there. (Pointing to Kristen's desk) I signed out around midnight. Kristen stayed longer, like always. BOOTH: Okay, a little resentful, there? TYLER: I worked my way though state college. I've got a second job, which is why I had to leave early. Kristen went to an Ivy League School and her dad's got connections. Who do you think needed that Bates fellowship more? BOOTH: Well, the way I hear it, you're next in line for a big payday, pal. TYLER: I liked Kristen and she liked me. Check the logs, I wasn't here. (Brennan moves to examine Kristen's desk) BRENNAN: Do you know who Kristen was seeing? TYLER: You mean like romantically? No. Only that it was an older guy and she said I was gonna' be really surprised when I find out who it was. BOOTH: How about you? You married? TYLER: (Chuckles) I'm gay, Agent Booth. Excuse Me. (Tyler exits. Brennan picks up a bag from the desk) BOOTH: What do you got? BRENNAN: Kristen Reardon's bag. BOOTH: Ah, a cell phone . . . logs. (Booth looks through the recent calls) (Interior - Night - The walkways above the main examination area at the Jeffersonian. Booth and Brennan walking through) BRENNAN: The bag tells us that Kristen was leaving the museum when she met with her k*ller. BOOTH: Look at that, a lot of calls to the same number. Let's hope it's our cheating husband. BRENNAN: Kristen was authenticating exhibits from the Gormogon vault. BOOTH: Let's not go there. BRENNAN: If Gormogon k*lled her, then Gormogon is one of us, somebody who works at the Jeffersonian. BOOTH: You went there. BRENNAN: What? (Booth and Brennan come to a halt in front of a window) BOOTH: You went there and you gave him a nickname! (A body falls outside the window) That just happened, right? You saw that? (Brennan nods and they both run) (Exterior - Night - Outside of the Jeffersonian. A small security vehicle, sirens blaring approaches a group of security guards. Brennan and Booth hop out. They run towards the guards) BRENNAN: Who is it? BOOTH: Is he d*ad? (The guards are holding Zack and Hodgins, arms behind their backs) ZACK: Yes, but only because he was never alive. BOOTH: You gotta be kidding me. HODGINS: Look at this, the Gestapo's interfering with free inquiry. BOOTH: Guys, just let him go and if they try to escape, sh**t 'em! What's with the dummy, dummies? ZACK: Not a dummy, it's an ersatz skeleton made from glass and reinforced nylon, which breaks exactly like human bone. HODGINS: We threw it from the top floor. BRENNAN: Explicate your process, please. ZACK: Using bone density tables, we duplicated Kristen's exact height and weight. BOOTH: For God's sake, why?! HODGINS: To prove that Kristen Reardon was d*ad before her skull fractured from falling down the incinerator shaft! BOOTH: We already know that! ZACK: We recreated her bone density and found that her skull would not have fractured the way it did from a fall less than twenty-five meters. BRENNAN: Oh! BOOTH: Oh, what?! English, please! BRENNA: That tells us the body was put in the trash chute on the top floor of our building. HODGINS: The office suites. It's always the suits, baby. BOOTH: Hey, I wear suits. HODGINS: Yes, yes you do. BOOTH: (To Guards) Alright, that's it, no sh**ting of the squints tonight, sorry. Alright, good work. (Dispersing the crowd of guards and onlookers) (To Brennan) Let's go Bones. (Booth and Brennan exit, Hodgins and Zack bump fists). (Interior - Night - Autopsy room at the Jeffersonian. Cam and Booth are looking at a screen showing the remains) CAM: Kristen Reardon was s*ab to death; aorta and left lung both punctured. BOOTH: Whoa. She bleed a lot? CAM: Through the wound, through her mouth, copious amounts. (Moving toward her desk, Booth following) CAM: Booth, everyone's coming around to the opinion that Kristen Reardon's death had something to do with the Gormogon vault. BOOTH: Oh, no, no, no, no, no. See we-we gotta squelch that one 'cause that will totally shift the focus of this investigation. CAM: You might've noticed but these people are tough to squelch. BOOTH: You know what, they're always telling us not to jump to conclusions. CAM: When they do it, it's called a "quantum leap." BOOTH: Jump, leap, tomato, "tomato", what's the difference? Look, um, does the name (pulling his note pad out of his jacket pocket) Aldridge mean anything to you? CAM: Rings a bell, yeah, why? BOOTH: 'Cause there was no blood near the incinerator chute on the top floor. CAM: The body could've been wrapped in plastic or transported in a tub (pulling a picture on the computer). There's a Dr. Kyle Aldrige heads up the middle east department, why? BOOTH: Hm, do they have offices in this building? CAM: Middle east department is in building S, but it joins up to this building by skyway, why? BOOTH: What floor does the skyway connect with? CAM: Top floor, and I'm gonna' ask why again and your gonna' tell me. BOOTH: Yeah, this guy Aldrige's number is all over Kristen's cell phone. Just hold on. (Pulling out his cell and making a call) Yeah, it's Booth, check out all the office in the adjoining building on the top floor and start with a Dr. K. Aldrige. (Flips the phone shut) Cam, this case . . . CAM: Yes, you still have to come to my father's birthday dinner. BOOTH: I didn't even bring that up, I'm just saying . . . CAM: Nice try. BOOTH: Nice try, what? CAM: Zip! (Making a zipping motion over her mouth) BOOTH: I didn't even . . . CAM: Tzz! (Interior - Night - Above the main examination area at the Jeffersonian. Booth and Dr. Kyle Aldrige are sitting at the table. Booth is looking at a picture of Aldrige in a magazine.) BOOTH: Ah, the good life. Dr. Kyle Aldrige. Mansion next to Teddy Kennedy on Dupont Circle. A sixty foot yacht and a vacation home in the Hamptons. Wow. I wish I'd paid more attention during science class. ALDRIGE: Intelligence is not a matter of will, Agent Booth. So it's not a character flaw to be less intelligent than someone else. BOOTH: Yeah, listen, I appreciate the pep talk. Listen, our first suspect would usually be your wife but since she's been in Venice for a month . . . Venice. So, how is it that somebody who makes eighty grand a year can lend Ted Kennedy his lawn mower and afford to send his wife off to Venice? ALDRIGE: My wife's family is very generous. BOOTH: How generous do you think they would be if they found out you were boinking an intern? ALDRIGE: They teach you that technique at Quantico? Spring vulgarities on the unspectign suspect and he will confess all? BOOTH: Are you confessing all? ALDRIGE: To the affair or to m*rder? (An FBI Agent enters) AGENT #1: Excuse me, Agent Booth, there's something your gonna' wanna see in Dr. Aldrige's work room. (Interior - Night - Dr. Aldrige's work room. Agents, Booth, Brennan and Aldrige stand around a spot on the floor) AGENT #1: Lights, please! (When the lights turn off the blue light Agent #1 is holding shows blood on the floor, he moves to shed light on a wheelbarrow that is in the room.) BRENNAN: Look at all that blood. That explains how the body was transported over to the incinerator sh**t. (The light shines behind the wheelbarrow, exposing a path of blood leading to the desk) This must be where Kristen Reardon was actually m*rder. BOOTH: Alright, put the lights on. (Booth pulls out his handcuffs) Dr. Aldrige I'd like to ask you a few questions about the m*rder of Kristen Reardon. We gonna' go willingly? ACT II (Interior - Day - Main examination area at the Jeffersonian. Hodgins is examining a sample, Angela looking at her clipboard, sitting on a stool and Zack working at the computer.) HODGINS: I never liked Kyle Aldrige. ZACK: He told me once that having a high I.Q. was no excuse not to bathe. ANGELA: I don't believe it. ZACK: No, those were his exact words, "no excuse not to bathe" (Cam enters) CAM: What do you got? (Zack raises his hand) ZACK: (moves to point to the damage on the skeleton which is standing up like a medical dummy) Consistent with the trauma to the left lung and aorta, C-7 vertebra and the fifth rib were both nicked at a sixty-seven degree angle suggesting a single point of entry. CAM: Through the back? (Zack nods) ANGELA: The serial k*ller eats human flesh, Kyle Aldrige is a vegetarian. HODGINS: So was h*tler! ZACK: We're calling him Gormogon now. HODGINS: Excellent name! And, historically accurate. CAM: People! You have to stop assuming that Gormogon was in any way involved in Kristen's death. ZACK: Why? It's somewhere between a possibility and a probability. ANGELA: Kyle Aldrige is not a cannibal. CAM: But he may have k*lled his girlfriend, do you see the difference? HODGINS: Mm. CAM: So, eyes on the evidence, okay? (Claps her hands twice) Go. HODGINS: (Angela moves off the stool and Hodgins moves over to the computer) Zack provided me with the fragments. ZACK: Retrieved from the fifth rib. HODGINS: Running it through the GC Mass Spec. CAM: What about the incinerator? HODGINS: I analyzed the ashes in the incinerator and found carbonized traces of cedrus libani. It's a species of cedar fir from Lebanon. ANGELA: The middle east is Aldrige's area of study. HODGINS: And the Mesopotamians used cedar as an odor neutralizer to mask the smell of burning flesh? CAM: Can you see Aldrich committing a crime of passion and using his knowledge to cover it up? ANGELA: I guess. He's kind of (begins making unrecognizable grunting sounds. Zack looks confused, Hodgins smiles). CAM: Exactly, how well do you know Aldrige? ANGELA: We had drinks. I don't sleep with married men. ZACK: You're married and you sleep with men beside your husband. What's the difference? (Hodgins, looking irritated, smacks Zack in the back of the head.) (Exterior - Day - FBI Headquarters.) (Interior - Day - FBI Headquarters. Booth and Brennan exit the elevator.) BRENNAN: Why do you want me to interrogate Aldrige? BOOTH: Because he thinks I'm stupid. BRENNAN: You're not! BOOTH: Thanks, Bones, I know. Listen, during the interrogation, always refer to the victim by her first name. BRENNAN: Well, you're the one that told me that personalizing the victim doesn't work with sociopathic serial K*llers. They lack all empathy. (Poking Booth) You told me that! BOOTH: We are not looking for gorgonzola today! BRENNAN: Gormogon. Gor-mo-gon. BOOTH: We're looking for someone who m*rder one girl and tossed her down an incinerator chute. Entirely different kind of a guy, so, inside. (shooing her into the interrogation room) BRENNAN: Don't- tell me- Don't- (pointing and resisting) You are not bossing me (smacks his hand). Stop it. (enters room) (Interior - Day - Interrogation Room. Aldrige is sitting at the table, Brennan enters and sits. Dr. Reardon and Booth are behind the glass, watching). DR. REARDON: Kyle Aldrige seduced my daughter? BOOTH: That's what we hope to find out, doc. BRENNAN: It was definitely Kristen's blood on your work table. ALDRIGE: That proves only she was k*lled in my work room. Why am I talking to you? BRENNAN: What time did you leave the Jeffersonian that night? ALDRIGE: Shortly after eleven. (leaning forward) Dr. Brennan, surely I merit someone higher up the food chain than an FBI consultant. BRENNAN: Kyle, (leaning forward) I know you get everything you want by flaunting your superior intellect, but that won't work with me. ALDRIGE: Why is that? BRENNAN: Because I'm smarter than you are. So why don't we do the rational thing and cut to the chase. (leaning back) Where you having an affair with Kristen? ALDRIGE: I'm not willing to comment on that. BRENNAN: Again, I know you were. You first kissed at the opening of the Egyptian exhibit. (Dr. Reardon tears up) ALDRIGE: Obviously Kristen was indiscreet. (Booth looks at Dr. Reardon as he takes a breath, blinking) BRENNAN: If your wife knew about Kristen, she'd leave you, correct? And you'd no longer be rich. (leaning forward) See the FBI they call that a motive. They think you did this, Dr. Aldrige, and so far the evidence is on their side. Can you tell me anything that would suggest otherwise? ALDRIGE: Yes. But first I need to speak with a lawyer and make arrangements with a federal prosecutor. BRENNAN: Sounds like you wanna' cut a deal. ALDRIGE: I've told you what I need., so either have me arrested or let me make those arrangements. (Brennan looks and Booth, Booth looks at Dr. Reardon and Brennan leans back.) (Interior - Night - Main Examination Area at the Jeffersonian. Booth enters. Cam is talking to someone who walks away). BOOTH: Wow! You look great! I mean that objectively, not as your fake boyfriend. (puts his hand on her arm, they begin to walk) CAM: Thank you. BOOTH: Hey, got your dad a universal remote. (Cam laughs) Even bought the batteries. CAM: Oh, he'll never let us brake up. BOOTH: So, am I driving? CAM: No, my sister's picking us up but, of course, she's late. BOOTH: Okay, maybe she's late because there was traffic. CAM: Maybe she's late because there was a sale. BOOTH: Oh, great, it's gonna' be one of those nights. CAM: Hey, it's not me, she's the jealous competitive one. BOOTH: O-kay! CAM: You don't think so?! BOOTH: Look, I'm thinking that you're family. I'm an innocent bystander with a universal remote and batteries trying not to get h*t by shrapnel. (They stop in front of the autopsy room. Cam's sister Felicia enters. She' s a young, beautiful African-American woman, in a trendy, black dress) FELICIA: Ready! Sorry, dad is in the car. (Air kisses Cam on booth sides) CAM: Okay, let me get my things. (exits to autopsy room) FELICIA: (sighs) There was traffic, not that she'd believe me. (takes out a compact and primps) BOOTH: No! Traffic, that's exactly what she said. (under his breath) This is gonna' be fun. FELICIA: Yeah, everyone talking about how perfect Cam's life is. BOOTH: No, Cam's life is not so perfect. You got a lot going for you. FELICIA: Yeah? (smiles and closes compact) BOOTH: Yeah. FELICIA: What's not so great? Are you and Cam . . . BOOTH: What? No, no, I should never had said anything FELICIA: Oh you poor baby! (kisses Booth hard on the mouth, running her hands through his hair) BOOTH: Felicia . . . FELICIA: You don't have to say anything, I'm here, that's all you need to know. (Booth looks shocked. Cam Enters). CAM: Okay! (Booth drops the remote. Felicia looks innocent. Booth picks up the remote) BOOTH: Let's go! Ye-Yeah, okay, you look great! Doesn't she look beautiful?! (Booth puts his arm around Cam and they all begin walking) She looks beautiful!! I am so lucky to have you as my girlfriend. CAM: Easy big guy, it's gonna' be a long night. BOOTH: (to himself) Tell me about it. (Exterior - Day - Jeffersonian) (Interior - Day - Main Examination area at the Jeffersonian. Angela and Hodgins are walking through. ANGELA: You know, Jack, you are actually a better candidate to be Gormogon than Kyle Aldrige. (they stop walking) HODGINS: Really? ANGELA: You're brilliant, paranoid about conspiracies, I say that lovingly, with limitless resources. HODGINS: I'm not Gormogon. I don't k*ll people and eat their faces. (Angela nods) I am not waging a secret w*r against anybody. (they kiss, Angela puts her hand on his shoulder) ANGELA: Great. Now, if I could only get the other thousand or so people who work here to convince me, maybe I could get to sleep tonight. HODGINS: Oh, I'll help you get to sleep tonight. (Angela laughs) ANGELA: What's in your file? (they enter Angela's office) HODGINS: GC Mass Spec analysis of the fragment we pulled from Kristen's rib. It's an eight hundred year old copper. ANGELA: Wait, wait, the w*apon is an artifact? HODGINS: I thought we'd see if we can match any of the w*apon in the Jeffersonian with the sample. (Angela sits at the computer) ANGELA: Well, there is one item. (Hodgins leans over her shoulder) An eight hundred year old copper spear tip. The authentication department checked it out two weeks ago to Dr. Kyle Aldrige in the middle eastern department. HODGINS: Checked it out from where? ANGELA: The Gormogon vault. (Interior - Day - Gormogon vault at the Jeffersonian. Hodgins, Brennan and Klimkew are standing around the artifact, Booth is seated at a stool in back.) BRENNAN: Tell us about this piece, Dr. Klimkew. KLIMKEW: (Hodgins lifts the spearhead) The spearhead is genuine, decorative. Probably brought back as a souvenir of the Crusades by a Templar Knight in twelve or thirteen hundred A.D. BRENNAN: Go ahead, Hodgins. KLIMKEW: (to Hodgins) What are you doing? (Hodgins applies a solution to a Q-tip and the Q-tip to the spear head) BOOTH: (standing) Did you see Kyle Aldrige the night that Kristen Reardon was m*rder? KLIMKEW: Yes. (to Brennan) What is he doing with the spear head? HODGINS: It's phenolthalein. It won't affect the copper, but if blood is present it'll turn pink. BOOTH: So, what time did you see the doctor? KLIMKEW: Uh, eleven. In the parking lot. BRENNAN: Did you talk? KLIMKEW: Kyle Aldrige doesn't really talk to anyone beneath him, which is everyone. (Everyone is looking at the Q-tip which is still white.) HODGINS: It's not the w*apon we're looking for. I'll put it back. (Hodgins exits left). BRENNAN: Did you know about Aldrige and Kristen? KLIMKEW: As a couple? Yes. BOOTH: Kristen told you? KLIMKEW: I caught them making out. Frankly, I've been surprised ever since that Aldrige didn't use his friendship with Bancroft to have me transferred to some dig in Darfur. HODGINS: (from left) Help!! (Everyone runs to left) I need some help back here!! BOOTH: What? HODGINS: Booth! Booth! BOOTH: Ho-ho-ho-ho-ho, hold on, hold on, hold on, hold on. (Aldrige is hanging from the ceiling by a noose. Hodgins is trying to hold Aldrige up. Hodgins and Booth are grunting. Booth cuts Aldrige down. Everyone helps to lay him down on a nearby table.) KLIMKEW: I'll call an ambulance. BOOTH: We don't need an ambulance. He's already d*ad. (Booth and Brennan look over to the silver statue) ACT III (Interior - Day - Autopsy Room at the Jeffersonian. Cam is standing over Aldrige's body. Brennan enters.) CAM: (dictating into wireless headset) That concludes the autopsy of Dr. Kyle Aldrige, written report to follow. BRENNAN: Booth saw Aldrige's widow. He sent her a su1c1de note by email apologizing for the affair with Kristen and confessing to the k*lling. CAM: Aldrige did not k*ll himself. The ligature, which was a silk cord from the vault, didn't break his hyoid. BRENNAN: What was the cause of death? CAM: I'm stumped; no significant trauma, no cardiac arrest, aneurysm or hematoma. Plus, I did a full tox screen, organics, inorganics, heavy metals and cardiac glycosides, all negatives. BRENNAN: Well, he was hung up in the vault. It all circles back to the vault. CAM: It all circles back to the authentications department who happen to be working in the vault. BRENNAN: Why don't you and Booth think that Gormogon is behind these m*rder? CAM: Because, as far as we know, he only kills males, and snacks on them. Plus, there are far too many other reasonable suspects. BRENNAN: Like who? CAM: The victim's father. BRENNAN: Ted Reardon? CAM: He saw you question Aldrige. Booth said he went pale with anger. BRENNAN: When did he say that? CAM: Oh, we had dinner the other night when we . . . had dinner. (Hodgins enters carrying a tray holding a rope.) HODGINS: This cord is actually a hanging rope from England circa sixteen-fifty. (sits down the tray and picks up the rope) In those days, when sentenced to death, nobles often chose a silk cord rather than rough hemp and rope. (looking at the rope which he dangles in this right hand) It'd be cool to know who else might've died on this cord. BRENNAN: If it came from the vault, the cord probably can't lead us to the m*rder. HODGINS: Au contraire. The k*ller left DNA. In order to hoist Aldrige, the k*ller wrapped the cord around his forearm (Hodgins wraps the cord around his arm) and pulled. CAM: Ouch. He left some skin behind? HODGINS: Yeah, and hair. (puts the rope back on the tray) CAM: Nice job, Hodgins. We find the guy, we can do a DNA match. HODGINS: (backing out of the room, carrying the tray) King of the Lab. (exits) BRENNAN: (looking at the x-ray displayed on the screen behind them) The skeletal muscles are pulling away from the bone. What's his potassium level? CAM: Uh . . . (turning around to pick up a file folder from the counter) blood serum contains ten milligrams per one-hundred milliliters. Elevated but non-fatal. It's odd though, because his kidneys were healthy; no signs of Addisons or any medication. BRENNAN: Succinylcholine. CAM: A muscle relaxant? BRENNAN: In high doses it stops the heart and lungs. CAM: Right, the body turns succinylcholine into potassium, which occurs naturally in the body so it's not detected as a toxin. BRENNAN: Succinylcholine is one of the earliest anesthetics known to man. (smiling) Guess how I know that? CAM: (also smiling) I read Dr. Reardon's book too. (walking away) (Interior - Day - Hodgins desk in the main examination area at the Jeffersonian. Booth is playing with glass stir sticks looking down over Hodgins desk. Hodgins enters carrying the tray holding the rope.) HODGINS: Why are you here? BOOTH: I'm just waiting for Cam to finish cutting up Aldrige? HODGINS: She's done. Why are you here in my area? BOOTH: Cam's sister kissed me. HODGINS: Duuuuuuuuuuuude. (sits down) BOOTH: Don't call me dude. Alright, listen, I was supposed to be Cam's boyfriend, but only between the hours of six-thirty and ten. She kissed me at six-twenty so technically that doesn't even count. (Hodgins chuckles) Cam went to her office to get something. Felicia, she just grabbed me and planted one on me. I didn't even see it coming, I didn't even have a defense maneuver planned. HODGINS: Wow. Alright, alright, uh . . . How are you, (looking over his shoulder) how are you gonna' break it to Cam? BOOTH: What? Why would I do that? HODGINS: You want her to find out from her sister? BOOTH: Wow, this is worse than when we were a couple. HODGINS: (Hodgins chucles loudly) Sorry. (covers his mouth, giggling) BOOTH: I really should take my g*n out and sh**t you now. HODGINS: I'm sorry No, it's serious. (giggling) BOOTH: You're not helping. (Exterior - Day - FBI Headquarters) (Interior - Day - Interrogation Room at FBI Headquarters. Booth is sitting across from Dr. Reardon) BOOTH: Look, I have a son. If I thought someone hurt him, I'd wanna' hang him. DR. REARDON: I didn't k*ll Kyle Aldrige. BOOTH: He was a politically enemy who slept with your daughter, then k*lled her after she thr*at to tell his wife. Juries understand situations like that. DR. REARDON: There's no proof Kyle Aldrige k*lled me daughter. BOOTH: Do you need proof? DR. REARDON: Yes, and for a jury to be sympathetic to me, they'd need proof as well. Do you have that proof, Agent Booth? BOOTH: (Opening a file folder and passing it across the table) Aldrige didn't die from hanging. DR. REARDON: (looking at the papers) Succinylcholine poisoning can't be proven. BOOTH: Right. Nobody know that better than you. (holding up Dr. Reardon's book, "Comparative Studies of Associative Functions in Anesthesiology and Poisons") You literally wrote the book on it, doc. (dropping the book on the table) So, can you role up your sleeves, please? (Dr. Reardon unbuttons and rolls up his sleeves. Dr. Reardon raises his arms; there are no marks.) (Interior - Day - Main examination area at the Jeffersonian. Cam and Hodgins are looking at a metal fragment on the computer screen) HODGINS: This is a sample of eight hundred year old bronze. CAM: Why am I interested in that? HODGINS: Because we found a fragment of eight hundred year old copper in Kristen Reardon. CAM: Different metals, right. HODGINS: Copper is an ingredient in bronze and when Angela accused me of being Gormogon, it started me thinking. CAM: Angela accused you of being Gormogon? HODGINS: It started me thinking that you and Booth could be right. (Cam looks at Hodgins intensely) I am NOT Gormogon. CAM: Booth and I could be right about what? HODGINS: I put the serial k*ller in the vault out of my mind and started considering Kristen's m*rder as it's own . . . singular . . . occurrence . . . What? CAM: From the outside you are a pretty good candidate to be Gormogon. HODGINS: It's possible . . . that the copper in Kristen's wound was an unalloyed chip from a larger piece of bronze, like a chocolate chip that didn't mix in the cake mix. CAM: And the Jeffersonian's full of bronze w*apon. HODGINS: None of which are in Gormogon's vault. CAM: Are you able to match a bronze w*apon to a copper fragment? HODGINS: Theoretically, but it would take about two hundred years to test every bronze w*apon in the Jeffersonian. (Angela enters) ANGELA: I might be able to help with that. (Interior - Day - Angela's office at the Jeffersonian. Zack, Hodgins, Angela and Cam are standing around the Angelator which shows the skeletal structure of a female in green) ANGELA: I worked up a 3-D model of Kristen's m*rder and I noticed something. This is Kristen. (A red line intersects the figure from upper left to lower right) The angle of att*ck was exactly sixty-seven degrees. ZACK: As you can see, the w*apon went right though her. ANGELA: Which is weird. HODGINS: Why? ZACK: We've been assuming that Kristen was s*ab. CAM: Someone would have to be awfully tall to s*ab downward at that angle. ANGELA: And incredibly strong; six foot eight and three hundred pounds. ZACK: No one at the Jeffersonian looks like that. CAM: It'd be pretty tough for someone like that to sneak in. HODGINS: Alternative explanations? ZACK: Projectile? CAM: Blood stain analysis indicates Kristen was k*lled on Aldrige's work table. ANGELA: And there's no evidence on the surface suggesting that a projectile exited Kristen's body and struck the table, but . . . (image falls backward onto red line which is at a sixty-seven degree angel a horizontal surface) HODGINS: Kristen was impaled? Like a piece of paper on a message spike. ANGELA: Visualize a sharp object on the table at a fixed sixty-seven degree angle.j ZACK: The object impales Kristen through the posterior thorax . . . CAM: exits her anterior thorax . . . ZACK: still at a sixty-seven degree angel. (Bancroft enters). BANCROFT: The only rational conclusion is the death itself was accidental. (Angela turns off the simulation) Dr. Aldrige gets in a tiff with his young girlfriend, she pulls out her phone, thr*at to call his wife. They argue, Aldrige reaches for the phone, the girl falls back onto the table. ANGELA: If you call Aldrige by his name, you really should call the girl by her name. BANCROFT: At which point he panics and throws Ms. Reardon down the incinerator chute. Overcome with remorse, he arranges to meet with the federal attorney to confess, but before he can do that, guilt destroys him, he hangs himself in the vault symbolically aligning himself with the serial k*ller. CAM: Whoa, Dr. Bancroft, Dr. Aldrige arranged to meet the federal attorney? BANCROFT: Through the Jeffersonian in-house counsel. Most likely to confess. ANGELA: Why didn't he just confess during Dr. Brennan's interrogation? BANCROFT: "The guilt being great the fear doth still exceed. And extreme fear can neither fight nor fly, but coward-like with trembling terror die." ZACK: Unfortunately for Mr. Shakespeare, Dr. Aldrige didn't actually commit su1c1de. HODGINS: He died of succinylcholine poison. BANCROFT: It's my understanding that that can't be proven. At least not to court standards. I think you'll find my explanation will satisfy any inquest inquiry. CAM: Dr. Bancroft, it's our professional opinion here in the forensics lab, that Dr. Aldrige was m*rder. BANCROFT: Fine. Prove it. But watch your backs. Because if I'm wrong and you're right that means that there's still a serial k*ller out there. And if I were the k*ller, you'd be next Ms. Montenegro. ANGELA: Why me? BANCROFT: Well, you identified the Reardon girl, you figured our this hologramatic impalement scenario. Be careful. (exits) ANGELA: I feel like I was just thr*at. (Interior - Day - Main examination are at the Jeffersonian. Hodgins is standing in front of trays of different implements. Brennan is sitting on a stool behind him and to the right, Booth is looking at a spear behind and to the left.) HODGINS: I checked every bronze w*apon in the Jeffersonian that matches Angela's criteria, none are consistent with the fragments removed from Kris- (Booth thrusts the spear towards Jack) - ten. BOOTH: (Puts down the spear) Well, obviously we're looking for a w*apon that was smuggled in. (Hodgins and Brennan make doubtful sounds) What were those noises? BRENNAN: There is no way to smuggle an eight-hundred year old bronze w*apon into the Jeffersonian. HODGINS: No, no. We have x-rays, guards, metal detectors . . . BRENNAN: You come in with anything bigger than a watch, they search you. BOOTH: You two are geniuses, how would you do it? HODGINS: It's absolutely impossible. BRENNAN: Unless you mail it. HODGINS: Oh. Yeah, right, there's that. BOOTH: What?! BRENNAN: If you mail something to the Jeffersonian, it doesn't need to be cleared by customs or security. BOOTH: Okay, you're saying that if I want to get a stolen artifact into the United States, all I have to do is mail it to the Jeffersonian. BRENNAN: Technically yes, but, the fact is we check and report all items to the government. BOOTH: Okay, who's we? HODGINS: (closing his eyes and dropping his head) The authentications department. BOOTH: Oh, okay, you mean a bunch of starving interns who work here during the summer. BRENNAN: (To Hodgins) Interns keep detailed records of every item they authenticate. Access Kristen Reardon's log. (Hodgins and Brennan move to the computer) HODGINS: I suppose Gormogon could've mailed himself to the Jeffersonian, stolen an I.D. and simply walked out. BOOTH: This has got nothing to do with Goobagon. BRENNAN: Gormogon! BOOTH: Whatever. How many times do I have to say that? HODGINS: I don't have the necessary clearance. BRENNAN: Let me try. (Hodgins moves from the computer and Brennan begins to type. Red screen pops up stating, "ACCESS DENIED - Please check your password and try again or contact the network administrator") Neither do I! HODGINS: (moving forward to the computer, pushing them aside) Excuse me. BRENNAN: Wait, you have a password? BOOTH: Yeah, Cam's. What she won't mind. (Hodgins chuckles, Brennan looks incredulous. Hodgins moves back to the computer) HODGINS: Well, Kristen Reardon worked on a lot of sixteenth century Baroque wood carvings. BOOTH: (taps Brennan on the shoulder) I know your password too. It's daffodil. BRENNAN: I never told you that! BOOTH: What? I got eyes. I mean you guys aren't exactly CIA material. HODGINS: Daffodil? BRENNAN: What? They're pretty. HODGINS: It looks like Kristen might've worked on some Luristan bronzes. BRENNAN: Any from the thirteenth century? (Hodgins pulls up a list, and pictures of artifacts) HODGINS: Yeah, tools, utensils, sculptures . . , BOOTH: What's Luristan? BRENNAN: Persia. BOOTH: You mean Iran or Iraq. Since the w*r Iraqi museums have been looted and their pieces are being sold on the black market. This m*rder has nothing to do with the vault. Or a serial k*ller. HODGINS: Kristen Reardon was a smuggler? BOOTH: More than likely k*lled by a smuggler. HODGINS: She goes to report something and the smuggler kills her. (Booth nods smugly) BRENNAN: I'll have Zack check all these as possible m*rder w*apon. (to Booth) And I'm changing my password. (moves to the computer, using her hand to shield the screen.) BOOTH: Daisy? BRENNAN: How did you know? BOOTH: It's your second favorite flower. (Hodgins smiles) I know you Bones. Try a planet. (walks away, Brennan nods and begins to type. Booth walks a few steps and then snaps and turns around) Jupiter! (Hodgins laughs and turns away) (Interior - Day - Autopsy Room at the Jeffersonian. Cam is at the sink. Booth enters.) CAM: Hey! BOOTH: Hey. CAM: I owe you. BOOTH: No, you don't. CAM: I do. It took the pressure off. I even reconnected with Felicia. (walking to her desk, Booth following) BOOTH: She kissed me. CAM: What? BOOTH: I swear, I didn't see it coming, she just planted it on me. CAM: Like a peck on the cheek or a full meal? BOOTH: (thinking) Why does that even matter? CAM: Full meal. I don't believe it. BOOTH: What's the big deal? I mean, you and I aren't actually, you know, going out. CAM: She thought she stole you away from me, that's why she was so nice. You! BOOTH: What? CAM: You kissed back. BOOTH: No! No. No, there was no "kiss back." (Cam looks at Booth accusatorially) You know, my lips, they may have parted for a second . . . (Felicia enters) FELICIA: Hi, ready for lunch? BOOTH: Hi. CAM: (to Booth) Don't say hello to her. (to Felicia) How could you make a move on my boyfriend? FELICIA: (moving to stand next to Cam) He said things weren't so great between you guys. CAM: Didn't think you should ask me first? FELICIA: Sorry, didn't seem like he was all that into you! BOOTH: Time out, let's get real here okay? You are actually fighting over something that does not even exist. FELICIA: What? BOOTH: We don't go out anymore. We broke up a long time ago. FELICIA: And you brought him for Dad so he'd still think . . . CAM: You know how dad is - I'd never hear the end of it. You saw how he lit up when he got that remote! BOOTH: It can handle up to eight different devices . . . CAM: We know, Booth. FELICIA: Why didn't you tell me you guys split up? CAM: You want him, take him. I don't care. FELICIA: I don't want him. BOOTH: You don't? FELICIA: (To Cam) No, I was just trying to get back at you for being so perfect all the time. CAM: So you admit it! FELICIA: Like you're a saint. (to Booth) She used to go into my closet with all my dolls and say that they were having a party but I wasn't invited. CAM: You were five, and they did not like you. FELICIA: Typical, start a fight so we miss lunch. CAM: Oh, you made reservations? I'm surprised. I thought we'd have to eat from a cart in the street! BOOTH: Wow, you two can have lunch after all this? FELICIA: Please, like you can ruin a meal. (Felicia laughs, Cam smiles. BOOTH: Okay, that's it. (pointing at Felicia) I don't know who you think . . . CAM: Don't raise your voice to her, Seeley. (Felicia looks at Booth, appalled) (to Felicia) Let's go, let him calm down. BOOTH: What? CAM: (Felicia and Cam leaving. To Booth) Wow. FELICIA: Why did you guys break up? What did he do? BOOTH: It wasn't me! I . . . (Interior - Day - Zack's office at the Jeffersonian. Zack is sitting at the computer, Brennan behind him. A statue of an a horned animal is on the screen) ZACK: This is the most likely m*rder w*apon. BRENNAN: It's an antelope. ZACK: Actually, it's an Oryx. BRENNAN: That's a type of antelope. ZACK: I was being precise. You used to appreciate that. (the computer calculates the angle from the table to the horn's position) BRENNAN: Sixty-seven degrees. ZACK: Exactly. Oryx on table, struggle, Kristen Reardon is impaled on the Oryx. BRENNAN: (patting him on the shoulder) Good work, Zack! Let's swab the sculpture, see if there's any DNA evidence. ZACK: It's not here. (Interior - Day - Walkway above the main examination area at the Jeffersonian. Cam and Bancroft are walking towards the lounge.) BANCROFT: What do you mean, it's not here anymore? CAM: According to Jeffersonian records, the Oryx was mailed to Box 99, Poplar Street Post Office in Arlington. BANCROFT: The Jeffersonian is being used to smuggle Iraqi artifacts? Has the FBI been informed about this? CAM: Yes, Dr. Bancroft, Agent Booth and Dr. Brennan are trying to arrange to have the post office staked out by tomorrow. BANCROFT: Good, good, that's (winks and gives her a thumbs up) that's good. (exits) CAM: (dials her phone) It's Cam. (Exterior - Day - Booth and Brennan in Booth's SUV parked on the street across from the ) I told him. You were right, he wasn't happy when I said the FBI already knew. BOOTH: Thanks, Cam. Now we'll see if he's a part of it or just another ass covering buracrate. CAM: Good hunting. (clicks her phone closed) BOOTH: Little game there, Bones - who shows up for the Iraqi Bambi? BRENNAN: There are a number of possible candidates. BOOTH: Come on, I mean, it's a stake out. Play with me. Speculate. My money's on Bancroft. BRENNAN: The head of the Jeffersonian? Why? BOOTH: He's a doughy. BRENNAN: (scoffs) You think he's a m*rder just because you don't like him? BOOTH: Bones, it's a game. BRENNAN: Well, there's no way it's Bancroft, he has a doctorate. BOOTH: Dr. Kevorkian has a doctorate. (A yellow cab pulls up in front of the post office, Klimkew gets out ) Oh. So does that guy. BRENNAN: Dr. Klimkew. (Interior - Day - Interrogation Room at FBI Headguarters. Klimkew is sitting at the table, where the Oryx statue sits. Booth and Brennan sit opposite each other at the table) KLIMKEW: During a m*rder investigation, you uncovered my smuggling operation? BOOTH: Yep. KLIMKEW: Man that is bad, bad luck. BRENNAN: (leaning forward) What about the m*rder, Evan? KLIMKEW: Kristen Reardon and Kyle Aldrige? No, I'm afraid that their deaths are on your hands. BOOTH: How do you figure? KLIMKEW: Well, this silver skeleton Gormogon serial k*ller's obviously involved. (To Brennan) You brought him into our house. No, I can only take responsibility for smuggling this Oryx (puts his hand on the statue) into the country. BOOTH: Get your hands off the m*rder w*apon. (Klimkew moves his hand, looking questioningly at Booth and Brennan) BRENNAN: (to Klimkew) We know what happened. KLIMKEW: (looking from Brennan to Booth) I was there. But it wasn't me who pushed Kristen onto that table, it- it was Aldrige. BOOTH: Now, why would he do that? KLIMKEW: Uh, love gone wrong, I don't know, but Aldrige said (Booth moves to stand behind Klimkew) that if I didn't help him dispose of the body he'd expose my smuggling deal and I would go to prison. BOOTH: Well, I guess that's it then, huh Bones? Case closed. (claps his hand on Aldrige's shoulder) BRENNAN: Right, well, except . . . somebody k*lled Kyle Aldrige. KLIMKEW: No, he hanged himself. (Booth grabs his arm and pulls it up and back) Ow . . . (Booth pulls down his shift sleeve exposing red burns) BOOTH: Rope burns. Look at that. We think you k*lled Kristen Reardon, probably by accident . . . BRENNAN: We know you k*lled Kyle Adlrige. BOOTH: Premeditated. BRENNAN: And I'm confident we can prove it beyond reasonable doubt to a jury. (Booth slams down Klimkew's hand) It's over, Evan. (Booth slaps his shoulder as he walks back to his chair) KLIMKEW: Do either of you know a good lawyer? (Interior - Night - Booth's Office at FBI Headquarters. Booth and Brennan are sitting across from each other in recliners at a small table. Booth is pouring sh*ts into paper cups) BOOTH: Okay, don't take it so hard. BRENNAN: I'm not taking anything hard. (Booth raises his cup in a toast) What are we, Russian? BOOTH: Nostrovia. Yeah. (they take the sh*ts, sit down the cups, and crush them) I'll tell you what else I know. What you're taking hard is, uh, the fact that it happened in your house. BRENNAN: It's not my house! BOOTH: Not where you sleep! Okay, you're favorite place, the house of reason, the Jeffersonian. BRENNAN: No. It's not my favorite place. BOOTH: Yes, it is. BRENNAN: What, no it's not- how do you know? BOOTH: Daffodil. Daisy. Jupiter. (pours another sh*t into two new cups) Okay, I'll tell you what else I know, (lifts his cup in a toast) you were hoping that it was gorgonzola. (they take the sh*ts) BRENNAN: Gormogon. BOOTH: Ah! So you admit it! BRENNAN: Accidentally! Does- does that count? BOOTH: Yes. Look, all the scientists and the squints and the eggheads, they wanted it to be a serial k*ller so it wouldn't be one of them. BRENNAN: Them? BOOTH: You. BRENNAN: Me? BOOTH: One of you. You were all offended that it was one of you. BRENNAN: You know what? I am offended. BOOTH: I just said that. (pours another sh*t) BRENNAN: I'm offended! Because . . . BOOTH: Because you were betrayed by one of your own. BRENNAN: Yes. Are you going to betray me? BOOTH: No. (they toast) BRENNAN: Nonetheless, I shall be vigilant. (they take the sh*ts) BOOTH: "Nonetheless"? (they laugh) BRENNAN: I'm not gonna' have a headache tomorrow, am I? BOOTH: Well, we're gonna' find out. Hodgins and Jack, they do their experiments. We do ours. (they toast) To Gorgonzola. BRENNAN: Gormogon. (they take the sh*ts, sit the cups down and before Brennan can crush hers, it falls of the table) BOOTH: You missed. (laughs) -END-

{"type": "series", "show": "Bones", "episode": "03x06 - The Intern in the Incinerator"}

foreverdreaming

"The Boy in the Time Capsule" Episode 3x07 Written By: Janet Lin Directed by: Chad Lowe Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (The class of 1987 is gathered at Foot Hill High School to open a time capsule that was buried 20 years prior.) TERRY STINSON: Our time capsule was buried in 1987. The year the Dow closed above 2000 for the first time. Regan told Gorbachev to tear down the Berlin Wall. WOMAN IN CROWD: Uh, you had a huge crush on LaToya Jackson. TERRY: I did. MAN IN CROWD: You can't complain, Stinston. You married the head cheerleader.TERRY: Lucky I did. And now we have a wonderful kid who's a Senior, right here at Foot Hill. Alex, take a bow. (Alex, who is digging up the time capsule - nods and waves) TERRY: Anyhow, we're here today to open the time capsule that we buried 20 years ago, so we can see who we were and how the heck we all got to where we are today. ALEX: (hitting something under the dirt) Found it! WOMAN IN CROWD: (to Janelle) 20 years. JANELLE: Mmm. WOMAN IN CROWD: Do you even remember what you put in there? JANELLE: Bad perm and pink leg warmers, probably. (Terry and a cop are opening the capsule) TERRY: Here we go. (As he opens it - there is a horrible smell and it's full of liquid. Everyone turns away.) TERRY: Oh, what the hell, Bill. I thought you said this thing was water tight. GIL: It should have been and it's Gil, not Bill. TERRY: Let's see what we got here. (He reaches in with a crow bar and pulls out a skull.) (Cut to: Some time later, Booth & Brennan arrive) BOOTH: Wow. Now this is a sweet field. This is what I'm talking about, right. I mean, it's nothing like ours but hey, that didn't stop me from being MVP my Senior year. Got the trophy. Touchdown! BRENNAN: In certain tribes in the African subcontinent, piercings serve as a reminder - like your trophy - of the power and agility which has since faded away. BOOTH: What do you mean fade away...Woah! Time out. Can we just concentrate on the case. (to officer) What do we got here? POLICE OFFICER: We were all gathered for the opening. We had, uh, no idea that that thing was in there. BOOTH: (whistles) Whoa. That is rank. POLICE OFFICER: I was just expecting to see my 10,000 Maniacs album. GIL: That was not there. BOOTH: Who are you? GIL: I'm Gil Bates. I- I sealed it myself. I used a propoline seal and industrial bolt lags . BRENNAN: (looking at skull) Adolescent Caucasian male. Late teens, early 20's. BOOTH: Alright, so..what do you say we just pack it all up and ship it back to the Jeffersonian. GIL: OH, I'm sorry. That's not a good idea. You see, the water has compromised they structural integrity of the case so- BOOTH: Would you look at this, Bones. Another nerd for your squint squad. BRENNAN: Drill. BOOTH: Drill. Drill? Whoa, wait a second. You're gonna drill right here? What about taking it all back to the Jeffersonian? BRENNAN: Tub. (She takes the drill and makes a hole in the side of the capsule - draining the liquid into the bucket.) (Cut to: Medico Legal Lab - a video is playing that was found in the capsule of its burial. The class of 1987 is gathered around the capsule, placing items inside)(on video) YOUNG JANELLE: A 1987 Foot Hill year book, of course. YOUNG TERRY: How about the ghetto blaster. YOUNG ROGER: Rubik's Cube. YOUNG POLICE OFFICER: How 'bout this CD- YOUNG ROGER: In 20 years, they'll be able to fit hundreds of those on a microchip. (Camera pulls back to revel Brennan watching the video as Zack is examining some remains) ZACK: Victim had several antimortem fractures to his sternum as well as several antimortem fractures to the lateral sections of his ribs. BRENNAN: All healed? ZACK: All healed at different times. I had a Michael Jackson glove. I've never mentioned that before. HODGINS: (entering platform) I loved Chevy Chase. We all have our crosses to bear. BRENNAN: The fracture on the right clavicle, is fresh. Well, was. 20 years ago. HODGINS: (watching video) Whoa. Mullet alert. CAM: (entering platform) Woo. That's a nasty one. Booth got a list of all the students who didn't make it to the capsule opening and he's pulling names of anyone connected to the school in 1987 who had a record. ANGELA: Oh my god. I'm getting flashbacks to braces and stirrup pants and a really, really bad side ponytail. HODGINS: Certainly grew out of it. I wore Doc Martens that weighted more than I did. BRENNAN: Apparently, Booth was fine. He was a football player. ANGELA: Right. He was one of THOSE guys. Well, this guy (she hold up a sketch) certainly wasn't hanging out with the cheerleaders but I bet he had some love notes stashed away in his Space Balls binder. ZACK: I think I saw him in the video. CAM: Roger Dillon. (she holds up a yearbook) Class of 1987. ZACK: Here he is. (he rewinds the video tape and shows a piece of it) BRENNAN: How did Roger get from there (pointing to video tape) to here. (pointing to time capsule.) (Opening Credits) ACT I (Cut to: Medico Legal Lab - Forensics Platform) HODGINS: Ran a sample of the sludge. ZACK: Organic matter. CAM: Or you can call him, Roger. HODGINS: Oh, come on. When you can ladle someone, he's a little less than a person. Don't you think? (Cam gives him a look) Fine. I took a sample of Roger, ran it through the mass spectrometer. You never guess what I found. Traces of an unidentified organophosphate. CAM: Nerve gas? HODGINS: Very good. I'll break down the rest of the chemicals now. ZACK: The victim also had a perimortem fracture on his wrist. There are indications of a grate to a chromioclavicular joint separation but it was certainly not lethal. CAM: I've seen it before. Someone twisted the victims arm behind his back, forcefully. HODGINS: So he got b*at up for his lunch money? ZACK: Violent students are the hallmark of a school yard. I speak from experience...(he pauses) However, these fractures on his ribs predate high school. CAM: So, he might have had some trouble at home. (Cut to: The Dillon Family House. Booth and Brennan are questioning Mr. Dillon.) BOOTH : I don't understand, Mr. Dillon, why you never reported your son missing? MR. DILLON: His mother told me Roger ran away. BRENNAN: You weren't concerned that you're son never contacted you again? MR. DILLON: He didn't live with me. He didn't want to. BRENNAN: Because of the physical abuse. MR. DILLON: Yeah. I was a drinker in those days. And I understood why he wanted to just write me off but I cared about him. I was sick. BOOTH: When was the last time you saw Roger? MR. DILLON: It was the night of his high school graduation. He came over here afterwards, asking me for money. A lot. BRENNAN: You threw him out of the house with his arm twisted behind his back. MR. DILLON: I swear he..he got up and he walked away. Now this was 20 years ago. What's this all about? BOOTH: Roger is d*ad, Mr. Dillon. BRENNAN: His remains were found yesterday. MR. DILLON: Oh...God. BOOTH: Found him at the high school. He's been in a time capsule for 20 years. Any idea why he needed the money? MR. DILLON: Wouldn't say. Guess it was so he could run away. You should talk to Gil. He was Roger's best friend. BOOTH: Gil Bates? MR. DILLON: Yeah. BOOTH: That's the Tech Town guy. MR. DILLON: Yeah. They did everything together. BOOTH: We'll be in touch. (They turn and head down the porch stairs) MR. DILLON: (calling after them) I'm different now. (they stop and turn to him) I'm sober. I never...I never wanted to hurt him. I loved Roger. BOOTH: Right. (they continue down the path to the car) (Cut to: Medico Legal Lab - Forensics Platform.) HODGINS: The kid basically melted into all of this. Should be able to pull more chemical traces off the artifacts to ID the organophosphate on him. ANGELA: (pulling items out of the time capsule) Beta. St. Elmo's f*re. CAM: It's on the list. ANGELA: One yearbook. Foothill High School. 1987. CAM: (looking over a list of items) Check. Dehydrate and scan. ANGELA: (reading from yearbook) "Have a great summer. Don't ever change." Remember those days? CAM: I remember getting grounded every weekend. So many rules to break, so little time. HODGINS: You were the nerd fantasy. ANGELA: I was all about Barbie. HODGINS: She was my first anatomy lesson - was confused for years. CAM: What about Ken? I felt so sorry for him. ANGELA: Floppy disk the size of a dinner plate. CAM: Bingo, baby. The disk is not on the list. HODGINS: (taking the disk from Angela) Wow. What are you? A Term paper. Launch codes. CAM: We need to pull the data (to Angela) Do you think you're up to it? ANGELA: I can try. (still digging in capsule) A hockey skate? And it looks like it's signed. CAM: Check on the skate. Belonged to some jock named John Adamson. ANGELA: A can of new Coke. HODGINS: Definitely an 80's plot to destabilize the country. CAM: Another check. ANGELA: And a pocket watch. CAM: A watch is not on the list. (Hodgins takes it and opens it) HODGINS: It's a Wallingham. It's nice. ANGELA: Computer disk and a pocket watch. What was our little geek into. HODGINS: It's dry. This is a good watch. Some kind of residue. CAM: Could it help ID the poison? HODGINS: Let me at it. (he walks away with the watch) (Cut to Booth's Car.) BRENNAN: Roger's father had no trouble getting physical so why would he resort to poisoning his son with a nerve agent? BOOTH: What sort of teenager were you, Bones? BRENNAN: He did have a series of odd jobs. Perhaps he procured the poison from one of them. BOOTH: Come on. You have to at least had one good story before you pasted on the lab coat. BRENNAN: I was busy. Studying. BOOTH: And in all those hours of studying, you never came across one hormone? BRENNAN: Fine. There was one boy. Andy Fluger. He was the Varsity Lacrosse captain. BOOTH: Did you kiss the Varsity Lacrosse captain? BRENNAN: I was weighing the pros and cons when he became my secret Santa. BOOTH: I thought you hated secret Santa. BRENNAN: Yes! Because he taped the gift to my locker. Everyone saw it. Teenagers can be cruel. BOOTH: What was it? BRENNAN: Doesn't matter. BOOTH: Come on, Bones. BRENNAN: You promise not to laugh? BOOTH: I promise! I'm your partner. BRENNAN: It was a Brainy Smurf. (Booth snorts) You said you wouldn't laugh. BOOTH: (trying to hold back laughter) I'm not laughing. Brainy Smurf, huh? BRENNAN: What? It was deliberate. He knew I wanted Smurfette! (Booth continues to laugh) Okay, it's clear you find this amusing. BOOTH: (laughing) I'm not laughing. I'm not. What? (Brennan is not amused) BRENNAN: You know, Angela was right. You were one of "those guys". BOOTH: What? One of what guys? (Cut to FBI Headquarters - Booth's office. Booth & Brennan are talking with Gil Bates) GIL: That was Roger in the time capsule? (Brennan nods) I saw his skull. Omg, I saw his skull. BRENNAN: He's been there since 1987. GIL: No. Roger took off. He left a note. BOOTH: A note? GIL: Graduation night he left his mom a note saying that he hated it here and he was running away. BOOTH: Yeah, and he went to his father's house to ask for money. Do you know why? GIL: All I know is that his mom said was in the note he left, so... BOOTH: Gil. His mother is d*ad and his father never say it so - BRENNAN: So, you're the only connection we have to the note. GIL: It said, uh, you know that he couldn't be around his dad anymore or the kids at school. They picked on him. They use to pick on me too. I guess he just couldn't take it. Why wouldn't he'd just ask for help? He was my best friend. I always thought that I see him again. I can't believe I'll never see him again. (Cut to: Medico Legal Lab. Cam's office. Hodgins enters.) HODGINS: Alright. I found several denim fibers on both the gold watch and the floppy, matching what's left of the victims classic acid washed 80's jeans. That places the watch and the disk inside the victims pocket at the time of his m*rder. I tested the residue inside the watch casing? Pure crystalline tropane alkaloid. CAM: Roger Dillon had a pocket watch full of cocaine? HODGINS: So Miami Vice I could roll up my sleeves.CAM: The FBI sent us the files of everyone connected to the school who had a record. Mostly petty thefts, DUI's - that sort of thing. (she checks the computer) Darwin Banks. Teacher at Foothill High. Arrested in a school wide drug bust - June 12, 1987. HODGINS: That's two days after Roger disappeared. CAM: And Roger needed money. HODGINS: Looks like our young geek might have been k*lled over a drug deal. ACT II (Cut to FBI Headquarters - Booth's Office. Booth is talking with Darwin Banks.) BOOTH: You remember Roger Dillon? BANKS: Foothill High, right? I was his Science teacher. Smart kid. Could have taught the class. BOOTH: Well, he's d*ad. We found him stuffed into the Foothill's time capsule. Been there since 1987. BANKS: Gosh. BOOTH: Says here in the yearbook that you were the faculty advisor to the Time Capsule Committee. BANKS: You've got to be kidding. BOOTH: I usually don't joke around when a 17 year old boy's been m*rder. Found evidence of cocaine on him? BANKS: Roger? No. That kid was clean. The only way he got high was sitting in front of his computer, writing code. BOOTH: Alright, so help me out here because in '87 you were arrested at the high school for dealing? BANKS: I wasn't dealing. I was just out of college. I had two joints on me. BOOTH: And 4oz in your apartment. BANKS: I was 23. We all do crazy stuff when we're kids. BOOTH: Exactly. BANKS: I have my own business now. A wife and two kids. I'm in the Rotary Club for god sakes. BOOTH: Well, we know that Roger needed money. Maybe he started dealing for you and he wanted a bigger payout. thr*at to turn you in if he didn't get it, so you k*lled him. BANKS: I didn't k*ll him and Roger didn't rat me out. It was Adamson. John Adamson. An entitled ass even at 17. I caught him cheating and the next thing that I know? The cops are knocking on my classroom door. He just wanted to discredit me so he could retake the test. BOOTH: Right, so you're the victim with the 4oz of weed. Can you confirm your whereabouts on June 14, 1987? BANKS: If I'm such a big, drug dealing, liar - why would I tell you the truth? BOOTH: Because you don't want to go to jail for k*lling Roger Dillon. (Cut to Sweets office. Booth and Brenna are their for their counseling session) BOOTH: Come on, Sweets! Just, come on! You've done a lot of psychological profiling! The case is twenty years old. We just need some help. SWEETS: That's not why we're here today, Agent Booth. This hour is for you and Dr. Brennan. BOOTH: Oh, she's not gonna mind. It's only going to take 5 minutes. Okay? 1987. Suburban kid is k*lled and stuffed into a time capsule. (Brennan looks at Booth, annoyed) Fascinating, right? What kind of person would do that? SWEETS: (ignoring Booth, to Brennan) So have any conflicts or issues arisen since our last session? BRENNAN: Well - BOOTH: (interrupting) Bones and I are doing just great. SWEETS: You look angry, Dr. Brennan. BRENNAN: (frustrated) I told Agent Booth a private story about my childhood and he laughed. BOOTH: What? No. I - (to Brennan in a half whisper) I was appreciating it. Don't get him involved. BRENNAN: Snorting does not suggest appreciation. BOOTH: It was about a cartoon character from the 1980's! I didn't think you'd be so sensitive. SWEETS: Well, childhood icons have great significance to us, Agent Booth. Alright. I, myself, was very attached to Voltron. (Booth and Brennan just look at him) Cartoon. BOOTH: Voltron? SWEETS: You're hurt, Dr. Brennan, because you feel you opened yourself up to Agent Booth and he betrayed that trust. BOOTH: You're talking about a Smurf. BRENNAN: (defensive) Smurfette. SWEETS: Perhaps a way to bring this relationship back into symmetry is if you reveal a childhood story about yourself. Show your vulnerability to Dr. Brennan. BOOTH: No. You know what? This is crazy. It's - it's not right. Tell him that it's not right. BRENNAN: Is it? BOOTH: Oh! You're on his side. Why don't you go play Voltron with him. SWEETS: You were "that guy" weren't you, Agent Booth. You were the golden boy who could get away with anything just by turning on the charm. BOOTH: That's ridiculous. You don't even know who I am. SWEETS: Could it be that you're still holding on to that persona. That you're afraid to reveal yourself? BOOTH: I'm an FBI Agent. I get sh*t at everyday. I'm not afraid of anything. SWEETS: Okay, this is obviously very difficult for you but you shouldn't be ashamed to ask for help. (Booth looks over at Brennan) BRENNAN: You shouldn't. BOOTH: Okay. Okay. I apologize. I do. I need help - (he pauses, and Sweets finally thinks he's had a breakthrough) - with this case. So, while you review this, I will reveal myself to Bones. (Booth places his hand on Brennan's leg - Sweets takes notice) I know that sounded weird, but you know what I mean. BRENNAN: So you will share an emotionally humiliating episode from your youth with me. BOOTH: Yeah. I - I have 'em. Here. (He hands the file to Sweets) SWEETS: (taking the file) Alright, excellent. Now, for the remainder of our time, let's role play. BOOTH: (putting on a hat) Now I know why I'm not allowed to bring my g*n in here. (Sweets nods and laughs) (Cut to Medico Legal Lab - Forensics Platform. Cam & Hodgins are entering.) HODGINS: I tested the goop. Found traces of cocaine consistent with the leakage from the gold watch. CAM: But when I checked the results against samples of his hair and bones they came out negative. Roger didn't do drugs. HODGINS: So his old teacher was telling the truth? Huh. I also discovered what he was dosed with and how much. CAM: What? HODGINS: Malaoxon. CAM: Malaoxon? (They leave the platform) HODGINS: Yeah. CAM: It's neurotoxic in high doses. HODGINS: Yeah, but there's barely enough to make a mouse cough. CAM: So our theory about poisoning is incorrect. (Zack approaches them) ZACK: Dr. Saroyan. I found an anomaly on the victims skull. (Cut to: Medico Legal Lab - Bone Room. Cam & Zack enter.) ZACK: When I was cleaning the skull, I found a tiny irregularly on the under surface of the victims mandible. Magnified, it proved to be a tiny, but sharply defined fracture. Judging by it's location, it appears that a w*apon was thrust into the neck, cutting through the sternocleidomastoid and severing both the corroded artery and jugular vein. CAM: Which means Roger must have bled out. Have you determined a w*apon? ZACK: Judging by the microscopic crushing of the bone, the w*apon was neither too sharp nor too blunt. It certainly wasn't an edged w*apon. CAM: So, it wasn't a Kn*fe. ZACK: Correct. However, it left an odd textural stain in the crevice. I've taken a sample and will hand it over to Hodgins for testing. (Cut to: Medico Legal Lab - Angela's Office. Angela is showing Hodgins the computer) ANGELA: This little darling, is a Commodore Amiga with a Motorola 6800 chip set using a homemade operation system. I got it from the computer exhibit on the 3rd floor. I used to have this exact computer. (she puts the floppy disk in the drive) HODGINS: My geek princess. (he kisses her neck) I knew the mall couldn't suck out your soul. (An early version of a First person sh**t game appears on the screen) ANGELA: Hey. Look at that. HODGINS: Oh. Oh, this is incredible. ANGELA: This is like a primitive Doom. HODGINS: Yeah, you don't see anything wrong with that? Doom came out in 1993. All of this stuff - the 3D rendering, the first person sh**ting - barely a glints in the geeks eye in 1987. ANGELA: So Roger was way ahead of his time. HODGINS: If this game had come out in 1987, Roger Dillon would have been a billionaire, several times over. ANGELA: And money is always a good motive for m*rder. (The WARSTRIKE main screen is shown on the computer screen.) (Cut to: FBI - Coffee Area. Booth and Brennan are getting coffee.) BRENNAN: Pretty sure that Sweets would say a lost baseball game - is not personal or revealing. BOOTH: Football, Bones. Okay. It's Football. Oh, okay. I got one. Alright, personally, between two people or revealing like, uh...aha! (he whispers) naked? BRENNAN: That's very literal. BOOTH: There was this girl, Karen Eisley, and we were under the bleachers one night - personally.. With me? BRENNAN: Got it. You were having sex, in the dirt, under the bleachers. BOOTH: Excuse me, I'm a gentleman. I brought my sleeping bag. BRENNAN: Did you fail to perform sexually? BOOTH: What? BRENNAN: Cause that might actually count as a humiliation. (she walks past him) BOOTH: Will you just wait. Will you just - (he starts sprinting after her, stopping her.) - allow me to tell my story. BRENNAN: Fine. BOOTH: Thank you. Alright, so this girl had this game where she would ask me a question- BRENNAN: (interrupting) What kind of question? BOOTH: It doesn't matter - okay, so if I got the question wrong I'd have to take off a piece of my clothing. Of course, I knew all the answers but I pretended that I didn't. BRENNAN: So you could take off your clothes. BOOTH: Exactly. No. The point is I'm standing there, ya know, in my socks and my St. Christopher medal - she runs off. She runs off with the sleeping bag and all my clothes and I'm standing there, starko- BRENNAN: Well, why did she do that? BOOTH: Well, I suppose she heard I was under the bleachers with another girl the week before... BRENNAN: Okay, this is a story about sexual prowess, Booth. You're bragging. BOOTH: (laughing) I had to run across the campus buck naked. BRENNAN: You're laughing about it now. You enjoyed displaying your penis. It showed alpha male mastery. Only one other person knew about Brainy Smurf. It was my mother. (she takes off into his office) BOOTH: (he starts after her again) It's cold. Okay. It's was cold. Do you know what happens to a guy when it is cold (he notices Gil sitting in his office) outside. (to Gil.) Hi. GIL: Hi. Can we make this quick? My boss doesn't understand why I keep leaving and he's kind of a jerk. So. BOOTH: What do you know about, uh, Warstrike? GIL: Wow. I haven't heard that name in a long time. BRENNAN: We found it on a disk in the time capsule. It was on Roger when he was k*lled. GIL: My god. BOOTH: So you knew about it? GIL: Yeah, but only as a drawing in his notebook. I didn't know he'd written a code. BOOTH: Yeah, well according to an expert at the Jeffersonian, someone could make a lot of money off it. GIL: We planned to. We were gonna start a gaming business after graduation. Roger was the brains and I was the business guy. Wait a minute. You saw the game? It worked? BRENNAN: If you were partners, why wouldn't he tell you that? GIL: He was a perfectionist. He would never show me anything unless he thought it was perfect. BOOTH: Yeah, well maybe he was trying to make a deal with someone else.GIL: No. No way. We were partners, okay? Best friends our whole lives. Roger would never sell me out like that. We were saving up to buy new computers to create a 3-D rendering farm. BRENNAN: Computers were expensive back then. Where were you gonna get the money? GIL: We both worked. I paved driveways and Roger worked a shift at a roller rink. BOOTH: Hey, I scraped grills at a Burger Shack for $3.55 an hour. That's humiliating. BRENNAN: Nice try. GIL: Roger, he made extra money, um, tutoring that cheerleader, Janelle, in math and he got paid to take the SAT's for some coke head hockey player. The kid got into Harvard off Roger's scores. BOOTH: Coke head? What's his name? GIL: John Adamson. He's a real nasty piece of work. (Cut to: Booth's Car.) BOOTH: (into phone) Great. Thanks. (he hangs the phone up.) John Adamson was the star hockey player at Foothill. Barely graduated from Harvard. Took 5 years. BRENNAN: He got in by cheating. He didn't deserver to be there. BOOTH: Maybe Roger was blackmailing Adamson about the SAT scam. BRENNAN: So, Adamson k*lled him? BOOTH: Could a hockey skate have k*lled the kid? I mean, Adamson's was in the time capsule. BRENNAN: Metal skate blade could easily cut right through the jugular and the edge could create a sharply defined fracture. BOOTH: Well, there ya go. He had a motive and a w*apon. (Cut to: Restaurant. Booth and Brennan enter - looking for Adamson. The waiter shows Booth and Brennan where Adamson is sitting. ) WAITER: (to Booth) That table. Waiting over there.(whispering to each other as they head towards Adamson's table) BOOTH: You could at least give him twenty bucks. Tip him. BRENNAN: Why am I suppose to do that? BOOTH: Grease the palm. BRENNAN: No. BOOTH: I just - (sighs. They stop whispering as they reach the table) John Adamson? FBI Agent Seely Booth. I'd like to ask you a few questions. Have a seat, Bones. (They sit down.) ADAMSON: Senator expects me to concentrate on running his campaign, Agent Booth. I hope this isn't going to be a waste of my time. BOOTH: Take a look at that. (Booth takes out a picture of Gill Bates and Roger Dillon.) BOOTH: Do you remember Gilbert Bates or Roger Dillon from high school? ADAMSON: No, I'm sorry. Not the name Gilbert Bates nor Roger Dillon means anything to me. BRENNAN: This boy - was found inside the time capsule d*ad. You might've heard about that. ADAMSON: Like I said, I've been busy with the senator's campaign. BOOTH: Right, cause this kid (points to the picture of Gil) said that this guy (points to the picture of Roger) took the SAT for you. Got you into Harvard? ADAMSON: SAT's didn't get me into Harvard, Agent Booth. My slap sh*t did that. BRENNAN: So you don't deny that Roger Dillon took the test for you? ADAMSON: Total cooperation. We keep my sordid academic past in the past? BOOTH: Sure. ADAMSON: I paid Roger two hundred bucks to take the test for me. It was a done deal. Two weeks later, he comes knocking at my door, saying if I don't cough up another $500, he'll rat me out. BOOTH: Roger tell you why he needed the money? ADAMSON: Nope. Just that a guy like me wouldn't understand. I gave him all the cash I had. Maybe $90 and my watch. BRENNAN: The watch with the hidden compartment for cocaine? ADAMSON: I don't know what you're talking about. ACT III (CUT TO: Medico Legal Lab - Brennan's Office) (Sweets is sitting on the couch reading Booth's report while Brennan stands near him, clearing her throat.) SWEETS: What? BRENNAN: You're a very slow reader, Dr. Sweets. SWEETS: I'm afraid Agent Booth's report on Mr. Adamson is more revealing of Agent Booth than it is of Adamson.BRENNAN: Really? Why? SWEETS: That's for Agent Booth to share but I've seen John Adamson on TV enough to know that while he's harmful to the political process, he's not homicidal. He's too sensitive. BRENNAN: A horny, cocaine-snorting, jock, party boy is sensitive? SWEETS: Yes, definitely. And emotionally immature, totally dependent upon external validation. Cheap and greedy, too. They're always cheap and greedy. BRENNAN: You got all this off TV? SWEETS: The point is, at the age of 17, John Adamson gave Roger Dillon money and a watch. If he had k*lled Roger, he would have taken his watch back. BRENNAN: Very convincing.(She takes the file.) The watch part anyway. SWEETS: All that insight into the intangible enigma of human behavior, and ya zone in on the banal and tangible. (Hodgins walks in.) HODGINS: I bring more banal and tangible evidence. SWEETS: Wow. With you people, it's really go, go, go, isn't it? HODGINS: We're catching m*rder. SWEETS: And that is so dope, alright? I'm running up a profile right now to help. I love being in the field. (Sweets heads to the door to leave) HODGINS: Uh, you're in a secure lab. SWEETS: Dude, for eight hours a day, I'm surrounded by neurotics. Okay, to me, this is fieldwork. (realizing that Brennan is one of his patients.) Uh, no offense, Dr. Brennan. I'll finish the profile. (Sweets leaves.) HODGINS: Anywho, we've determined that the malaoxon in the Roger stew was originally the common organophosphate pesticide, malathion, before it broke down. BRENNAN: How common? HODGINS: There was this 1980's mosquito panic, and malathion was sprayed everywhere. Virginia Department of Agriculture and Consumer Services says there was a quadrant bordering Foothill High School that was sprayed at 7:45 PM on Thursday, June 14, 1987. BRENNAN: Whoa. Why'd they keep such detailed records? HODGINS: Spraying aerial neurotoxins in an attempt to k*ll creatures that outlive atomic b*mb tends to make bureaucrats consider possible lawsuits, I guess. (Brennan looks up the map of the area on the computer.) BRENNAN: It's a housing development. HODGINS: Yes, but in 1987, it was mostly a swamp. The development was under construction. There were only a few finished homes. BRENANN: Could the wind have blown the insecticide onto Roger? HODGINS: In this concentration, Roger had to have been wading right through the middle of it. BRENNAN: Why would he do that? HODGINS: There's only one reason. A girl. BRENNAN: What are you basing that on? HODGINS: I was a boy. And I searched the 1987 real estate records. Guess who lived in one of the only finished houses. Janelle Brown, head cheerleader. BRENNAN: He was tutoring her in math. HODGINS: Exactly. BRENNAN: Why would he wade through a swamp to get to the house? There had to be roads. HODGINS: It was quicker. She was a cheerleader. She was hot. He couldn't wait. It's the boy thing again. Or maybe he was peeping through her window. Could have been a peeper. (Hodgins heads towards the door) BRENNAN: Dr. Hodgins, do boys change after high school? HODGINS: Only on the outside. (He smiles and leaves. Brennan doesn't know what to make of the answer.) (CUT TO: Medico Legal Lab - Angela's Office. Angela is looking at the yearbook. Hodgins walks in.) HODGINS: Whoever thought hair like that looked good? ANGELA: Hey, check this out. This is weird, right? HODGINS: It's a yearbook. It's supposed to be weird and humiliating. ANGELA: Yeah, but this is the "Hall of Fame" section. It's usually, "Best Smile" and "Most Likely to Succeed." This is "Most Likely to Get Head Stuck Up Own Ass" and "Best Rack" and "Most Likely to die of VD." HODGINS: Wait. Somebody put a prank version of the yearbook in the capsule to embarrass everyone 20 years later? ANGELA: Yup. Look at this.(she flips the book over) "Brought to you by Gruff & Grim." HODGINS: So, we're looking for two kids who put a yearbook and a body into the time capsule? (CUT TO: Outside Stinson Residence. Booth and Brennan are getting out of the car) BOOTH: Okay, Bones, so there was this girl, okay? Sharay Bellapini. Sharay, Sharay. She was the coolest, hottest girl in high school and I wanted to ask her to my junior prom. So what I did was, I bribed the suck up who did the morning announcements- BRENNAN: Suck up? BOOTH: Yeah, the kids who did anything to please the teachers. So I get on the loud speaker and I ask her to the prom. BRENNAN: Uh huh. BOOTH: On the loudspeaker. BRENNAN: Thi-This is your embarrassing story? BOOTH: On the loudspeaker! BRENNAN: Yeah. BOOTH: I got laughed at for weeks. BRENNAN: Did she go with you to the prom? BOOTH: Sure. BRENNAN: Okay, this is merely another story of victory and sexual conquest. (Brennan presses the doorbell.) BOOTH: Look, Bones, they laughed at me. Okay? Laughing has got to count for something. BRENNAN: There's no public humiliation in that story, Booth. (Janelle Stinson opens the door.) BRENNAN: You don't even know what public humiliation is. JANELLE: Hi. BRENNAN: Hi. BOOTH: Hi Ms. Stinson. Special Agent Booth, uh ... BRENNAN: Was your name Janelle Brown in high school? JANELLE: Yes. BOOTH: Mind if we come in and ask you a few questions? JANELLE: Of course, yeah. Come in. (Cut to: Inside Stinson Residence. Booth and Brennan show Janelle a picture of herself from high school.) JANELLE: Look at her. I wish I was Janelle Brown again. (She gives the photo back to Booth.) JANELLE: Or at least parts of me do. You know what I mean? BOOTH: You lived at 224 Green Gates Crescent? JANELLE: Yeah. Just a few blocks from here. BRENNAN: It backed onto a swamp. JANELLE: Yeah. I was scared of that swamp as a little girl. BOOTH: How well did you know Roger Dillon? JANELLE: Oh, I don't know. He was my math tutor and, well, math wasn't really my thing, so I needed a lot of help, and well - he kind of developed a crush on me. He was actually kind of cute in a non-jock way, you know? Sweet. Oh, he loved The Cure. BRENNAN: For what? What did he have? BOOTH: (whispers to Brennan) It's a band, Bones. It's..it's-it's a band. (to Janelle) Um, did he tutor you at your place? JANELLE: Uh huh. My place or the library. Usually my place. I think he liked it there. You know, his own place wasn't very nice. BOOTH: Do you remember seeing him on, uh, June 14, 1987? ALEX: (from off screen) Mom? JANELLE: Uh, I'm in here, honey. BRENANN: It would have been the last day of school. (Alex Stinson walks in.) JANELLE: Oh, uh... ALEX: I'm going to Pete's. JANELLE: Okay. (Booth and Brennan stand.) ALEX: What's going on? JANELLE: Um, these people are with the FBI. They're investigating the time capsule m*rder. (Brennan looks at Alex.) BOOTH: Nothing to worry about. Your parents were just friends of the victim. ALEX: Well, that sucks. JANELLE: Yeah. Honey, why don't you go to Pete's? (Janelle and Alex leave the room, but Brennan continues to look after him. As soon as they're out of site, she gets up, goes over to the mantle and looks at a photograph of the Stinson family.) JANELLE: (O.S.) If you're going to be late, just give me a call, 'cause you have your cell phone, right? ALEX: (O.S.) I have it. JANELLE: (O.S.) Okay. (Brennan tucks the photo into her jacket.) BOOTH: (whispering to Brennan) What are you doing? (Brennan shoves the picture frame in her jacket to hide it) ALEX: (O.S.) See you later, Mom. JANELLE: (O.S.) Okay. (Janelle comes back into the room. Booth sits back down.) JANELLE: You know, I-I think I actually did see Roger on the last day of school. BOOTH: Why? JANELLE: Like I said, he was my tutor. BOOTH: Why would he come to your house on the last day of school? JANELLE: Honestly? He brought me my graded final, but he'd have used any excuse. I didn't encourage him, but- (she laughs) high school was so long ago and none of us is the same person. I'm sorry Roger ended up that way, but after he dropped off my final, I never saw him again, so- BOOTH: Well, uh- BRENNAN: (interrupting. She stands.) Thank you, Ms. Stinson. JANELLE: Oh, yes. Uh-huh, of course. (Booth stands up) (Cut to: Medico Legal Lab - Angela's Office. Brennan walks in and joins Angela, who is at the computer.) BRENNAN: Could you please call up Terry Stinson from the Foothill yearbook? ANGELA: Mhmm. (She pulls up the page) ANGELA: Track team, vice president of the Student Council, runner up for Mr. Popularity. BRENNAN: Where does it say that? ANGELA: It's the type, sweetie. He's Mr. Second Best. It's kind of like when you want Brad Pitt and you get Matthew McConaughey. BRENNAN: Pull up the photo of his son, Alex. (Angela pulls up the photo that Brennan stole on the computer.) BRENNAN: Alex Stinson shows three classic examples of Mendelian inheritance. A cheek dimple on the left side, cleft chin and detached earlobes. ANGELA: Distinct facial features, wide-set eyes, asymmetrical nostrils. BRENNAN: Just like his dad. ANGELA: It's nothing like his dad. (after realizing what Brennan is getting at) Oh, boy. BRENNAN: Could you please replace Terry Stinson with Roger Dillon? (Angela pulls up Rogers picture and parts of the facial feature of both match perfectly) ANGELA: Oh, boy. Twenty years ago, Terry Stinson finds out that Roger Dillon has sex with his girlfriend. BRENNAN: And he kills him. ACT IV (Cut to: FBI Headquarters - Conference Room. Booth and Brennan are talking with Janelle and her husband, Terry Stinson.) TERRY: Of course we'll take a DNA test. BOOTH: You realize in a m*rder investigation, we can't rule anything out. BRENNAN: Did you know that it was possible that Alex was not your biological son? TERRY: What? (to Janelle) Is it possible? BOOTH: Is it? JANELLE: Can I answer that after the DNA test? (Terry sighs.) I guess I just did. BOOTH: (to Terry) So you didn't know? JANELLE: Terry didn't know. BOOTH: Alex was born on January 7, 1988. TERRY: I don't believe this. That means you were pregnant in the spring already. You just wanted me to believe that the baby was mine? JANELLE: No, no. I wanted - the baby inside me to be yours. TERRY: I don't get this. Roger - what- but he was - why did you sleep with Roger? JANELLE: He was sweet. He was-I knew he was nuts about me. I liked feeling special. You know, let's face it, Terry. Back then, you were "that guy". TERRY: What guy? JANELLE: The guy who did anything he wanted. You didn't need me. Roger- he came over that day. He came through the swamp. He was filthy. His father had just beaten him up- BOOTH: Ms. Stinson, did you tell Roger that he had gotten you pregnant? JANELLE: Yes. He wanted to marry me. He said he could get the money for us to go away together, but I told him I didn't want to. I was back with you by then. Only you. TERRY: Why didn't you tell me? JANELLE: When I told you I was pregnant, you were so happy. That's when I knew that you loved me. That you weren't "that guy." That we could have a great life together and we did. BRENNAN: I'm sorry. I had to borrow one of your pictures. (She slides the picture frame across the table) BOOTH: (whispers) You stole that. (to Janelle) Uh, what did you think happened to Roger? JANELLE: I don't know. (Terry slides the family photo over to look at it.) He had the money. He was never happy here. I figured that he just took off by himself. (to Terry) I am so sorry. I always wanted to tell you the truth, but I just-I just couldn't figure out how to tell you that Alex wasn't yours. (Terry looks at the photo of the family again.) TERRY: Alex is my son. We are a family. (Janelle nods.) (CUT TO: Medico Legal Lab- Brennan's Office. Booth and Brennan are talking with Sweets) SWEETS: Well, the m*rder happened at night on a high school playing field, not a likely place to find adults. Plus, teenagers are dominated by their ids, which make them act irrationally. Physiologically, their judgment's impaired by an incomplete frontal lobe. BOOTH: You're what, 22, right? How's your front lobe? Almost there? SWEETS: Again, a hectoring tone. BOOTH: Alright, look, I'm sorry, just keep going. SWEETS: Alright, there was no sexual as*ault, no theft. The watch and other effects were still on him. Further indications that this was just a rash and youthful act. BOOTH: Right, right. That's good - for a kid. BRENNAN: This is guesswork, Booth. SWEETS: It's a logical interpretation of subjective analysis by a highly intelligent expert in his field, actually. The k*ller knew the exact date the time capsule would be opened when he put the victim in there. He's been waiting twenty years for that body to be found so he could reconcile himself with his past and finally pay for his crime. BOOTH: Like Terry Stinson? SWEETS: No. (sighs) I think you're looking for someone who's been punishing himself for years. Someone self-destructive, working far below his potential. BOOTH: Then why doesn't he just confess? SWEETS: Most likely he has in some way, Agent Booth. The question is, were you listening? BRENNAN: Agent Booth is an incredibly good listener. BOOTH: Yeah, I really am. It's my strength. SWEETS: Then perhaps the time capsule was just a convenient place to stash a body. You know, profiling's not an exact science - (Brennan rolls her eyes.) -but I hope I'm right. I really want to tell my girlfriend I helped catch a m*rder. It'd be a good night for me. (Cut to: Medico Legal Lab - Forensic Platform) HODGINS: The textural stain on the under surface of Roger's mandible was liquid petroleum. CAM: An oil product? HODGINS: I know. I know. d*ad common, right? But I did some further analysis. (He sits at the computer and brings up the images on the screen.) HODGINS: I found that there were microscopic particles of granite embedded in the petroleum. Also, all over the broken seal of the time capsule. CAM: Definitely not John Adamson's ice skate. HODGINS: Yeah, not unless he skated on asphalt. Twenty years ago - what I'm seeing as petroleum was asphalt. It was driven into Roger's bone with a flat, metal- CAM: An asphalt shovel? HODGINS: Yeah. CAM: Gil Bates worked paving driveways. (Cut to: FBI Headquarters - Interrogation room. Booth and Brennan are sitting with Gil Bates.) GIL: Roger was my best friend. BRENNAN: Gruff and Grim, right? BOOTH: Who was who? GIL: I was Gruff. Roger was Grim. BRENNAN: So you went out to the field that night to plant the yearbook in the time capsule. BOOTH: Right, surprise everyone 20 years down the line. BRENNAN: You dug up the capsule and you broke the seal with the asphalt shovel. BOOTH: Your amigo, Grim, wanted his money back? BRENNAN: The money that you earmarked for your business, all those computers that were going to make you rich. BOOTH: And you couldn't do that, Gruff. You just couldn't give Grim back the money. GIL: Could you stop using those names? BRENNAN: Did he tell you that it was for Janelle Brown? BOOTH: I bet he did. I bet old Grim said, "You know what, I'm sorry, Gruff, but there's this girl and our plans, they're done." GIL: I asked you to just stop using the names. BOOTH: You know, but then Grim said, "You know what? My dream has changed. You and me, Grim and Gruff? We're finished." GIL: (jumps to his feet) Stop it! You don't know what you're talking about! BOOTH: We don't know what? BRENNAN: Did he tell you it was because she was pregnant? (Gil looks at them, surprised) BOOTH: He should've told you. You would have understood. GIL: Understood what? BRENNAN: Janelle was pregnant with Roger's son. GIL: Oh, my God. He didn't say. He just said that he loved her. I told him-I told him how stupid that was. I said that she'd never look at someone like him and-he got all pissed and then he h*t me. And I just, I went and I picked up the shovel and I just-I just jabbed. It was an accident. It was just a jab. He held his neck and he went all white. (He starts to sob) BRENNAN: The wound severed both his jugular and his carotid. He would have died quickly. GIL: He did. I-I held him and I told him I was sorry. He knew that I didn't mean it. I loved the guy. He has a kid? BRENNAN: Yes. GIL: I hope I get the chance to tell him about his father. (Cut to: Royal Diner. Booth and Brennan are sitting at a table, talking) BOOTH: Alright, there was this kid, uh, junior year. BRENNAN: Okay, is this going to be another story where you think you were humiliated, but you actually were not? BOOTH: Just listen to me. This kid. Junior year. Harlan Kinney. He was one of those real weird, ya know, looking kids. He had this big Adam's apple stickin out and he wore his dad's clothes to school. Ya know, with the whole stretchy belt around his waist. BRENNAN: What's wrong with that? It's practical. BOOTH: You're not listening. He was one of those real superior types, always talking out of a thesaurus, and one day he came up to me and a bunch of my buddies and he called us a bunch of Philistines. You know what that means, right? BRENNAN: Yeah. A Philistine is a smug, ignorant person who is antagonistic toward higher thought and intelligence. BOOTH: Yeah, well, I didn't know what that meant till I looked it up. I told Kinney, "Look, I'm not Philistine. I'm Catholic." BRENNAN: (laughs) That's pretty close to humiliation. BOOTH: No, that's embarrassing, that's not the humiliating part. BRENNAN: Oh. BOOTH: My buddy picked Kinney up and dangled him over the stairway. You know, he begged and cried, and everyone laughed. BRENNAN: How is this about you? BOOTH: I laughed. BRENNAN: I don't understand. BOOTH: I could've stopped it. I could've stepped in and helped the kid out. Instead I-I didn't. Chose my side, and it was the wrong side. BRENNAN: So you were humiliated because you didn't act like a hero? BOOTH: Fine. Fine. You know what? I'm perfect. My life was perfect. BRENNAN: It's a good story, okay? But it's a bad one. I - it's both, I guess. I mean, I get it. BOOTH: Yeah? BRENNAN: (noticing that Booth has something in his hand) What is that? BOOTH: (crossing his arms and hides it from her) Nothing. BRENNAN: Well, you evolved. And evolution is very impressive and that is definitely not nothing. BOOTH: (holding up Brainy Smurf) This? BRENNAN: Did you bring that for me? BOOTH: No. BRENNAN: Good, because it's the wrong Smurf. I liked Smurfette. That's Brainy Smurf. BOOTH: Well, Smurfette was a stupid, shallow Smurf who only had her looks. Look, you're better than Smurfette. You have your looks and a whole lot more.BRENNAN: You did bring that for me to charm me in case I didn't find your humiliation story impressive, but I did, so ... BOOTH: Aha! So I did impress you. BRENNAN: That's what impressive means, dummy. You're such a Philistine. BOOTH: (he laughs) I'll tell you what. You can hold on to this, and it will remind you how far I've come. BRENNAN: (taking the Smurf from Booth) I forgive you for snorting, Booth. BOOTH: Evolution is a long, long process. It takes hundreds of years. BRENNAN: Thousands. BOOTH: Why do you have to always correct me? BRENNAN: To help you evolve. (Booth smiles, Brennan smiles back at him and shakes her head.) END.

{"type": "series", "show": "Bones", "episode": "03x07 - The Boy in the Time Capsule"}

foreverdreaming

"The Knight on the Grid" Episode 3x08 Written By: Scott Williams Directed by: Marita Grabiak Transcribed by: 206Bones2break Edited by traciepwns Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Booth is at the crime scene. A car pulls up and Cam gets out and walks towards Booth) BOOTH: Traffic? CAM: Dr. Brennan looked a little hurt when I told her you asked me to come out here instead of her. BOOTH: No, Bones's feelings - they don't get hurt. She's not like you. CAM: Like me? BOOTH: Yeah. A girl. CAM: Yeah. The word you're looking for would be "woman" - who, incidentally, makes more money than you. BOOTH: Touchy. CAM: What can I say? I'm just a girl with feelings. BOOTH: Alright listen, construction crew they found a body this afternoon. The keyword is body, as in still meaty. (Cam removes the plastic from the body.) BOOTH: oh... CAM: Male, middle-aged. BOOTH: Bones - she usually, uh, kneels next to the remains. CAM: These are designer pants and my bodies are always so much - gushier - than Dr. Brennan's. BOOTH: Just saying... (Cam partially bends down to look at the remains) CAM: Looks like a s*ab wound to the middle of the chest. Naked, wrapped in plastic, bite marks to the face and extremities. Looks like rats. BOOTH: Rats? CAM: Looks like he might have been knee-capped. Mob thing, maybe? (Cam takes something from the body.) BOOTH: What's that? CAM: Some kind of gemstone. (Cut to: Medico Legal Lab - Autopsy Bay) ZACK: This blow to the sternum would have been fatal, dealt by a double edged blade BRENNAN: So we know our k*ller is strong. CAM: Based on the rate of decomp, I'd say he's been d*ad 3 days. Probably dumped Friday night. HODGINS: (entering) Gemstone is jade, narrowing down the exact type now. CAM: (handing Hodgins a vile) Grit from the wounds. HODGINS: Hey, grit to you - open book to me. ZACK: The injuries to the knees aren't from baseball bats or b*ll*ts. BRENNAN: Zack is right, the victims patella's were removed surgically. ZACK: (turns around with his arms raised) King of the lab. (Hodgins is speechless, and Brennan looks at them like they're crazy.) (Cut To: Brennan's Apartment. Brennan enters her apartment, dumps her bag on the ground and let out a sigh. She is going through the mail, and places it on the counter when someone knocks her door. She walks over and opens it.) AMY: Dr. Brennan? BRENNAN: Yes... AMY: Amy Hollister. I'm your brother's girlfriend. BRENNAN: Of course, please come in. AMY: Thanks. (Amy steps in.) BRENNAN: Would you like something to drink? AMY: No, I'm sorry...I..I..I, I don't have a lot of time. Do you know where Russ is? BRENNAN: Amy, I haven't seen Russ in months. AMY: Um, I have 2 little girls, you know and um, the youngest one - that's Haley - she's not doing too good, Cystic Fibrosis. BRENNAN: Russ mentioned she had lung problems. AMY: (tearing up) Well, her breathing's real bad. Now her liver..she keeps asking for Russ. BRENNAN: Um, I'm going to give you...(hesitates when she sees an envelope with a red spot) the phone number of Dr. Leo Goetz. He's the premier authority on Cystic Fibrosis in the Country. AMY: I can't afford that. BRENNAN: (looks at envelope) Oh no, Amy. Um, Leo and I are friends. He'd do it for me as a favor, no charge. I'm going to give him a call, tell him to expect you. AMY: I don't know what to say, Thank you. BRENNAN: And as for Russ, I think you're better off talking to dad. AMY: I understand. Um, thank you for your time. (Brennan closes the door and walks over to her counter, where she left the mail. She opens the envelope with the growing red spot. She carefully opens it and finds two knee caps, wrapped up in paper.) BRENNAN: The knees. (Opening Theme) ACT I (Cut to: Medico Legal Lab - Autopsy Bay.) ANGELA: Somebody sent you human kneecaps in the mail? That is like..blech. CAM: Zack says they match our victim. BOOTH: Look, we're dusting the envelope for prints. We'll send someone from the DC area. BRENNAN: These patella's are unusually worn. BOOTH: Worn from what? BRENNAN: It's hard to say definitively but I'd say the man did a lot of kneeling. ANGELA: (talking about the piece of paper) Wait a minute, I've seen that before. That symbol looks familiar, like it's from some kind off seal... BOOTH: Okay, look Bones, you are going to you know stay with a friend, check into a hotel right? ANGELA: She can stay with me. BOOTH: Great. BRENNAN: Thank you. No. Why? CAM: Mr. Kneecaps has your home address? BRENNAN: I can't freak out every time someone Google's me. BOOTH: Cam, she goes nowhere alone. BRENNAN: Cam, don't listen to him. BOOTH: Cam, Who are you more afraid of, me or her? BRENNAN: Booth! CAM: Whoa! So this is what it's like to be a kindergarten teacher. (Sweets appears in the doorway, laughing.) SWEETS: Fascinating interpersonal interaction. BRENNAN: (surprised) Dr. Sweets! SWEETS: I, uh - (sees Cam working on the d*ad body and pauses) oh my, that is - gross. BOOTH: Yeah, it's an autopsy room, It's no place for therapists. What do ya want? SWEETS: Ah, you and Dr. Brennan missed our session this morning? BOOTH: Maybe because somebody sent body parts to Bones, in the mail. SWEETS: (looking at an organ being pulled from the d*ad body) Oh my god! ZACK: I've identified the m*rder w*apon. BRENNAN: Oh, that was quick. ZACK: (walks in with a Kn*fe) Tapered, inch and a half, with both a hilt and a quillion. The cannelure is also quite distinctive. BOOTH: That's the Gormogon Kn*fe. SWEETS: The serial k*ller? ANGELA: Which is why the symbol looks so familiar, I've seen it on a tapestry - in the vault. (Cut to: Jeffersonian Basement. They team is going to check to see if anything in the vault may match up.) SWEETS: So this is the famous bank vault where the violinist was m*rder and eaten? BRENNAN: We transported everything from the bank here, to the Jeffersonian. BOOTH: So if you touch anything, Sweets, you put it back exactly the way it was. SWEETS: Oh, awesome! The Widow's Son sculpture? BRENNAN: It's a complete silver skeleton which is replaced, piece by piece, with bones from m*rder victims. ANGELA: And all of the relics, including that skeleton, can be traced to the Gormogons. HODGINS: Seventeenth century Anti-Masonic group, suppose to be extinct. SWEETS: How many victims? BRENNAN: Well, this statue contains the bones of at least five unidentified victims plus the violinist. BOOTH: That - is the actual violinist's pinkie. SWEETS: Well, obviously Gormogon sent you his kneecaps to continue his work. BRENNAN: (defiantly) We are not fitting those kneecaps onto this skeleton. SWEETS: Mark my words, you'll find something special about those kneecaps. ANGELA: Okay, this tapestry here? Is 'off' somehow. SWEETS: Off? BOOTH: Don't look at me, my idea of art is a half naked woman on the side of a van. SWEETS: That's interesting. BOOTH: No, it's not interesting, Sweets, 'cause it was a joke. (Cut to: Jeffersonian Hallway. Brennan and Booth are walking.) BOOTH: Okay, what's the matter? BRENNAN: Russ's girlfriend, Amy, came to see me. Her daughter is sick, she's looking for Russ so I told her my dad might know where he is. BOOTH: Your brother is a wanted fugitive as a material witness in your dad's m*rder trial. BRENNAN: Amy knows that. BOOTH: Well, he's not gonna come back just because your niece has a cough. BRENNAN: Well, technically, she's not my niece and it's not a cough, it's Cystic Fibrosis. ZACK: Dr. Brennan, missing persons send over dental records from middle-aged men. I checked them against the victim. BOOTH: Get a h*t? ZACK: Father Douglas Cooper. Vicar General to the archbishop of DC. BOOTH: Okay. Sweets was right about the kneecaps. This guy would have been a world class kneeler. BRENNAN: Well, saying someone has is a wiz at psychology is like saying they're good at mind reading. It's a series of lucky guesses. BOOTH: Well, I'm bringing Sweets in on the case. ZACK: You make fun of him all the time... BOOTH: Only when he messes with our heads. ZACK: He was right about the knees. BRENNAN: Zack, shouldn't you be figuring out what was used to excise the kneecaps? ZACK: Yes, Dr. Brennan. (Zack walks away as Booth starts to laugh) BRENNAN: What? BOOTH: (still laughing) You just dismissed Zack. BRENNAN: No I didn't. BOOTH: Well, don't get me wrong, I liked it. (Cut to: FBI - Conference Room.) BOOTH: Thank you for coming in, Archbishop Wallace. ARCHBISHOP WALLACE: You found my Vicar General? BOOTH: Yes, Your Holiness ARCHBISHOP WALLACE: Monsignor or Steve. So how did Doug die? BRENNAN: Well, Steve- BOOTH: Bones! BRENNAN: He said to call him Steve BOOTH: Monsignor. BRENNAN: Father Cooper was s*ab to death - as a serious of cannibalistic m*rder. ARCHBISHOP WALLACE: A serious of cannibalistic m*rder? BRENNAN: We'll still trying to find out what they had in common. ARCHBISHOP WALLACE: Doug Cooper was a quiet man, he'd been on sabbatical for the past six months, he was writing a book. BRENNAN: About? ARCHBISHOP WALLACE: The history of the early Christianity. It's ties to Paganism. Esoteric stuff. (he breathes in) Somebody ate Doug? BOOTH: Just a part of him. ARCHBISHOP WALLACE: A lovely decent man. Humble, dedicated to serving others - unfortunate choice of words, given that someone ate him. BOOTH & BRENNAN: (in unison) Just a part of him. ARCHBISHOP WALLACE: There's too much evil in the world. God forgive me but...sometimes I wonder if I'm little more than a band aid. BOOTH: Amen, Monsignor. Amen. BRENNAN: Thanks, Steve. (Cut to: Medico Legal Lab - Forensics Platform) HODGINS: Angela identified the red haired figure on the tapestry. ANGELA: Barabbas. A m*rder and r*pist who was condemned to death in New Testament Jerusalem. HODGINS: The Gormogon's believed that the descendants of Barabbas started the first secret society. ANGELA: To the Gormogons, Barabbas is an enduring symbol of all that is backwards, upside down or inside out. CAM: So if you find this figure on a Gormogon relic... ANGELA: It's a sign to interpret it backwards or in a mirror or upside down. ZACK: The numbers on the tapestry are simple alpha numeric code. Each number corresponds with a letter. Civitas. Capitolium. (The screen shows that CIVITAS = 2474509 & CAPITOLIUM = 2397864350) HODGINS: Which means capital city D.C. was laid out according to Masonic symbols. Now, notice the pentagrams in here over the white house? ANGELA: And do you see the compass and the square? ZACK: The point of the compass is over the US capital building. HODGINS: But here's where Angela's Barabbas thing really kicks in. ANGELA: The presence of Barabbas on this means backwards and upside down . So when the compass is inverted, it points to some very interesting landmarks. HODGINS: The bank, where we found the vault. ANGELA: The place where Father Cooper's body was dumped. ZACK: The highway overpass, off of which Gavin Nichols head was thrown. CAM: (points to screen): What's there? HODGINS: It's an old mansion that's now a nursing home. ANGELA: And this (she points to the screen) falls very precisely. CAM: What's that? HODGINS: A mausoleum at Silver Hill Cemetery. CAM: You want to look inside? HODGINS: Hell yeah I do. (Cut to: Silver Hill Cemetery - Night. Booth & Hodgins are going to investigate the mausoleum.) HODGINS: This mausoleum's been here since the eighteen hundreds. It's paid for by a trust. As far as the director of the cemetery knows, no one's been out here for a century. BOOTH: This better be good. HODGINS: Look. "Pater Mortus". BOOTH: Yeah. That means "d*ad Father". HODGINS: You know Latin? Dude... BOOTH: Altar boy. (They approach the doors - looking for a way to get inside) HODGINS: You got a key? BOOTH: (with crowbar) Yeah, I brought my own. HODGINS: Wait...wait...wait. BOOTH: What? HODGINS: Can I do it? BOOTH: No, you don't let me play with your bugs. (Booth opens the door with his crowbar, they find another skeleton.) BOOTH: Ah, great, another one. HODGINS: Booth. This ones completely made of bone. ACT II (Cut to: Hospital. Amy is watching Hayley in her hospital bed. Brennan knocks lightly on the door.) AMY: Hi. BRENNAN: Hi, how's Hayley doing? AMY: Dr. Goetz is a God send. I don't know how to thank you. (Hayley wakes up) AMY: Hayley, sweetie, it's Dr. Brennan. BRENNAN: Temperance. HAYLEY: Another doctor? BRENNAN: Oh, not that kind. AMY: Temperance is Russ's sister HAYLEY: Couldn't you call him and tell him to come home. BRENNAN: It's complicated. AMY: Here, eat your Jell-O sweetie. (she leads Brennan over near the door, out of ear sh*t of Hayley.) I tried to get into the jail to see your father, they wouldn't let me in. They said I'm not a relative. BRENNAN: Amy, Russ is a fugitive. The minute he comes back to DC they'll toss him in jail. AMY: Well, how would anyone know? BRENNAN: Well, I work with the FBI. AMY: You don't have to be in this. All you have to do is ask your father to get a message to Russ. (uncomfortable silence) You look my baby in the face and tell her she can't see her father because you're mad at yours. (Brennan looks over at Hayley, eating her Jell-O.) (Cut to: Medico Legal Lab - Forensics Platform. Zack is looking at the skeleton they found.) CAM: What have we got? ZACK: So far, I've identified 18 different victims and I'm not done. All bones show cannibalism indicators. This tibia appears to be over 50 years old. CAM: You mean the victim is over 50. ZACK: What I mean is the victim was k*lled over 50 years ago. CAM: That would suggest that Gormogon's what? A minimum of 70 years old? ZACK: The teeth marks on this bone do not match Gormogon's teeth. CAM: My god. We have another cannibal out there? An old one? (Hodgins enters) HODGINS: The gemstone you found in Father Cooper's chest is violet jade. The dirt contains sepiolite. CAM: And we're happy about this because? HODGINS: Both violet jade and sepiolite are only found in a certain region of Turkey. The Anatolia region to be exact. Legendary site of the Garden of Eden. And this (he holds up a glass jar) comes from the vault. Guess what? It's the same stuff. CAM: (to Zack) Run the new dentals against the NCIC database. HODGINS: What do you want me to do? CAM: Uh, be on the lookout for a face eating cannibal who uses a walker? (Cut to: Prison - Visiting Room.) MAX: There's my girl. BRENNAN: I, um, I brought you a coffee cake but they - they took it from me. MAX: Yeah, well, I'm not into coffee cake. These days all my, uh, meals are prepared by men in hair nets. (he smiles) I'm glad you came. When I was waiting, I was thinking about all the places I've been that are worse than prison. El Salvador, for example, and that two weeks I spent in a shipping container. BRENNAN: Disney World. You hated Disney World. MAX: I thought I was always able to keep that from you kids. Brennan: (laughs) Nah...I was six, Russ was 10, it was pouring rain. Mickey sneezed so hard his head popped off. MAX: I think I like prison better. (They both laugh) BRENNAN: Dad, I'm here about Russ. MAX: Well, he's fine. You don't have to worry about Russ. BRENNAN: The woman he lived with, the...the kids he was raising. They need him home. MAX: Russ sends Amy and the girls money every month. BRENNAN: The younger child, Hayley, is...really sick. She's asking for him. MAX: How sick? BRENNAN: I'm here dad. I'm asking you to tell Russ. Let him make up his own mind what to do. MAX: If he comes back to D.C., Russ is going to end up in here with me. He won't do that. He's scared to death of jail. BRENNAN: He'll come if you ask him to. MAX: You look more like your mother everyday. BRENNAN: I've gotta go. (She gets up and walks towards the door) MAX: Well, come back soon. And thanks for the coffee cake. (She leaves and Max knows what he needs to do) (Cut to: Medico Legal Lab - Angela's office. The team is gathered trying to put the pieces together in the Gormogon case.) ANGELA: I found the same symbol that was mailed to Dr. Brennan, on this tapestry. BOOTH: It looks like a bunch of tarot cards. ANGELA: Uh...okay. (pointing to the tapestry) The Architect. The Martyr. The Orator. The Musician. The Bishop. The Corrupter- BOOTH: Whoa. (he stands up) That's it. HODGINS: What? BOOTH: Gavin Nichols was the...the musician. HODGINS: Father Cooper was a bishop. BRENNAN: He's doing it in order. BOOTH: What's next? ANGELA: The corrupter. BRENNAN: So, the next victim is a corrupter. HODGINS: So, let's call up every p*rn kingpin and drug dealer in the country. Tell them to look out for a lunatic with a napkin in his collar holding a Kn*fe and fork. (Sweets enters.) SWEETS: Dude. You're being way too literal. These icons extend from the sixteen hundreds. A corrupter would mean a heretic. Like say, a pretender to the throne. BOOTH: What are you doing here, Sweets? SWEETS: You left a message that you wanted to see me. BOOTH: Not see. Talk. On the telephone. SWEETS: Interesting what people say unwittingly. I'm totally into the Gormogon file and it's my opinion, you're looking for a duo. BRENNAN: How did you get the file? SWEETS: Booth. BRENNAN: (aggravated) You gave him the case file? BOOTH: Time out, okay? He came up with the whole duo thing. HODGINS: We found another Widow Son skeleton. This one's complete. BRENNAN: The teeth marks suggest two cannibals. SWEETS: Really? It's awesome! It's like the Sith Lords, man. There's always only two of them. BOOTH: Did you just Star Wars us? SWEETS: In the parlance of the 17th century, it's a master and apprentice situation. Each master must create one of these sculptures while training an apprentice. Once complete, the master retires, the apprentice becomes the master - starts his own project. ANGELA: So, Gormogon used to be the apprentice. HODGINS: Now, he's the master. BRENNAN: How does me saying no, translate to bringing Sweets in? SWEETS: Okay get this. Both victims lost their father's at a young age. Widow son's. Coincidence? I think not. BOOTH: Also 2 months ago we arrested Gormogon's apprentice. ANGELA: Yeah. He k*lled himself. SWEETS: Point of Investigation. How do masters find their apprentices? Not on Craigslist. I checked. BOOTH: (phone rings and he picks up.) Booth. SWEETS: I'll bet you two free sessions that the master has access to "at risk" children. HODGINS: Kids got chops. BRENNAN: Well...anything else? SWEETS: Yeah. It must be k*lling him that you have this. (points to image of the silver skeleton on the screen) This is like, his whole reason for living. You might be able to find some way to use that. BOOTH: (closes phone) Wait til ya hear this. Father Cooper took a trip to Turkey last year. HODGINS: The Anatolia region. BOOTH: Mhmm. Gavin Nichols was on the same trip. ANGELA: The Bishop and The Musician. BRENNAN: What about a corrupter BOOTH: Trip was arranged by a lobbyist. Is that too literal? SWEETS: A lobbyist? Oh, that's a total pretender to the throne. (laughs) This is how we roll. Right guys? BOOTH: Bones, you got time to talk to a lobbyist? (Cut to: FBI - Booth's office. Brennan and Booth are speaking with Ray Porter, a lobbyist) RAY PORTER: You think my life is in danger because I went to Turkey? BOOTH: Two of the men you travelled with are d*ad. BRENNAN: Their faces were eaten off. RAY PORTER: This is Washington D.C. People have their faces eaten off all the time. BOOTH: Mr. Porter, are you a member of any fraternal order? BRENNAN: We know you're a member of the Knights of Columbus. BOOTH: Says so right here in your resume. BRENNAN: We know you went to Turkey with the Knights, to visit the mythical site of the Garden of Eden. RAY PORTER: And you think there's a cannibal out there, who has something against a group of civic minded men who do good works in their community? BOOTH: Look. The guy we're after? He thinks that the Knights of Columbus is an evil secret society. RAY PORTER: That's crazy. BOOTH: You know, I think it's finally catching on. BRENNAN: Your life is in danger. RAY PORTER: Why me? I mean, there were forty guys on that trip. BOOTH: How old were you when your father died? RAY PORTER: Six. What has that to do with anything. BRENNAN: You lost your father and you're a corrupter. RAY PORTER: Okay. You want to talk to me? You do it through my lawyer. BOOTH: Alright, listen. Mr. Porter, we're just trying to help here. RAY PORTER: The FBI is investigating influence peddling. I am one of your targets. Somebody eating off the faces of the Knights of Columbus? How stupid do you think I am? BRENNAN: Right now? Very, very, Stupid. (Porter walks out) BOOTH: Okay. Bones, you didn't have to call him corrupt. BRENNAN: Why? BOOTH: Why? Because obviously he is. (Agent Charlie knocks on Booths office door.) AGENT CHARLIE: Agent Booth? BOOTH: Yeah? AGENT CHARLIE: There's someone here to see you. (Russ appears in the doorway as Brennan stands up) RUSS: Where's Hayley? BRENNAN: Russ? You came to the FBI.. RUSS: Yeah, that was the deal. BOOTH: Wow, this just keeps getting better. Alright. Russ Brennan you're under arrest. Come on, you know the drill. RUSS: You lied? BOOTH: Keep your hands down. RUSS: You told Dad Booth wouldn't arrest me. BRENNAN: No! I never said that. RUSS: I should have known better than to trust anyone in this family. BRENNAN: Russ, I swear. RUSS: I wanna see my stepdaughter. (Cut to: Hospital. Hayley's Room. Hayley's sleeping in her hospital bed when Booth, Brennan and Russ arrive.) RUSS: Hi honey. (Booth takes off Russ's handcuffs) HAYLEY: Russ, I knew you'd come (coughs) (Russ goes over to Amy and hugs her) AMY: Here, Come here. Look who's here. RUSS: You making funny faces? HAYLEY: Uh-huh. RUSS: Huh. (He leans over and gives Hayley a hug) HAYLEY: Thank you for coming, Russ. (Brennan and Booth stand in the doorway, watching Russ, Amy & Hayley) BRENNAN: Thank you, Booth. BOOTH: Oh, this never happened. Don't thank me. As far as the bureau is concerned I caught him here, fifteen minutes from now. (Brennan leans up and kisses Booths cheek.) BRENNAN: Thank you. Booth. BOOTH: Just don't tell anyone. (Cut to: Prison - Visiting Room) BRENNAN: You told Russ I said Booth wouldn't arrest him. MAX: Look, I couldn't turn him over to you. That'd just put you in a quandary with Booth. I did it this way for you. BRENNAN: Dad! MAX: What? Booth busted him? That hard ass. (Brennan's phone rings and she picks it up.) BRENNAN: Brennan. ZACK: (On phone) Dr. Brennan, it's me Zack. I found something in the Gormogon vault I think you should see. MAX: What are you being such a hard ass on my kid for, Booth? ZACK: (on phone) Who's that? BRENNAN: (on phone) Nobody. (lowers her phone, then to Max.) It's not Booth. You know, it's - it's bad enough that nobody can't trust you, but now you're making it so Russ and I can't trust each other either. MAX: He came back. He hugged his little girl, okay? So far things are working out great. (Brennan turns to leave) I'm here for you and a lot of dads aren't. (Brennan stops and walks back to her father) BRENNAN: That's true, Dad. (She leans over and kisses him on the cheek and grabs onto his hand as she turns to leave again) (Cut to: Medico Legal Lab. Brennan and Booth walking down the stairs that lead to the basement of the Jeffersonian in the dark.) BRENNAN: What's going on, Zack? BOOTH: Why don't you turn the lights on? ZACK: I was down here helping Angela decode when I noticed the mirrors. BOOTH: What mirrors? (Zack hands them both a pair of night vision glasses) ZACK: Put these on so you can see where you're going. BOOTH: This better be good. ZACK: I'm surprised no one noticed the mirrors before. They're everywhere. Different kinds, different sizes. Placed seemingly at random around the vault. But, I have an over developed sense of spacial reasoning. As a result, things that appear random to some people appear deliberate to me. BOOTH: Zack! Just get on with it. ZACK: Watch this. (He flicks a switch and a laser light zigzags around the room.) BOOTH: Whoa. ZACK: Want to see where it ends? BOOTH & BRENNAN: (in unison) Yes. BOOTH: (bumping into a desk) Ow! (Brennan, Booth and Zack walk to a sculpture. The origin of the laser beam seems to be coming from the eye of it.) ZACK: From that spot you'd be able to see every corner of the vault. BOOTH: Shhh! BRENNAN: (whispering) I don't get it. What does it mean? BOOTH: (whispering) Gormogon. He's been watching us this whole time. (Zack nods.) ACT III (Cut to: Brennan sitting behind a computer in the basement of the Jeffersonian. Booth runs down the stairs.) BOOTH: Bones. Tech guys, they did a sensor sweep? That eye's broadcasting a signal - both audio and video. It's white light activated so it probably wasn't triggered by Zack's laser. BRENNAN: What do we do? BOOTH: Exactly what Sweets said. Use it against Gormogon. BRENNAN: How? BOOTH: Haven't got a clue. BRENNAN: What.. If we fooled him into thinking that we're transferring the sculpture, he might try to grab it. BOOTH: Nah. BRENNAN: No! If he wants it as much as Sweets says, than he'll try to steal it. BOOTH: No... BRENNAN: Why not? BOOTH: Because I didn't think of it. Look it's a great idea, but if you're going to sell it you're gonna have to put Father Cooper's kneecaps in the silver skeleton. (A while later. Brennan and Booth are still in the basement. Brennan is putting the kneecaps in the silver skeleton - obviously over acting, hoping that Gormogon is watching them.) BRENNAN: I do this under extreme protest. BOOTH: The truck will be here any minute. BRENNAN: Who knows about this? BOOTH: Just you and me, Bones. Not even the driver knows what we're transporting. BRENNAN: The MRI at Bethesda will tell us if Gormogon hid anything within the bones. BOOTH: Like what? BRENNAN: (a bit louder) I don't know, That's why we need the MRI at Bethesda. BOOTH: Shhhhh... BRENNAN: (whispering) What? BOOTH: (whispering) Don't have to scream, I'm right here. BRENNAN: Riiiight. Okay. BOOTH: Are you done? We're kinda on a schedule. BRENNAN: (loudly again) Yes. I'm done. Now we can load it onto a truck and take it to Bethesda. (Cut to: DC Streets. Booth and Brennan, are in a yellow cab. Booth's driving behind the truck that transports the Sculpture. Brennan is sitting up front. BOOTH: (into walkie talkie) Alright, everybody keeps their distance. I don't want to spook this guy. BRENNAN: I have a question. BOOTH: No, You can't drive. We're undercover and I'm the taxi driver. BRENNAN: Passengers don't sit in the front seat. BOOTH: You're not a passenger, okay? You're a trainee. And I'm training you how to drive a taxi cab. (A motor cycle drives up next to the taxi and the driver takes a look at Booth and Brennan before speeding off ahead of them) BOOTH: (into walkie talkie) Okay, all units be advised. I got a motor cycle with no plates. (The motor cycle is following the truck. They go behind the corner. The person on the motor cycle drops a backpack on the ground. Brennan and Booth come behind the corner. Brennan and Booth see the backpack lying on the street.) BRENNAN: Whoa. BOOTH: Easy. (They almost h*t the backpack, Booth h*t the brakes of the cab.) BOOTH (shouting at brennan): Get down! BRENNAN: What - Why? (Booth goes to drive the car behind the backpack but he's too late and the backpack explodes fliping the taxi cab over a few times - Booth and Brennan are still in the car. They're both bleeding and have injuries and neither moves for a few seconds. Then Booth comes to, but Brennan still isn't moving.) BOOTH: Bones. Bones? (Booth tries to open his door but it doesn't work. He stretches his leg over Brennan, trying to kick her door open. When he realizes that that isn't going to work either he decides to go out the car window) BOOTH: Don't move. (He climbs out the window and falls to the ground. He quickly gets up and makes his way over to Brennan's side of the car - trying to pull her out of the window) BOOTH: Okay. Put your arm underneath my shoulder. Come on, you ready? (Brennan makes a noise) BOOTH: On 3. 1, 2, 3. Move. (He holds on to her as he pulls her out) BRENNAN: I'm fine, I'm fine. I'm okay, I'm okay. (He moves her away from the car and places her on the pavement as he flops down next to her.) BOOTH: Here. Get over here. The paramedics are on their way. BRENNAN: Now he knew who we were because I was sitting up front. BOOTH: No. It was because you were bad acting, that's what it was. BRENNAN: What? Back at the vau-? I was good. BOOTH: No, you were loud! That's what they call overacting. BRENNAN: Well, you shouldn't have shushed me! That's how he knew- BOOTH: (to an Agent) Who's got the motor cycle? FBI AGENT: Nobody. We lost the follow car. BOOTH: Dammit. Wait, what about the truck? FBI AGENT: It's fine BOOTH: Wait a second. He knew the truck was a decoy. He wasn't trying to get the skeleton back. He was trying to k*ll us. BRENNAN: Booth. BOOTH: What? (Brennan shows him the wound on her arm. Something is in it.) BOOTH: Oh. Alright, easy. I got it. (Booth pulls it out and looks at it) BOOTH: What is that? BRENNAN: (takes it from Booth) It's a human tooth. He put human teeth in his b*mb for shrapnel. BOOTH: Bones. He was trying to k*ll us because - we know his next target. The corrupter. That lobbyist. (Booth runs off, leaving Brennan behind) BRENNAN: Hey. Wait I want to come! BOOTH: Stay right there! (Brennan stops running, as a f*re truck approaches. The paramedics run over a few seconds later.) PARAMEDIC: You're going to be okay ma'am. BRENNAN: I'm fine. I'm fine. Flesh wound. (Cut to: Ray Porter's House. Booth kicks down the door and finds Ray in his underwear and tied and gagged in the same position as the "Widow's Son". He runs up the stairs to untie him) BOOTH: You believe me now? RAY PORTER: He ran downstairs, he got a Kn*fe. He had a Kn*fe. (Booth sees the guy from the motorcycle running towards the door on the lower level of the house. He points his g*n, but the guy has already fled out the door. Booth runs downstairs and hops the fence, chasing him. The guy starts to throw thing his wake, to prevent Booth from catching him. The wind up in someone else's backyard, where the motorcycle rider grabs a young boy.) BOY: Mom! BOOTH: Hey, it's over. Drop him. BOY: No! No! Put me down. BOOTH: Put the kid down. Put him down! (Gormogon, who's still holding the child, jumps into the swimming pool. Booth hesitates. But jumps into the water. He saves the kid but Gormogon escapes. Booth swims to the top. Gormogon runs away. The kid is coughing, and crying as Booth hold on to him.) BOOTH: It's okay. It's alright. It's alright. It's over, okay? Okay, alright buddy. Okay. ACT VI (Cut to: Medico Legal Lab - Forensics Platform. Hodgins and Sweets are talking.) HODGINS: The Gormogons started out as good guys, you know. In the sixteen hundreds, the malignant manipulations of secret societies like - The Illuminati, The Carbonari, The Masons, The Tau - were starting to be felt. The Gormogons championed the ideal of that humanity should be free of these pernicious influences. Good guys. SWEETS: So you feel sympathy for Gormogon? HODGINS: There are secret societies working today. It's naive to think otherwise. You think I'm paranoid. SWEETS: Yeah. The question is, how paranoid? HODGINS: Zack says there are over thirty victims represented by the skeleton created by Gormogon and his master who has got to be in his eighties. And we know that there are 7 in the one created by Gormogon and (points to the picture of the motor man) his d*ad apprentice, including the violinist and the priest. Now my point of view? He's going after the Knights of Columbus. Gormogon is nuts. Dr. Sweets? SWEETS: d*ad apprentice. Gormogon needs a new apprentice. He may have already found one. We're looking for a kid in his teens. (Cut to: Prison. Visitors Room. Brennan enters and is all cut up from the expl*si*n.) RUSS: Tempe, what happened to you? BRENNAN: I got blown up. Russ I never told dad that you should turn yourself in to Booth. RUSS: If I'd come to you, you would have told Booth anyway. What do you mean, Blown up. BRENNAN: It's a case, Russ. It's my job. We're trying to put a bad guy away RUSS: You mean in here? With other bad guys like me? And dad? BRENNAN: There are levels of "bad guy" Russ, and you're not even on the first level. RUSS: Why do I feel like you just called me a sissy? BRENNAN: I wanted you to hear it from me Russ. Dad lied. I never told him it was safe to come back. RUSS: I had to come back, Tempe. BRENNAN: For Hayley. RUSS: Yes. But they are gonna put me away after my parole hearing. BRENNAN: It's not just that you violated parole! They think you know something about Dad's m*rder case. RUSS: I don't. Nobody believes anybody in this family. What, becau- Maybe I'm just like him, right? A liar, not worthy of trust. BRENNAN: No- Don't say that. RUSS: I am just like him. I am. I had a family. I left them. BRENNAN: You haven't k*lled anyone. RUSS: Is that - That's the most reassuring you can be? Hey Russ. Congratulations on never k*lling anyone. BRENNAN: Being reassuring has never been my strong suit. RUSS: Levels of "bad" right? And I'm a sissy? BRENNAN: It's a good thing, Russ. RUSS: Thanks for helping, Hayley. I love that little girl like she was my own. You believe that don't you? BRENNAN: Yeah, Russ. I believe that. (Cut to: FBI - Conference Room. Brennan is talking to Caroline Julian) CAROLINE: Normal person gets blown to hell? They go home, pour a glass of wine, watch tv! BRENNAN: Caroline, I think it should be worth something that Russ turned himself in. CAROLINE: Bumpin' into Booth at the hospital is not the same as turning himself in. BRENNAN: That's not what happened. CAROLINE: It's what Booth says happened. BRENNAN: No. Russ turned himself in but I convinced Booth to let him go see Hayley at the hospital. CAROLINE: I did not hear that. BRENNAN: (louder) Russ turned himself in, but I convinced Booth to let him go see Hayley at the hospital! CAROLINE: Do I have this straight? You're a genius? An honest to goodness, dyed in the wool genius? BRENNAN: Yes? CAROLINE: Dr. Brennan. I like you - on and off - but your brother is a material witness in my m*rder case. I cannot recommend that he be set free. BRENNAN: Please? CAROLINE: Aww, well. Now that you said please... BRENNAN: Are you being sarcastic? CAROLINE: YES. BRENNAN: Oh. CAROLINE: Best I can do is arrange for you to speak at your Brother's parole hearing. Looking the way you do, maybe the judge will feel sorry and let him go. (Cut to: Medico Legal Lab - Zack's office.) ZACK: These are the marks left by Gormogons teeth. I reverse engineered a dental set. So, this is what the front plate of Gormogon's teeth look like. Top and bottom from incisor to incisor. BRENNAN: Okay. ZACK: (points to a different screen) These are the teeth from the b*mb. (Zack moves the one set on top of the other set.) BRENNAN: It's a match. It was Gormogons tooth lodged in my shoulder. ZACK: The tooth found in your shoulder, was chipped. In fact all of the teeth we found, almost a full set, were chipped. BRENNAN: Due to the expl*si*n? ZACK: No. These marks here? Were made by common hardware store pliers. BRENNAN: He pulled out his own teeth? ZACK: I don't know. Certainly they were removed with pliers. BRENNAN: That's what happened, Zack. Gormogon pulled out all his teeth - one by one with pliers - and put them in a b*mb. Booth was right. He meant to k*ll us. (Cut to: Medico Legal Lab - Forensics Platform.) ZACK: I was photographing the skeleton in preparation for taking it apart, when I noticed this on a rib (He pulls up a screen showing a bone with a number on it) CAM: 1026? What is it? ZACK: It's a number. ANGELA: No, Zack. Cam meant, "What does it mean." CAM: Is it code. ZACK: It could be a ordinal index automata. I could start a solution but it would extend into infinity. ANGELA: And how long would that take? ZACK: Forever. Obviously. CAM: How's about that alphanumeric business? ANGELA: Uh...JBF. ZACK: Meaningless. ANGELA: No. wait a minute. I got it. CAM: What? ANGELA: He's an artist. He's finished something and It's terrible, but to him this is a piece of art. It's a signature. ZACK: 1026 is a number, not a name. ANGELA: No, I'm telling you. This is a signature. CAM: The vault is like a museum of the Gormogons right? ANGELA: An archive. CAM: Than why don't we just look in safe deposit box 1026? ANGELA: 'Cause they're all rigged to blow up when you open them. ZACK: Oh, I solved that one. In my head. While having my Cup-a-Soup. CAM: Wow. (Cut to: Jeffersonian basement - outside safety deposit boxes in the vault.) ZACK: What I'm doing is smothering the phosphorus with argon. Thus, giving Booth time to reach him with tongs to remove whatever is inside the box before it ignites. BOOTH: Why me. BRENNAN: Obviously, because you have the fastest reflexes. BOOTH: Fine. You can pull the tray. BRENNAN: Fine. CAM: Exactly how far back should I be standing. ZACK: Ready? Door. Tray. Lid. Tongs. (They get a key and the box explodes.) BOOTH: Whoa. ZACK: Did Booth get it? BRENNAN: Yes, Zack. Can't you see? ZACK: Not for another three to five minutes. BRENNAN: It's a key with a bar code on it. (Cut to: FBI - Booth's office. Brennan and Booth are talking to a social worker, Joyce Hewitt) JOYCE: You called me to the FBI because you found a key to my office? BRENNAN: We accessed the information contained in the bar code. BOOTH: It came up as the key to your office in the Social Service's building. JOYCE: That's not the key to my office. BRENNAN: Room 1026. Municipal Department of Social Services. JOYCE: Nobody's used a key like that since the seventies. It was before my time. BOOTH: Wait a second. Has that office always belonged to social services? JOYCE: Yes. Back then, it was dealing with foster care and group homes. BRENNAN: Booth, Sweets was right. That'd be a great place to recruit disturbed boys. JOYCE: Recruit for what? Uhm... It's just that that man that was in that office is a bit of a legend. He helped a lot of kids find their way. BOOTH: What was his name? JOYCE: Arthur Graves. He's retired now. BRENNAN: He wouldn't happen to live in a nursing home that used to be a mansion, would he? (Cut to: Restview Nursing Home. Booth and Brennan are there to question Arthur Graves. They're led in by a nursing home attendant, Mark Naylor) MARK: Mr. Graves has been here for five years. In a wheelchair for the last four. Sweet guy. A little particular about what he eats. BOOTH: You have no idea. MARK: Beg you pardon? BRENNAN: Oh, What's wrong with Mr. Graves? MARK: Alzheimer's. The last few months it's gotten pretty bad. BOOTH: Is he lucid? MARK: He comes and goes. Hey, Arthur. Some nice people are here to see you. BOOTH: Hey. Mr. Graves. FBI special agent Seeley Booth. Listen, we got a court order here. To get a dental imprint from you. BRENNAN: Mr. Graves, I'm not going to hurt you. I just need you to bite down on this for me. (As Brennan gets close to him, he turns and hisses at her. Brennan is rattled and backs up towards Booth.) MARK: Oh, hey. Hey. Sorry, he's not like that usually. I think you may have frightened him. BOOTH: How did he loose his teeth? MARK: They'd all been pulled when he got here. BOOTH: Does he have any regular visitors? MARK: There used to be a man. He drove a motorcycle. I believe he may have been a nephew. BRENNAN: (to Graves) We know who you are. We know what you did. (She moves quickly towards him only to be pulled back by Booth) BOOTH: Alright Bones. It's okay. Lets go. Check out his case file, see what kind of kids he could have recruited. Come on. Let's go. (Arthur smiles as they are led away) (Cut to: Courthouse. Booth and Brennan arrive. Amy is already there.) BOOTH: Okay. While I'm here I'm gonna get a court order to monitor Arthur Graves visitors. Okay. Just in case Gorgonzola decides to come back and visit his old master. BRENNAN: You're doing that Gorgonzola thing on purpose aren't you? AMY: Hi, Temperance. BRENNAN: Hi. AMY: If that's who I think it is, I can't really be friendly. BOOTH: I understand. I'll just wait over here. AMY: Here. (she reaches in her bag and hands Brennan a paper.) Uh, that's for you. (She opens it and it's a drawing of a family. It says "Thank you Auntie Temperance.") Hayley's feeling better. She even wanted to come. BRENNAN: Please tell her thank you. COURT OFFICER: Agent Booth? BOOTH: Yeah. COURT OFFICER: The judge will see you now. BOOTH: Great. COURT OFFICER: In chambers. BOOTH: Why in Chambers? (Booth and Brennan follow after the court officer.) Cut to: Judge Watkins Office. Brennan, Booth, Russ, Amy, Caroline, Judge and Russ's parole officer, Erica Davis are all inside.) CAROLINE: Judge Watkins, Russ Brennan has already proven himself a flight risk. ERICA DAVIS: He's attached to his family. JUDGE WATKINS: The same family he abandoned? RUSS: Temporarily. ERICA DAVIS: When his little girl needed him, he returned without any regard to himself. CAROLINE: You're his Parole officer. We're all here because you're the one who violated him. ERICA DAVIS: Only because it's the law, Ms. Julian. I have a lot of Faith in Russ Brennan. CAROLINE: Judge Watkins, Russ Brennan not only broke his parole by fleeing the region. He is a material witness in an upcoming m*rder trial. ERICA DAVIS: That is a totally different issue that has nothing to do with this hearing. JUDGE WATKINS: This isn't a hearing. It's an informal meeting to decide whether there will be a hearing. BRENNAN: Can I say something? CAROLINE: That is a slippery slope, Judge Watkins. RUSS: Can I? JUDGE WATKINS: No. BRENNAN: What? You said this was informal. JUDGE WATKINS: I'm still the judge and I get to make those decisions. Agent Booth, what are your thoughts? BOOTH: I got nothing to say, Judge. BRENNAN: Booth, please! Judge: I got a phone call from the Archbishop of D.C. 15 minutes ago. He promises to take a personal interest in Mr. Brennan's rehabilitation. CAROLINE: For God's sake. Why? JUDGE WATKINS: Also a psychiatrist, Dr. Lance Sweets, who says he believes Mr. Brennan will not flee the jurisdiction again. Plus, a parole officer who's recommending against revoking parole. Why should I ignore all that? CAROLINE: Because Ms. Davis will simply send Russ Brennan home. ERICA DAVIS: That is not my intention. RUSS: It's not? ERICA DAVIS: Mr. Brennan should be punished. CAROLINE: Punished how? ERICA DAVIS: Thirty days in county jail. BRENNAN: What? CAROLINE: That's nothing. RUSS: Seems pretty harsh from where I sit. ERICA DAVIS: Also eighteen months should be added to his parole. And he should be forced to wear electronic monitoring. CAROLINE: That is slightly more than nothing...but only slightly. JUDGE WATKINS: I will register your opinion, Mrs. Julian. But that's my ruling. If I had a gavel, I'd bang it, but how about the last one out just slams the door? (As they all walk out of the office, Caroline slaps Booth's arm.) BOOTH: Ouch! CAROLINE: I want you to consider what side you're on. Bishops and Psychiatrists and bleeding heart parole officers. That's what's wrong with the justice system in this country. (Russ sees Amy and gives her a kiss on the cheek and a hug.) BOOTH: Russ, you gotta go with the Marshals. BRENNAN: (to Booth) Thank you again. BOOTH: I didn't do anything, again. BRENNAN: (to Amy) You should thank him too. AMY: Why? BRENNAN: He saved Russ. BOOTH: I didn't do anything - (Amy runs up and hugs Booth) BOOTH: Okay. Uh...Russ..uh..time to go. (Amy grabs onto Russ's hand one last time before Booth leads him down the hall to the awaiting Marshals.) BOOTH: Okay here's the thing, Russ. Alright? You run again? You disappoint that woman and her kids and you break your sister's heart, I will- RUSS: Do something, terrible. I got it. BOOTH: Yeah, I hope you do. (to the marshals) All yours boys. RUSS: Hey Booth. Thanks. BOOTH: Yeah. Clean nose, buddy. Clean nose, clean heart. (Russ is lead away) (Cut to: Brennan reading a story to Hayley at the hospital.) BRENNAN: (reading to Hayley) "Why was I forgotten?" Mary said, stamping her foot. "Why does nobody come?" "The young man, whose name was Barney, looked at her very sadly. Mary even thought she saw him wink his eyes as if to wink tears away." (She looks down at Hayley and smiles.) (Cut to: Russ and Max being reunited in jail, they hug.) (Cut to: Angela examining a book in the vault and Hodgins come up behind her and places his hands on her shoulders.) (Cut to: Zack studying the completed skeleton sculpture as Cam watches - looking worried and unsettled.) (Cut to: Booth at the sh**ting range. He also looks unsettled. On the target, he's h*t the heart - every sh*t.) (Cut to: Ray Porter is entering one of his rooms, looking through mail. He places the mail down and takes off his coat. He opens the door to hang it up in the closet when suddenly a teenage boy, about 15 years old, jumps out at him with a dagger - screen goes black.) -END-

{"type": "series", "show": "Bones", "episode": "03x08 - The Knight on the Grid"}

foreverdreaming

"The Santa in the Slush" Episode 3x10 Written By: Elizabeth Benjamin & Scott Williams Directed by: Jeff Woolnough Transcribed by: tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Two mall elves are walking out - behind the mall - to take a break.) LITTLE ELF: Oh, god. I can't deal with any more kids poking at me. TEENAGE ELF: Ha. At least you got the kids, I get their dads. Letches all want me to sit on their laps. LITTLE ELF: I don't much care for the way Santa's gawking at you either. (the teenage elf lights up a cigarette) Don't do that . You're too pretty to smoke. TEENAGE ELF: Next you're gonna tell me it'll stunt my growth. LITTLE ELF: Be nice, now. It's Christmas. (The teenage elf notices a smell in the air) TEENAGE ELF: What's that smell? LITTLE ELF: What do ya want? It's the back of the mall. TEENAGE ELF: I have a very sensitive nose. LITTLE ELF: Don't walk - why are you walking? Let's just sit. TEENAGE ELF: It's coming from over here. (the both head towards towards the source of the smell) There's something... LITTLE ELF: Probably old hot dogs or a d*ad cat. (The teenage elf leans over to pick up a plastic bag off the grate) No, no no. Don't touch. Let me. (She grabs a stick and pokes the bag with it - moving if off the grate. They both look down the grate and see a dad body - dressed in a Santa outfit - the two scream and run back into the mall.) (Cut to: Prison - Visitors room - early evening. Brennan is visiting her dad in jail) MAX: Jails not too bad. I get meals with your brother. We go out on these work details together. You haven't asked me why I'm strapped in these chains. BRENNAN: Well, you're in jail. MAX: No. I'm in dress rehearsal for A Christmas Carol. BRENNAN: You're Jacob Marley? MAX: I wanted to be Scrooge, but some triple homicide in cell block H got the part. You don't want to know how. (Brennan laughs.) What are you gonna do for Christmas? BRENNAN: I'm doing what I always do. I'm going on a trip. MAX: New York? BRENNAN: Peru. National Geographic found a new step pyramid, an ancient ceremonial site known as El Bruho. 1500 year old skeletons. Part of a very mysterious culture called The Moche. MAX: Well, unless they're elves, that's not very Christmassy. BRENNAN: No. They aren't elves. MAX: You know what I'd like? I'd like to spend another Christmas with - with kids. With a family, with a tree. BRENNAN: You're in jail, dad. So is Russ. Mom's d*ad. MAX: Yeah. Yeah. And - and Christmas is overrated anyway. People expect it to be so perfect, it never is. BRENNAN: I'm really looking forward to the skeletons in El Bruho. MAX: Yeah, but Christmas and skeletons - do not go together. BRENNAN: I remember the Christmas you and mom gave me the toolbox. That was great. MAX: Yeah. Except that the, uh, toolbox was for Russ but you decided that it was yours and he let you have it. BRENNAN: He did? Oh. (they laugh and then Brennan's phone rings and she checks the text message) MAX: I hope someday that, uh, we can all have Christmas together again. BRENNAN: I doubt it, Dad. MAX: Well, lie to me! I - I can pretend. BRENNNA: I've gotta go look at a d*ad person. MAX: Well, you never were good at sugar coating anything. (She gets up and leaves) (Cut to: Booth's car - night.) BOOTH: You got that sad little girl look on your face after you've been with your dad. BRENNAN: (whiny) No I don't....(Booth gives her a knowing look.) He wishes we could spend Christmas together with Russ. BOOTH: Well, do it. BRENNAN: They're both in jail. It's impossible. What are your plans? BOOTH: I'm thinking about driving the truck right off the bridge. Oh, I'm being melodramatic and self pitying. BRENNAN: You love Christmas. BOOTH: I love it - you know - when I have Parker. But this year he's going skiing in Vermont with Rebecca and Captain Fantastic. BRENNAN: Who's Captain Fantastic? BOOTH: Ah, it's her boyfriend. Commands a Coastguard cutter. BRENNAN: His last name isn't literally "Fantastic", is it? BOOTH: Might as well be. You know they have a trailer at the jail, mostly for conjugal visits. BRENNAN: Captain Fantastic is in jail? BOOTH: No. You're dad. You can give him what he wants for Christmas. Pull a few strings. BRENNAN: I'm not a string puller. BOOTH: I've seen you pull some strings. BRENNAN: My father is a m*rder and a thief. BOOTH: Well, m*rder and thief's, they get Christmas too. In fact, it's kinda the point. BRENNAN: Well, I have other plans. BOOTH: Well, whatever they are, skeletons and Christmas do not mix. BRENNAN: That's exactly what my father said. Where are we going? BOOTH: Early Christmas present for you, Bones. d*ad guy in a sewer. (Cut to: Back of a mall - outside. Booth and Brennan approach the crime scene.) BOOTH: It's cold enough as it is, let's get this done here. (Cam shines a flash light on the victim) Great. Had to be Santa. CAM: You'd think someone who could squeeze up and down chimneys would find the sewer a snap. BRENNAN: Rats got to him. CAM: The huge bacterial count and unseasonably warm weather, explains why the rats found him so digestible. BOOTH: He was washed down through the sewer system. I mean, look at all the stuff that's around him. BRENNAN: Uphill is - that way. CAM: Busiest shopping district during the busiest shopping season. BRENNAN: Maybe he worked up there. BOOTH: Or he was pushed out of a low flying sleigh... CAM: Cynicism from you at Christmas? What happened. BOOTH: Nothing. BRENNAN: Rebecca's taking Parker to Vermont for the holidays. CAM: That sucks, majorly. BOOTH: It does suck majorly, so what do you say we just get back to our d*ad Santa here. BRENNAN: It's not Santa, Booth. He's a d*ad man in a costume. CAM: Well, the beard looks real and he's pretty fat. BRENNAN: Which doesn't make him Santa. CAM: Well, let's not jump to conclusions. BOOTH: Aw, three days before Christmas and somebody kills Santa. ACT I (Cut to: Medico Legal Lab - Forensics Platform. Cam & Zack are examining the body) CAM: We'll send his gloves to the FBI Crime Lab, see if they can get any finger prints from the inside. ZACK: Damage here on the left side of the skull, suggests a strong blow to the left temporal bone. CAM: So Santa was definitely m*rder. Someone did not like their present. HODGINS: There's copious insect activity from the sewer. ZACK: I'm intrigued that the Santa myth survived so far into modern times. CAM: Children, Dr. Addy. It's for children. HODGINS: These duds, are not department store issue. That is real ermine. That's a hand tailored suit. CAM: Which I'd like to get off of him after you two finish your scraping and - not that that isn't all very, very important. ZACK: What Santa is suppose to do is clearly impossible. HODGINS: He keeps a list. Checks it twice. What's the big deal? ZACK: You take into account all believers of the myth, factor in time zone, rotation of the earth and assume Santa travels East to West, he would have to approximately make 822.6 visits per second to reach every child. HODGINS: So Santa parks his sleigh, unloads presents, fills stockings, eats snacks, gets back into his sleigh and onto the next house in about 1/1000th of a second? ZACK: Children have to be stupid to accept that. CAM: Okay, first of all - children are not stupid, they're just children. Second, Santa - is magic. Let's identify the victim, shall we? ZACK: There's an ellipsoid aperture in the mandibular left canine and first premolar. Consistent with pipe smoking. (Hodgins pulls up a picture of Santa Claus on the monitor) HODGINS: Mhmm? Plus traces of residue on the canine - could this be clay? ZACK: Santa is often portrayed smoking a clay pipe. CAM: Alright, alright. Very funny, boys. HODGINS: Come on. Where's your holiday spirit? (He shakes some jingle bells at Cam) CAM: Based on the degree of bloating and purged fluids, I'd estimate time of death between 72 and 96 hours ago. Check the sewer sledge and bugs, give me confirmation. HODGINS: Phorid fly maggots, third instar and the appear to have been well fed as well. Santa was around some other food source before he died. My bets on milk and cookies. CAM: This is not "Miracle on 34th Street". ZACK: We're not saying this is actually Santa Claus. We're merely anatomizing the evidence. (Angela enters) ANGELA: Okay, it's still rough, but - (she turns over her sketch and smiles. It's a sketch of Santa Claus.) this might help. (Cut to: Prison - Visitors room - early evening. Brennan is visiting Russ.) BRENNAN: Dad wants to spend Christmas with family. RUSS: So how you gonna arrange it? Bust me and dad out? BRENNAN: There are trailers for conjugal visits - you might be able to use one of those. And I talked to Amy and she said she could bring the girls down to see you. (Russ leans back, upset) RUSS: You shouldn't have done that. BRENNAN: Amy said the girls have been asking about you... RUSS: I lied to them, Tempe. The girls don't even know I'm in here. They think I went overseas to work. BRENNAN: You're deserting them, just like dad. RUSS: You think it would be better for them to find out that the guy they think is so wonderful, is actually a criminal? BRENNAN: When I found out that dad was not d*ad I was happy, even though it turned out that he was - RUSS: A m*rder. BRENNAN: You are not a m*rder, Russ. RUSS: It doesn't sound like a good Christmas present to me. BRENNAN: You could explain it- RUSS: No, Tempe. It's not gonna happen. (Cut to: Medico Legal Lab - Brennan enters her office to find Booth, asleep on the couch.) BRENNAN: Can't you sleep on your own couch? BOOTH: (still half asleep) Sheesh. Just waiting for the squints to find out something. (he sits up a bit) How did it go with Russ? BRENNAN: He says he doesn't want the girls to come. BOOTH: Your dad, he wants the whole Christmas package. You know - the tree, the kids, the presents - the whole shebang. BRENNAN: Well, the whole shebang isn't possible. BOOTH: Christmas - is about making the impossible happen. BRENNAN: You mean like you spending Christmas with Parker. BOOTH: Okay, you know what? That hurt. Wake me up when the, uh, squint squad finds out something. (He turns back over on his side and goes back to sleep) (Cut to: Medico Legal Lab - Forensics Platform.) ZACK: Victim appears to have odd shaped remodeling on his sacrum with a sclerotic margin around the injury. HODGINS: Some kind of old injury? ZACK: Two small indentations, here (he points to the screen) consistent with trauma from impact with some sort of cloven hoof. HODGINS: Cloven like...a reindeer? (Angela approaches them from behind) HODGINS: Oh, thank god your here. This is so wasted on me alone. ZACK: Evidence is evidence, whether anyone is there to hear it or not. HODGINS: (to Angela) Our victim - was kick by a reindeer. ANGELA: Oh. Get the HELL outta here. ZACK: (points to the screen again) The sacrum. ANGELA: Wait. The evidence actually adds up to an old, fat man with a white beard, in a custom made Santa suit who smoked a clay pipe and got kicked in the ass by a reindeer? (They all turn to look at the body covered by a sheet as Cam enters the platform) CAM: FBI lab got partial prints off the gloves and AFIS found a possible match. Apparently, our victim worked for the school board. HODGINS: He was a teacher? CAM: No. He was a Santa Claus. ANGELA: A - Santa Claus? HODGINS: Or THE Santa Claus? (Cams hands the folder over to Zack.) CAM: Check out his name. ZACK: Kristopher Kringle. CAM: According to AFIS, it's his legal name. (Cut to: Booth and Brennan crossing a street - day.) BRENNAN: Well, there's the old Dutch Cinter Claus. BOOTH: (he grabs Brennan's arm) Watch out. BRENNAN: I'm looking! BOOTH: You're gonna get h*t by a car. BRENNAN: He had a partner, named Black Peter, who carried a whip to b*at naughty children. Myths are traditionally used to control behavior. For instance, the story of Moses bringing the Ten Commandments- BOOTH: Wait, you're equating Moses to Santa. BRENNAN: Well, Santa's usually considered more jolly, but basically- BOOTH: Okay, great. We're looking for 223 Hudson. BRENNAN: I'm sorry you can't be with Parker, Booth. BOOTH: What are ya gonna do, right? He's gotta face the facts sometime- BRENNAN: No, but she shouldn't take him away. Not at Christmas. Not the way he feels about you. BOOTH: Oh. My. God. BRENNAN: What? (The find the address they were looking for - it's a toy store names Big Top Toy Shoppe) BOOTH: He lives in a toy store! BRENNAN: Oh! (Booth starts laughing as they enter.) (Cut to: Kristopher Kringle's apartment. Booth and Brennan enter the dark apartment.) BRENNAN: Watch out for reindeer... BOOTH: Yeah, really funny. (Booth flips on the light switch and the room comes alive. It's practically a Christmas Wonderland. "Holly Jolly Christmas" starts playing, the room is painted red and there are Christmas lights all over. There is also huge train track that encompasses almost the entire room. Booth and Brennan just look at the room, amazed.) BOOTH: Wow, Parker would love this place. (Booth goes to check out the train) Look at this! Gingerbread, it's go the train. (Meanwhile, Brennan goes to check out the refrigerator and finds it stocked with milk, carrots and cookies.) BOOTH: (still by the train) Look at this! BRENNAN: Booth. BOOTH: Yeah? BRENNAN: (picks up a picture frame with a picture of "Santa" and a reindeer and shows Booth) This might explain the reindeer kick to Kringle's sacrum. (Booth goes off to look around some more and comes across a closet. He opens it to find it full of santa garb) BOOTH: Ha.You gotta be kidding me. Bones! Look at this. (he pulls out a pair of pajama bottoms with santa clauses on them) Wow! This guy was committed. BRENNAN: He should have been. (Booth whistles and closes the closet then starts rifling through the draws, which are also filled with santa garb. Brennan looks around the apartment at all the picture - which are Kringle dressed as Santa. Eventually, Booth comes across a false bottom in one of the drawers.) BOOTH: (knocks on it) Hey Bones? Check this out. Hidden compartment. (He opens it, only to find a draw full of cash - thousands of dollars.) Looks like Santa was planning on buying a lot of toys. ACT II (Cut to: Kristopher Kringle's apartment. More FBI Agents have arrived and are collecting evidence. Ralph Harley, the landlord, enters.) RALPH: Kris rented this place from me for six years. BRENNAN: Do you know where he lived before that? BOOTH: Well, actually Bones, that wasn't my first question. RALPH: He wrote his previous address on the lease. (Brennan takes the lease from him and looks at it.) BRENNAN: North Pole? BOOTH: Aw, come on with that. BRENNAN: See? It turned out to be a good question! BOOTH: You actually accepted that address? RALPH: Are you kidding? How many guys want to live above a toy store? It's noisy. And Kris gave me first and last months rent, upfront, in cash. BRENNAN: Kris Kringle. From the North Pole. Lives above a toy store - This is further evidence that our victim, is indeed, the mythic figure known as Santa Claus. BOOTH: Mythic. Coming from the Latin, "Myth", meaning "doesn't actually exist". BRENNAN: No. From the Greek, "Mythos", meaning "word" (At the same time) BOOTH: He does not- BRENNAN: This right here- (They both stop when they realize that Ralph is still there, amused at their bickering.) BOOTH: What can you tell us about Mr. Kringle's personal finances. RALPH: Like I said, he always paid cash. BRENNAN: Where did he work? RALPH: Uh, employment agency called "Temp Time". On 7th, by the Convention Center. BOOTH: Ha! Couldn't have been Santa! BRENNAN: Why? BOOTH: Because Santa wouldn't have worked at a temp agency! BRENNAN: Well, why not? His work is seasonal- BOOTH: Because he would - (Ralph just stares at them again and they stop bickering.) Kringle pay his rent on time? RALPH: Always, at least until the last couple of months. BOOTH: Really? Because, ya know what, obviously he wasn't short on funds with all the money we found in the secret compartment of his drawer. (He points out the wad of cash sticking out from the drawer to Ralph) RALPH: Son of a bitch! $1200 of that is mine. BRENNAN: All of this is rumpled small bills, except for these (she holds up a bag of $50's) eight $50 bills. BOOTH: Brand new with sequential serial numbers. RALPH: I don't know about any of this. BOOTH: Alright, look. Whoa, whoa. Did you, uh, guys have some kind of a disagreement? Is that why he was holding out on you? RALPH: No. No. No. Maybe, Kris gave me some ideas on a toy, which i patented and... BRENNAN: It sold? RALPH: Somebody took a picture of TomKat's kid with it so, it sorta took off. BOOTH: Wow. Kringle could have sued you for a chunk of that cash. RALPH: He never actually told me he wanted a cut. Maybe, he just stopped paying his rent. (Cut to: Booth's car - Day.) BRENNAN: Thinking of Parker? BOOTH: No. Thinking about your dad? BRENNAN: No. Russ. BOOTH: Well, you can't blame him for not wanting those girls to know the truth. BRENNAN: He's living a lie. You'd never do that. BOOTH: Well, not never. I mean, I - I lie to Parker - especially this time of year. BRENNAN: What about? BOOTH: Tell him that Santa's coming. BRENNAN: Really? BOOTH: It's Santa Claus! BRENNAN: Santa myth is based on blackmail- Be good or you won't get any presents. BOOTH: No. It's not a LIE lie, Bones. It's more like everybody agreeing that up to a certain age, kids deserve to live a different kind of truth. BRENNAN: Okay, by that reasoning, what we should do is figure out a lie Russ could tell the girls so they wouldn't know he's in jail. BOOTH: That is a brilliant Christmas idea. BRENNAN: It was intended to be a scathing and incisive comment. BOOTH: Give Russ civvies. The girls think he's flown in specially to visit his father in jail at Christmas. BRENNAN: Where would you say he's been? BOOTH: Building a bridge in Addis Ababa. BRENNAN: Addis Ababa is the land locked capital of Ethiopia. BOOTH: Fine, Bones. You know what? Just make up your own lie. BRENNAN: I don't believe in lying to children. BOOTH: You just want to go to Peru without feeling guilty, alright. BRENNAN: You need to accept that you won't have Parker this Christmas. BOOTH: I am not enjoying this holiday season, at all. BRENNAN: Yeah, well, neither am I. (Cut to: Medico Legal Lab - Exam Room) ZACK: The shadow on the x ray is a slight depression of the outer endocranial table. Fractures levered inward. There are no signs of remodeling. (Zack brings up the depression on the screen to show Cam) CAM: (going over to the screen) This staining suggests that his superficial temporal artery was punctured. ZACK: Very likely the cause of death. CAM: So Santa was conked on the head. Question is, with what? ZACK: I'll run it under the scanning electron microscope. CAM: So, what are you doing for Christmas. ZACK: Going home to Michigan. What about you? CAM: Family cruise. ZACK: Sounds nice. CAM: You'd think so. Let me know what you find. (Cut to: Temp Time Employment Agency. Brennan and Booth are questioning Dale Owens, the owner) DALE: Kris is d*ad? BOOTH: 'fraid so. DALE: Man. I had a bad feeling something was wrong. I mean, it's not like Kris to miss work. Especially not this time of year. I called him a hundred times- BRENNAN: Twelve. Twelve times. We listened to his answering machine. BOOTH: Ya know, there are a lot of Santa's here. DALE: Yeah, but Kris was my numero uno. I mean, all the guys knew that here. In fact, if it wasn't him, I never would have thought about getting into the Santa business. Christmas is not gonna be the same without Kris Kringle. BRENNAN: Anthropologically, what exactly would it mean to be 'numero uno' Santa Claus? DALE: Well, Kris got the best gigs. BOOTH: Any of the other Santa's - they get jealous? DALE: Jealous enough to k*ll? Come on. (One of the Santa's interjects.) SANTA JEFF: Is this about Kris? Did something happen to him? BOOTH: And who are you? (he pulls the Santa's beard down) SANTA JEFF: I'm Jeff Mantell. What happened to Kris? BOOTH: Kris was m*rder. (Santa Jeff turns to the other Santa's) SANTA JEFF: Everybody! The d*ad Santa on the news? It was Kris. (There are rumbles of disbelief from the other Santa's as they get up and gather around him and Booth & Brennan.) BOOTH: What can you tell me about Kris? SANTA JEFF: Kris made a guy proud to wear the uniform. Random Santa: Sure did. DALE: That's the truth. SANTA FRED: Was - was Kris m*rder? BOOTH: Um, all the Santa's just need to take a step back. SANTA FRED: Any help you need guy, any - anything at all. BRENNAN: Why are you limping? SANTA FRED: Oh, my shins. You wanna see them (he starts to lean down to pull up his pant leg) BRENNAN: No- why would I want to see your shins? SANTA FRED: Well, Children get to a certain age and they think it's hilarious to kick Santa in the shins. (The other Santa's mumble in agreement) BOOTH: Alright, I'd like to talk to anyone who knew Kris personally. SANTA JEFF: I only met Kris at the diner down the street a couple of weeks ago. BOOTH: Okay. Whoever smells like the wet sweater really needs to take a step back. SANTA JEFF: I was out of work, late on my alimony and the man saved me. He got me this job. SANTA LARRY: Sad buy familiar tale with Kris. DALE: Typical Kris, always looking to help out. RANDOM SANTA: He was a saint. BOOTH: Anybody know of any trouble- BRENNAN: Arguments.. BOOTH: Differences of opinion. SANTA JEFF: I can't even imagine that. SANTA FRED: The man was truly, sincerely, jolly. BOOTH: We couldn't find a record of his bank account. DALE: Oh, well I - I cashed Kris's checks. BRENNAN: What would Mr. Kringle do during the three other seasons? DALE: Well, Kris was my only full time temp Santa. You know, sometimes for the odd ad campaigns who needed a Santa: Car dealerships, Ice Cream Parlors. SANTA FRED: Sometimes hospitals had "Christmas in July". DALE: Ironically, the only night Kris wouldn't work was Christmas Eve. SANTA LARRY: His Special night. SANTA JEFF: His night to deliver toys and goodies around the world. DALE: (chuckles) We'd always tease him about that. SANTA FRED: He never denied it. (All the Santa's chuckle. Booth looks at Brennan, with an expression of disbelief.) (Cut to: Medico Legal Lab - Hodgins desk) HODGINS: Maggots in d*ad Santa's collar - fed on high concentrations of non-sulfated chondroitin glycosaminal glycans and antecedal neuraminic acid. CAM: This is why Booth hates talking to you. HODGINS: It's the regurgitated saliva of male Aerodramus fuciphagus. Wait. Booth hates talking to me? CAM: Not you specifically, lab people. What's, uh, Aerodramus fuciphagus? HODGINS: Main ingredient in bird's nest soup. It's a rare Chinese delicacy, made from the nest of swiftlets. It's more like bird spit soup if you ask me. CAM: So our victim was in China? HODGINS: I'm thinking China TOWN - is more likely - but I also found similar traces of the same stuff on the back of Santa's pants. Mostly on the rear end. CAM: He sat in it. HODGINS: Yeah. Let's hope that's how that got there. CAM: How common is this dish? HODGINS: A single kilogram of White swiflet nest, costs two grand. CAM: Let's see who makes it here in DC. HODGINS: Done and done. (Cut to: Booth's car. Brennan is looking at her phone.) BOOTH: These people all seem pretty upset to have lost one of their own. I mean, they keep referring to the uniform like soldiers or cops. BRENNAN: (reading a text message) According to Hodgins, Kris Kringle was probably k*lled in or near a restaurant called, Cum Jeung Huen, up on Chinatown. BOOTH: Oh, come on. How did he figure that out? BRENNAN: Do you really want to know? BOOTH: You tell me. BRENNAN: No, you don't. BOOTH: I'm gonna trust you on that. BRENNAN: If you don't mind, I have a meeting with Caroline Julian at your office in ten minutes. BOOTH: Is this about the trailer for your dad's Christmas? BRENNAN: You think she'll help? BOOTH: Well, you know. Caroline's a lawyer, she'll help but she'll ask you to do something in return. BRENNAN: That's fair. BOOTH: Yeah, hold that thought. (Cut to: FBI. Brennan and Caroline are in the kitchen area. Caroline is getting a cup of coffee.) CAROLINE: I thought you were going to Brazil for Christmas. BRENNAN: Peru. CAROLINE: Whatever. South of the equator. Doin' bone things with bone people. (She motions for Brennan to grab her a stirrer as they start to head towards the elevator.) BRENNAN: I check with the at the jail and for my father to get the conjugal trailer, the prosecutor in charge of his case has to submit a written recommendation. CAROLINE: Uh, huh. BRENNAN: You're the prosecutor in charge of his case. CAROLINE: I'm aware of that. Thank you, Dr. Brennan. (She takes a sip of coffee and realizes it's missing something, so she heads back towards the kitchen again) BRENNAN: So, will you? CAROLINE: You going to Brazil and all, what's the use of Max being in that conjugal trailer all by himself. BRENNAN: Well, I'm trying to persuade my brother to celebrate Christmas with his family in there too. (They arrive back in the kitchen) CAROLINE: A Yule tide gathering of the Brennan criminal element. (she adds sugar to her coffee) What do you mean, 'trying'. BRENNAN: Russ doesn't want his step-daughters to know that he's in jail. CAROLINE: How do you persuade them otherwise if they're actually having Christmas in the jail. (They had back towards the elevators again) BRENNAN: One other thing. The Warden says no Christmas Tree. CAROLINE: That's right. Three years ago, somebody made a shiv out of the star. Now no trees or ornaments of any kind. BRENNAN: Isn't' that a little dreary. CAROLINE: Hey. Don't k*ll people, don't get sent to prison, have a Christmas pageant in your own home every year. (Brennan presses the button for the elevator) BRENNAN: So, will you? CAROLINE: (takes a sip of her coffee and realizes that it still tastes bad) Oh. (she turns around and heads towards the kitchen yet again) I will. BRENNAN: You will? Thank you. CAROLINE: On one condition. BRENNAN: Booth said you'd say that. CAROLINE: Did he say I'd ask you to kiss him? BRENNAN: (laughs) No. (then realizing that maybe she isn't kidding) Well, are you? CAROLINE: No cheeks. No noses. Right on the lips. BRENNAN: People kiss people on the nose? CAROLINE: I want you to kiss him - under some mistletoe. (She puts her coffee cup in the microwave to heat it up) BRENNAN: (laughs nervously) Kiss Booth? CAROLINE: That's right, cherie. BRENNAN: Why? CAROLINE: Because it will amuse me. BRENNAN: Why? CAROLINE: Because you're all "Dr. Brennan" and "Special Agent Seeley Booth" and it's Christmas and I have a puckish side that will not be denied. BRENNAN: Puckish? CAROLINE: What's the matter? You don't think I can be puckish? BRENNAN: Well, I never thought about it until now. (Caroline takes her coffee out of the microwave and starts heading out to the elevator, again.) CAROLINE: You want me to write that letter, you kiss Booth, on the lips, for no less than - (counting on her fingers) one steamboat, two steamboats... five steamboats. BRENNAN: That's blackmail. CAROLINE: That's correct. BRENNAN: That's unethical. CAROLINE: That's the deal, take it or leave it. BRENNAN: What about a tree? CAROLINE: No Christmas tree. No way. Not even if you squeeze his buttocks. (They arrive back at the elevator and Brennan pushes the button again.) BRENNAN: Well, I don't know. Can I just - take you out to dinner sometime? CAROLINE: You kiss Seeley Booth, on the lips, and I'll make sure your daddy has his dream Christmas - no tree mind you - but otherwise as good as an accused m*rder can expect. (She takes a sip of coffee and realizes it's still terrible and hands it to Brennan before getting into the elevator. Leaving Brennan to contemplate her offer.) ACT III (Cut to: Alley behind the Chinese restaurant. Booth is talking to one of the workers.) BOOTH: (holding up a picture of Kris Kringle in a Santa suit) Look, you ever see this man before? CHINESE WAITER: Santa Claus? BOOTH: No...this isn't actually Santa Claus. The guy that's wearing the Santa outfit in this picture - have you ever seen him? CHINESE WAITER: Can I see your ID again please? (Starts to pull out his ID as Hodgins appears, coming out of the dumpster.) HODGINS: Booth. BOOTH: What? HODGINS: Your kid like roaches? (he holds up a roach) Gromphadorhina, man. Hissing roach. Hey, grab me this container? This is a great pet, man. (Booth picks up the contain and Hodgins puts the roach in.) Perfect Christmas gift.. BOOTH: What, no. Did you find the Bird's Nest maggots yet? HODGINS: No. Not yet, I'm still looking. (he goes back down into the dumpster.) CHINESE WAITER: Okay, I'm calling the cops. BOOTH: Whoa, whoa, whoa. Pal. Hey, I am the cops, alright. Any, uh, fights out here back here in the alley in the past four days? CHINESE WAITER: No, I - I don't come out here since I quit smoking. It stinks. HODGINS: (from inside the dumpster) It's the cycle of life, my friend. Quite beautiful if you get into it. BOOTH: (laughs) Is it. (then, to the waiter) Okay, you go back inside but tell the rest of your staff I'll be in in a few minutes to ask them some questions. (The Chinese waiter mutters something in Chinese) BOOTH: (holding up the roach in the jar) Hey pal, you better hope I don't report this to the health department. HODGINS: (from inside the dumpster) Paydirt! (he comes out of the dumpster with a Chinese food container) Fannia, Musca and Phoridae and these are the exact maggots I found on Kringle's suit. This means this is where he was k*lled. BOOTH: So if here was k*lled here.. then he was probably (he goes to the other side of the alley) - dragged over here. To this grate (he lifts the grate) and dumped down this sewer. HODGINS: (from inside the dumpster) An ignominious end for for Father Christmas, huh.....Whoa. BOOTH: Whoa, what? (Hodgins emerges from the dumpster again, holding 3 wallets) HODGINS: Whew. They were near the bottom. No cash. Just ID's and credit. BOOTH: Probably dumped there by pick pockets. HODGINS: Hey, you found cash in Kringle's apartment, right? BOOTH: Right. HODGINS: Maybe he picked one pocket too many. (Booth holds out an evidence bag and Hodgins places the wallets into it) BOOTH: Mhm. Well, we're gonna find out the owners and, uh, see if they know any Santa pick pockets. (Booth starts backing away from the dumpster, down the alley) HODGINS: Booth. BOOTH: Yeah. HODGINS: Ya help me outta here? BOOTH: (continues walking) See ya later. HODGINS: Booth! Booth. Oh come - (Cut to: Royal Diner. Booth is sitting at a table with Parker. Brennan is seated at the counter.) BOOTH: Vermont is gonna be great, buddy. Snowboarding - just like when we went to Liberty. PARKER: Mom says it's better than Liberty. BOOTH: Well, she's right. PARKER: Can't you come? BOOTH: Parker.... PARKER: If you tell mom that I don't wanna go, then we could spend Christmas together, like we always do. (Brennan looks back at the two of them, Booth looks back.) BOOTH: It's not gonna happen this year, buddy. When you get back, me and you will have our own Christmas - just the two of us. PARKER: Without Captain Fantastic. BOOTH: You know, we shouldn't call Brent, Captain Fantastic anymore. PARKER: Why? You do. BOOTH: Well, I won't anymore. PARKER: But it's funny. BOOTH: No. It's disrespectful and if your mom likes someone, then we should respect that and like them too. BRENNAN: (interjecting) Is that true? PARKER: You like Brent? BOOTH: Yeah, I do... BRENNAN: Wow. BOOTH: Bones! PARKER: Are you gonna be all alone at Christmas? BOOTH: Me? Nah, I'm not gonna be alone. I'll be with Bones and all of our friends. BRENNAN: I'm going to Peru. BOOTH: See, we're all going to Peru. PARKER: You're having Christmas in Africa? BRENNAN: No, actually Peru is- BOOTH: Is Africa. Isn't that right, Bones? Okay. I'm gonna be just fine so come on. Go wash up before your mom gets here to pick you up, alright? Come here, buddy. (Parker hugs Booth) PARKER: I love you. (Brennan looks at Booth in disbelief.) BOOTH: I love you too buddy. Go ahead. BRENNAN: You liked A LOT to him. BOOTH: It's the magic of Christmas, Bones. (Cut to: FBI - Interrogation Room. Marty Moussa, a mall security guard, is seated at the table. Brennan is watching from the observation room. Booth enters) BOOTH: So. You wanna tell me what happened? MARTY: I just come out of the check cashing place and was off to do some Christmas shopping.. BOOTH: When you were mugged by Santa. MARTY: Not mugged. It was just a bump as I was walking out of the place. I said excuse me, he ho, ho, ho'd and we went our separate ways. BOOTH: So when did you realize your wallet was missing? MARTY: An hour later, at the Price Co. I'm in the check out line, I'm going to pay and it's gone. BOOTH: Naturally, you went back the next day and you b*at the crap out of him. MARTY: I asked for my wallet back. Santa plays all dumb and then it got physical. It was $900, man. BOOTH: Mr. Moussa, there are hundreds of Santa's in the DC area this time of year. MARTY: Come on. You and I are trained law enforcement officers. I got the right guy. BOOTH: I mean, if it was him, he definitely deserved a beating. MARTY: It was him. And he got off lucky because of my self control. This guy. He ruined Christmas. BOOTH: Egyptians, they celebrate Christmas? MARTY: I am not Muslim, Agent Booth. I am Coptic. Me, my wife, my children. We all celebrate Christmas..except for maybe not this year because this guy took my money. BOOTH: And what did you do to him? MARTY: h*t him. I'm not proud of that. BOOTH: No pushing, no tussling? MARTY: (shakes his head no.) Just bumped him one in the schnoz. That's it. BOOTH: You didn't roll around in the alley? MARTY: What alley? We were in front of a big, box store. BOOTH: So you didn't mean to k*ll him. You just shoved him down that manhole. MARTY: I - I knocked him down. The people - they don't know why, they don't understand. They looking - maybe they think I'm t*rror1st - so I get out of there. BOOTH: Hmm. Right. MARTY: Do I need a lawyer? ACT IV (Cut to: Medico Legal Lab. Brennan is in her office hanging mistletoe when Booth arrives.) BOOTH: Bones. Pay Pass Check Cashing confirms cashing Moussa's paycheck. The teller gave him $900. All crisp new 50's. BRENNAN: (putting string on the mistletoe) And Kringle had new $50's in his dresser. BOOTH: Yup and the serial numbers match. BRENNAN: Suggesting Kringle is our pick pocket. BOOTH: Mhm. So we're getting a warrant to analyze Moussa's clothing. (Brennan stands on a chair and attaches the mistletoe to the ceiling) If there's any Bird Soup goop on them, we'll know he's our k*ller...What is with the mistletoe? BRENNAN: (sighs nervously while getting down off the chair.) I was gonna talk to you about this. Caroline wants us to kiss under the mistletoe. BOOTH: What?! BRENNAN: It's the only way she'll make Christmas for my family. BOOTH: What? By having us kiss? BRENNAN: Yes. BOOTH: Why? BRENNAN: Because she's feeling puckish. BOOTH: Puckish? What's that mean? BRENNAN: Listen, Booth! She's going to be here any second. Do you want some gum? BOOTH: No, my breath is just fine. Alright, look. I'll have a - talk with Caroline. BRENNAN: No. BOOTH: No? BRENNAN: I'm only telling you out of professional courtesy. BOOTH: What? BRENNAN: So that you won't be surprised. BOOTH: Yeah, when you say kiss, you mean like kiss-kiss, like on both cheeks. BRENNAN: No, the lips. Like brother and sister or colleagues. French people meeting on the street. BOOTH: Caroline's feeling puckish, huh? BRENNAN: It means playful and impish. (Caroline enters) CAROLINE: (to Booth) Congratulations. I hear you have a suspect in the Santa slaying. BOOTH: Yeah. Well, it looks like the Easter Bunny has nothing to worry about. BRENNAN: Did you talk to the judge about the trailer? CAROLINE: Yes, I did. What about (she motions towards Booth) your end? (Brennan points at the mistletoe.) CAROLINE: Well, look at that. Mistletoe. (Booth starts to protest) You take a step to your right and you'll be right under the cute little sprig. (Caroline watches them and raises an eyebrow, waiting for Brennan to follow through on her end of the deal. Booth incoherently tries to protest but Brennan doesn't give him much time before she leans in and kisses him, grabbing the lapels on his jacket. Caroline continues watching them but the kiss lasts longer and becomes more passionate than she had expected. When Brennan pulls back, they both appear to have been affect more than they thought as well. ) BRENNAN: (trying to regain her composure) Was that enough steamboats? CAROLINE: (flabbergasted) Plenty. A whole flotilla. BOOTH: I don't know what that means, but, um, Merry Christmas. BRENNAN: It was like - kissing my brother. CAROLINE: You sure must like your brother. BOOTH: She does. BRENNAN: I do. BOOTH: She does. CAROLINE: The trailers all arranged. You're good to go, cherie. Merry Christmas. (She leaves, still flabbergasted. Booth and Brennan are still standing in the same place, not really able to look each other in the eye, quite yet.) BRENNAN: I'm sure she feels really foolish right now. BOOTH: Yeah. (awkward pause as they sneak a look at each other) Well, hey. I, um, I really should - I should get back and - see if, uh, the forensic guy has got - anything yet on Moussa's clothes- BRENNAN: That's a good idea. Yeah, I got - stuff - to do too. Yeah. BOOTH: Yeah. BRENNAN: That - for - with bones. BOOTH: (starts chewing gum) I - I understand completely. (He stops when he realizes he's chewing and takes the gum out of his mouth) Thanks for the gum. (He puts it back in his mouth and leaves) (Cut to: Medico Legal Lab. Hodgins desk.) ANGELA: What are ya doing? HODGINS: Hey. Some metallic flakes embedded in the bone. Trying to help Zack determine what kind of w*apon was used. ANGELA: You know, this is our first Christmas as a couple. HODGINS: Aww. Too bad Santa's d*ad. ANGELA: I thought that we could make Christmas decorations for our tree. Is that too corny? It's what my family did when I was little. HODGINS: Oh. ANGELA: And I always thought, you know, when I had my own family that - I'd carry on the tradition. HODGINS: Are two people a family? ANGELA: Isn't that how every family starts? HODGINS: Then I think us making decorations is just corny enough. (He leans in and kisses her on the cheek) (Cut to: Royal Diner - Night. Booth and Brennan are sitting, talking to Sweets, who is wearing an elf hat with huge ears.) SWEETS: I don't understand. Has there been some kind of crisis? BRENNAN: Yes. I have a crisis. BOOTH: Bones, it was just mistletoe. BRENNAN: (in a half whisper to Booth) Not the kiss. That was nothing. SWEETS: (surprised.) You kissed? BOOTH: Mistletoe. BRENNAN: That's not the crisis. SWEETS: Was there tongue? BOOTH: Alright, you know what? Get your own sex life, alright Sweets. BRENNAN: Well, that has nothing to do with sex. BOOTH: Nothing. BRENNAN: No. BOOTH: There was no se- it was - mistletoe. BRENNAN: Totally sex less. SWEETS: I'm all ears. (Brennan raises her eyebrow) BOOTH: Just take your hat off there. (Sweets removes his hat.) BRENNAN: Booth, who is a very honest person, says that at this time of year, deception is necessary for the happiness of little children. BOOTH: Now, I'm being misquoted. SWEETS: Booth is absolutely right. BOOTH: She got the gist. SWEETS: Yeah, there's a fictional element to Christmas. BRENNAN: You mean the whole 'birth of a Savior' rigmarole? BOOTH: It is NOT rigmarole. SWEETS: No. No. BRENNAN: How do you know? SWEETS: Dr. Brennan. It's the - the - uh, feeling of Christmas. What people call the Christmas spirit? It's a kind of dream or hope that we carry with us from childhood. But as adults- BOOTH: Are you including you in that? SWEETS: (ignoring Booth) As adults, we're imbued by the pragmatic routines of life, which makes it difficult for us to regard anything with child like wonder. But, you know, it's alright for us to try. We put on silly hats and drape trees with sparkly lights and wrap gifts in garish paper and that's good for us. It's not only alright to allow children the transient experience of innocence and joy - it's our responsibility. BRENNAN: (finally understanding) Okay. BOOTH: Okay? BRENNAN: I found that very helpful. BOOTH: (scoffs) What do you think I've been saying for the past four days? (Cut to: Prison - Visitors room -Brennan is visiting again with Russ.) RUSS: You're gonna help me lie to the girls? BRENNAN: Well, apparently, it's not morally wrong to lie at Christmas. RUSS: What if they know I'm lying. BRENNAN: Well, apparently, sometimes - lying is a kind of gift. I'm hazy on the rules, but the idea is even if they know you're lying - they know you're doing it out of love. RUSS: Where are you getting this? Because I'm in jail, and I'm getting better advice. BRENNAN: Look, Russ. We have a plan. I bring you some civilian clothes, the girls think you popped in from Addis Ababa- RUSS: Addis Ababa? BRENNAN: Well, what did you and Amy tell them? RUSS: We said I went to Burma. BRENNAN: Burma? RUSS: Who cares where we chose? Burma's on the other side of the world. BRENNAN: Russ! Burma doesn't even exist anymore! RUSS: What happened to it? BRENNAN: Well, It became Myanmar. There's another problem with the trailer. No Christmas tree. RUSS: Why? BRENNAN: Shank material. Is it important? RUSS: Christmas? With no tree? It's a disaster. Forget it. BRENNAN: They're young, Russ. They believe in Santa Claus. They believe in you because you love them and they'll sit on your lap and they'll open their presents and they'll believe in you and Burma, and - and maybe they won't notice that there's no tree. Look, Amy will be there. Dad will be there. The girls will be there. RUSS: And you. BRENNAN: I was going to, but we're not the only people getting the trailer and I thought it would be in the afternoon, but now it's Christmas Eve and I gotta be on that plane. RUSS: To Peru. BRENNAN: Yeah. RUSS: Tempe. Dad wants us all. I mean, you're one of us. (Cut to: Medico Legal Lab - Platform.) CAM: You found what k*lled Kris Kringle? HODGINS: We know what it was made of. ZACK: And we know that shape. (They pull of the fracture on the screen) CAM: Something crescent shaped and brass. ZACK: I couldn't find anything this shape, but by making a slight paradigm shift - HODGINS: Paradigm shift was my idea. ZACK: And slightly change the angle- CAM: A circle, not a crescent. ZACK: I believe the mark left on left on Kris Kringle's skull was the result of being stuck with a circular object, approximately 15cm in diameter. HODGINS: 6 inches. CAM: A bell. A brass bell. ZACK: Meaning he was probably att*cked by another Santa. (Cut to: Temp Time Employment Agency. All the Santa's are gathered.) DALE: Everybody have your bells? (The Santa's all ring their bells in unison.) BOOTH: Alright, alright. Enough! Stop! (They all stop ringing the bells) You can tell the elves they can go now. DALE: Elves, go for coffee. RANDOM ELF #1: See you later. RANDOM ELF #2: Alright you heard him. RANDOM ELF #3: Excuse me! Watch it. DALE: What's the use of elves without Santa. BRENNAN: Those bells are all the same. DALE: Yeah, I buy 'em in bulk. I sell them to the Santa's for cost. BOOTH: That Kris's idea? DALE: Yeah, how did you know? BOOTH: Just getting a feel for the guy. Listen, we have a warrant here to inspect your bells. SANTA LARRY: Inspect our what? SANTA JEFF: Bells, Larry. SANTA FRED: Uh, why? BRENNAN: Agent Booth and I are going to swab each of your bells with a cotton ball soaked in phenothalene. SANTA LARRY: Is it gonna sting? SANTA CHUNG: Bells, Larry. She said "bells". DALE: You need a hearing aid, Larry. SANTA FRED: Why are you antisepticizing our bells? (They get to Santa Jeff and he lowers his bell) BOOTH: Whoa. Ho, ho, ho. Steady there Santa. SANTA JEFF: Why do you need a warrant to disinfect a bell? BOOTH: What's the matter there, Santa? SANTA JEFF: They're looking for something and they're not telling us. DALE: Look, I read the warrant. It's the law. (The other Santa's start to get on Santa Jeff to let Brennan swab the bell) BRENNAN: Come on, give us your bell. SANTA JEFF: No. BOOTH: Listen, buddy. I'm not gonna see my son for Christmas this year. So I'm a little annoyed with Christmas and everything that comes along with it, so give the lady the bell. RANDOM SANTAS: Give him a break. Give them the bell. Come on. Go ahead. (He puts up his bell) BOOTH: Thank you. BRENNAN: The brass plating on this bells chipped. (Brennan swabs the bell and it comes up positive for blood) BOOTH: Oh, ho. Look at that. Okay, Santa. You're under arrest for m*rder. SANTA JEFF: What? BRENNAN: This bell, is the w*apon that k*lled Kris Kringle. SANTA JEFF: No. No, no, no. I didn't k*ll Kris. Come one guys! We switch bells all the time. DALE: Now that's true. SANTA LARRY: All, all of our bells are identical, you know. We put one down and then we just pick up another. BOOTH: Okay, just hold on to your bells there for a second. (to Brennan) Now, any - any ideas? BRENNAN: No. BOOTH: Come on. Think, Bones. Paint the picture. It's gotta be one of these guys. I mean half of these guys owe Kringle the money. BRENNAN: One of them's a pick pocket. BOOTH: Ah, gets money from the Egyptian. SANTA LARRY: Look, eh, can we go? BOOTH: Cool your jets, Santa. Go have a cookie and some eggnog. (back to Brennan) Kringle gets suspicious, he catches the pick pocketer dumping the wallet in the dumpster. Confronts him. BRENNAN: We have to sniff their behinds. BOOTH: We have to sniff - you lost me there. BRENNAN: (yelling, at the Santa's) Alright, everybody up against the wall! (The Santa's start to mumble. There IS no space for them up against the wall) BRENNAN: Or, okay. Put your hands on the table. BOOTH: First of all, that's my job and second, why? BRENNAN: They fought. They rolled around through the Birds Nest Soup goop. BOOTH: Riiight. BRENNAN: Yeah. BOOTH: Good thinking. BRENNAN: Thank you. BOOTH: That's good, except for the sniffing their butts thing. (They had back to the line of Santa's) BRENNAN: Okay, you start over there. I'll start here. DALE: Wait, wait, wait, wait. You're gonna sniff my guys? (Brennan starts sniffing the Santa's rear ends) BOOTH: Ugh. (He leans down and sniffs one of the Santa's) Geez. Alright, this is officially the worst Christmas ever. (They both continue down the line, sniffing each Santa. Right before they get to Santa Jeff, he turns around.) SANTA JEFF: Don't you need a warrant for this? BOOTH: Hey, pal. Why don't you just be quiet. BRENNAN: Turn around. BOOTH: Yeah. (They both lean down and sniff his behind. Then in unison-) BOOTH: Bird's Nest Soup. BRENNAN: Bird's Nest Soup. DALE: It's Jeff! He k*lled Kris! (SANTA JEFF makes a run for it, but doesn't get very far as the rest of the Santa's pile on top of him) BRENNAN: Whoa. Whoa! Aren't you gonna pull them off? BOOTH: Fine. Watch this. (he grabs the bell and starts ringing it.) Hey! How you like it now, Santa's! BRENNAN: (to the Santa's) Get off of him. Everybody off! BOOTH: On your feet, you're under arrest. Let's go. SANTA LARRY: That man is a disgrace to his uniform! (Santa Larry starts singing "Santa Claus is Coming to Town". All the other Santa's begin to join in, pointing at Santa Jeff - all of a sudden, the song has become a thr*at. Brennan and Booth exchange looks. These guys are amusing but a little scary.) (Cut to: Medico Legal Lab - Conference Area - Night. The music has morphed into the Peggy Lee version of the song. Brennan, Hodgins, Angela, Zack and Cam are all sitting around exchanging gifts and laughing.) (Cut to: Conjugal Visit Trailer - Night. Max is lead into to the trailer by a guard, who removes his handcuffs. Max looks around, it's bleak. Nothing about it says Christmas.) (Cut to: FBI - Conference Room. Marty Moussa is standing by the table as Booth enters, handing him an envelope that contains the $900 that was stolen from him. He gives Booth a hug to show his gratitude.) (Cut to: Medico Legal Lab - Conference Area - Night. Brennan, Hodgins, Angela, Zack and Cam are all sitting on the couch - smiling at the camera - taking a group picture. ) (Cut to: Trailer - Max is seated on the bed when the door opens and Amy arrives with Emma, Hayley with bags and presents in hand. Max stands up to greet them. This is the first time he's is meeting them.) (Cut to: Medico Legal Lab - Conference Area - Night. Everyone is hugging and kissing each other goodbye.) (Cut to: FBI - Booth's Office. Booth is sitting at his desk when a cop appears in his doorway with Parker. He runs to his dad and gives him a big hug) (Cut to: Trailer - Emma takes out a banner that says "MERRY CHRISTMAS" and Max uses gum to hang it up. The girls climb on the couch to help him hang it.) (Cut to: Medico Legal Lab - Conference Area. Everyone is now gone, except for Brennan. She picks up her bag , pulls out her tickets and passport and contemplates whether or not she should go to Peru.) (Cut to: FBI - Booth's Office. Booth is on the phone with Rebecca and Parker is sitting on his lap, playing with his credentials.) BOOTH: (into the phone.) He's fine, Rebecca. No. Just listen. I will get him back to you in time, tomorrow, before you leave for Vermont. PARKER: I hate Vermont. BOOTH: No, I didn't tell him to say that. (he pauses) He didn't have to find the FBI. He just - went up to a cop on the street, told him he was lost and said that his dad works at the FBI. (Booth hugs Parker and they smile at each other) (Cut to: Trailer - The girls and Max are hanging another banner when Russ shows up - wearing civilian clothes. Amy runs over to him and tucks his tag into his shirt. When the girls realize he's there, they run over and hug him. The door opens again, and Brennan walks in. She decided to come have Christmas with her family after all. Her dad smiles. He got the only Christmas present he wanted - Christmas with his family again.) (Cut to: FBI - Booth's Office. Booth is helping his son put his jacket on.) BOOTH: Come on. In you go. That's it. Okay, buddy, here's the deal We get to spend Christmas day together, then I gotta take you to Vermont. Understand? PARKER: Okay. Will you miss Africa? BOOTH: Africa? No. I rather spend time with you. (he gives Parker a hug) PARKER: Do we got a tree? BOOTH: We got two trees! PARKER: Two trees? BOOTH: Two! (they touch knuckles) PARKER: Why? BOOTH: Come on. I'll show you. Come on. (They leave the office) (Cut to: Trailer. Russ, Amy & the girls are playing with their gifts as Brennan looks on from the couch.) MAX: Here. (he sits next to Brennan) I want you to try this, honey. BRENNAN: (nods towards Russ, Amy & the girls) Are they having fun? MAX: (he hands her a cup) What are you talking about? Of course they are. And by the way, this is the best Christmas that I've had in sixteen years. BRENNAN: Me too. (Brennan's phone rings. She takes a sip from the cup as she answers it. Apparently, it doesn't taste all that good and her face reflects it.) BRENNAN: (disgusted) Oh my god. BOOTH: (on the phone) What's wrong? BRENNAN: (still on the phone but to her father) What is this? MAX: Just a little good cheer I made under the mattress. BRENNAN: Ugh. (then into phone) Booth? BOOTH: Bones, hey! Good news. Turns out I got Parker for Christmas after all. BRENNAN: Christmas magic, right? BOOTH: Hey, so we figured we call and uh, wish you a little, uh, Yuletide cheer. (He puts the phone to Parkers ear) PARKER: (into the phone) Merry Christmas, Bones! BRENNAN: Thanks, Parker! MAX: Hey, if that's Booth you wish him Merry Christmas from me, will ya? BRENNAN: (into phone) My dad says "Merry Christmas". BOOTH: Hey, listen, Bones - uh - I got a little something for ya. BRENNAN: Oh, I got you something too. We can, uh, exchange gifts in a couple days. BOOTH: Go to the window and open up the blinds, now. BRENNAN: What? (Brennan goes to the window and opens the blinds. She sees Booth & Parker, standing by Booth's car, with a Christmas Tree - all lit up. They wave at her and she waves back.) BRENNAN: (to her family) Hey! Everybody, it looks like we got our tree, after all. EMMA: What? A tree? HAYLEY: Oh my gosh. So exciting! PARKER: (waves) Merry Christmas! BRENNAN:(into the phone) I love my gift, Booth. BOOTH:(into the phone) Merry Christmas, Bones. (In the back ground you hear Emma and Hayley exclaim "This is the best Christmas ever!") -END-

{"type": "series", "show": "Bones", "episode": "03x09 - The Santa in the Slush"}

foreverdreaming

"The Man in the Mud" Episode 3x11 Written By: Janet Tamaro Directed by: Scott Transcribed by: TheElusiveN Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Teaser) (An all-terrain vehicle pulls to a stop in the woods. CHANDLER [Alicia Ziegler] and her boyfriend, TIM [Andrew Lawrence] alight from the vehicle.) TIM: The GPS says it's right up here. CHANDLER: You don't even know how to use that thing! TIM: The hell I don't! (The GPS device in his hand beeps.) We're here. CHANDLER: We just drove an hour through the woods to find more woods that look just like the woods we drove through. (They come upon a bubbling puddle of thick ooze.) TIM: Eureka! CHANDLER: Ew! That's mud. TIM: No, this is like, um...(close up of the bubbling mud) yeah, it's pretty much mud. CHANDLER: And it smells like rotten egg. TIM: Mmm, sulfur. Very therapeutic. (TIM starts to strip.) CHANDLER: And you expect me to believe you've never been here before. TIM: A friend of mine told me about this place and swore me to secrecy. But this is my first time. In mud. CHANDLER: (laughs nervously as the Soft Misdirectional Piano of Romance starts to play in the background.) TIM: (from off-screen) Come on in; it's nice. CHANDLER: All right. (CHANDLER strips down and slips into the hot spring. The two begin kissing.) Mmmm--what, are you poking me? TIM: This mud is reputed to have amazing romantic properties.(They both giggle and resume making out) CHANDLER: Mmm...I think I got it. TIM: No, I think I'd notice if you got it. CHANDLER: (gasps as she pulls a muddy, skeletal arm from the hot spring, to the accompaniment of an Abrupt Musical Sting. The camera focuses on the hand for a long moment before CHANDLER and TIM freak out and jump out of the hot spring.) (The camera focuses in on the hot spring, and pulls back to reveal BOOTH's hand reaching toward the mud.) BOOTH: Whoa, sheesh! (BOOTH jumps backwards from the mud. A camera pan reveals that he is with BRENNAN and a PARK RANGER [Christopher May].) PARK RANGER: This hot spring averages a temperature of 105 degrees, but it can spike to near boiling, which is why we discourage bathers. (addressing a chagrined TIM and CHANDLER, who are sharing a muddy blanket and not much else, with a scolding tone of voice) Especially those who illegally drive four-by-four vehicles into a national park. BOOTH: So someone was boiled to death? PARK RANGER: Or had a heart att*ck or passed out, et cetera et cetera. BRENNAN: The remaining flesh will have to be macerated. PARK RANGER: What's that? BOOTH: Ugh...don't ask. BRENNAN: The flesh either has to be boiled off, or eaten by Dermestid beetles. BOOTH: Bones, why can't you just say "cleaned"? BRENNAN: (indicating several long bones.) The sulfur encrusted the bones--do you see the staining? BOOTH: So it's been there a long time? BRENNAN: Not necessarily. BOOTH: So why'd you have to even bring it up then? BRENNAN: (lifting the skull, which is severely pitted) Signs of blunt force trauma. PARK RANGER: What's that mean? BOOTH: That means he didn't pass out and boil to death on his own. BRENNAN: I'm going to need all of the mud. PARK RANGER: Excuse me? BRENNAN: Get a t*nk truck out here and suck it up so we can filter it back at the Jeffersonian. (Long sh*t of the PARK RANGER exchanging a flabbergasted glance with BOOTH, who shrugs.) BRENNAN: (squatting, lifts up the arm) Humerus is thirty-six point five centimeters. Medium build, late twenties early thirties--he's broken this bone before. PARK RANGER: Is she serious about the mud? BRENNAN: Serious as a gas att*ck. BOOTH: Heart att*ck, Bones. Serious as a heart att*ck. (Medico-Legal Lab. CAM is just swiping her card to enter the Platform in a tracking sh*t that brings us over to the remains.) CAM: The description's too general to get anything from a missing person's report. ZACK: A triangular depression in the calvarium, interior longitudinal 1 fracture, grazed cortical bone and C1; there's a patterned impression in the bone. (As he's speaking, ZACK indicates each particular instance of trauma on a magnification camera screen.) CAM: How many times was he h*t, and by what? ZACK: More than once, by a (questioningly) square pipe? Does that exist? CAM: In my experience, people h*t people with anything that they can pick up and swing. (pauses) He was att*cked from behind? ZACK: Mmmm.... CAM: (annoyed) What? ZACK: There's a vertical impaction fracture to his glabella and frontonasal suture. CAM: Same w*apon? ZACK: It doesn't seem so. . . . I have seen this before. CAM: Great. Where? ZACK: From sharpened stone w*apon, in Neanderthal skeletons. CAM: I'm thinking not so relevant in this case. ZACK: The blow to the front of the head would cause a severe laceration. CAM: There were no bloodstains around the mud bath. ZACK: Indicating that the body was dumped there postmortem. CAM: Zack, regarding the Neanderthals- ZACK: (correcting) Neanderthals. CAM: ...What was the context of those killings? (the Heavy Musical Tones of Plot Import arise in the background, and will continue onward to carry us into the credits.) ZACK: Accepted scenarios indicate a single individual att*cked by two or more assailants. CAM: Then we're looking for two or more m*rder. (End Teaser.) (Credits.) (Act One) (Fade up on the outside of SWEETS's office building.) BRENNAN: (v.o.) We're not sure about time of death yet. BOOTH: (v.o.)It was definitely a m*rder. (Now in SWEETS's office; the Plinky Piano of Zany Hijinks arises in the background. SWEETS, for the record, could not look more bored, and is constantly shifting positions so as not to fall asleep.) BRENNAN: Definitely. Probably by two assailants. BOOTH: What a shock for that couple, huh? (gesturing) You know, they slide naked, into the hot mud bath...and a skeleton hand pokes her in the BRENNAN: (finishing) Anus. BOOTH: (shocked) Bones! BRENNAN: What? It's a clinical term for that part of the body, Booth. (SWEETS is now either sporting a hilarious, wide-eyed shock face, or trying so hard to keep his eyes open that they've bugged out of his face.) SWEETS: Dr. Brennan, Agent Booth...would it be fair to say that you use work to avoid confronting personal issues? BOOTH: Oh, what, because I don't want to talk about... BRENNAN: The anus. BOOTH: You really like that word, don't you? SWEETS: Do you two ever discuss anything that's not attached to work? BOOTH: Well, it's better than talking about, y'know... SWEETS: The anus? BOOTH: What is it with you two? BRENNAN: Well, Sweets could be right; I mean, we talk a lot about work. BOOTH: I talk about my kid. SWEETS: Because he was almost kidnapped during a case. BRENNAN: (raising a single finger) Ah, my father. We talk a lot about him. SWEETS: Because Agent Booth arrested him for m*rder. BOOTH: Mm...okay, what are you trying to get at here? SWEETS: Your inability to share your personal lives. I thought that was obvious. BOOTH: Okay, that was snotty. (snottily) I don't respond well to snotty. BRENNAN: (laying a hand on BOOTH's arm) After a case, sometimes, we have a drink, or coffee, Booth has pie. I don't...like pie. BOOTH: Aw...you really should just give it a chance. BRENNAN: I find it too sweet. BOOTH: Okay, there. We talked about pie. Nothin' to do with work. BRENNAN: It...is better when we discuss m*rder. SWEETS: I'd like to see you guys in a social situation. A situation where work is a taboo subject. BOOTH: What, are you gonna send us to a restaurant and watch us through a one-way mirror? BRENNAN: I'm still not having pie. SWEETS: No, an evening out with my girlfriend and me. BOOTH: (laughs, then, to BRENNAN) They need someone to buy them beer. BRENNAN: You want us to go on a double date? BOOTH: Why don't you go on the internet like all the rest of the kids? SWEETS: Okay, if it goes well, I'll withdraw my concern. I'll release you back into your environment. BOOTH: What are we, brook trout? BRENNAN: (pouts briefly, then) Fine. BOOTH: (Sighs heavily and plays with the stress-sumo-wrestler.) SWEETS: Agent Booth? (BOOTH looks away.) Unless, you think that's too much to prove. BOOTH: (pulls a face, then) Fine. I'll show 'em I have nothing to prove. Bring it on, Sweets. (He flings the stress sumo wrestler at SWEETS, who catches it one-handed and gives it a squeeze.) (Medico-Legal Lab; Jeffersonian. HODGINS is running the mud from the hot-spring through some sort of strainer; ZACK is examining something small.) HODGINS: Ugh...(Pulls a greenish aluminum can from the strainer) So far I have three old beer cans, an Indian Arrowhead, (he lifts a coin out of the strainer and casually tosses it on the table; in the background you can hear CAM swiping her card to enter the platform) seventy-three cents in change, and a partially-melted Sharpie. CAM: The victim was braised like osso bucco. The flesh was falling off the bone. I put time of death between ten days and two weeks. ZACK: (crosses to a bank of x-rays) I found stress fractures and degenerative changes in the fascid joints. CAM: Fits with the hypertrophy of the cervical muscles. I found microscopic tearing but he had to sustain this (she extends her neck forward) position to cause that kind of wear and tear. HODGINS: Death by yoga? ANGELA: (enters) Is that skull ready for me yet? ZACK: It should be ready, you can take it out of the boiler any time. ANGELA: Or, you could do that for me, because I will never, ever do that. ZACK: (indicating the injuries on a bank of x-rays.) There are fractures of the pelvis, compression fractures of thoracic and lumbar vertebrae, multiple metacarpal and metatarsal fractures... ANGELA: What was he, crash test dummy? ZACK: The injuries to the vertebrae, tibia, femur are consistent with landing on the feet after falling from ten to twenty feet. HODGINS: What, like jumping out of a tree? ZACK: The damage to the scapula and the acromion resulted from a low fall but forward movement from between sixteen to twenty miles per hour. ANGELA: Falling off a bicycle. ZACK: These injuries are more recent. Fractured and scored patella, and torn retinaculum. HODGINS: Okay, even I didn't get that one. CAM: Why would anyone want to k*ll him? It seems like he was doing a good enough job on his own. (CUT to the exterior of the FBI building.) BRENNAN: (v.o.) Yes. Okay, Dr. Sweets, yeah, I'll ask him.(Now in the elevator, we see BRENNAN covers her phone) How's Wednesday night, are you free? BOOTH: oh, what, to have our big double date with our psychiatrist? BRENNAN: Just one more evening, and maybe we won't have to see him anymore. BOOTH: Fine. Wednesday's FINE, I can't wait, does he want me to get you a corsage? BRENNAN: (into the phone) Wednesday's fine. We'll meet you there. Yeah, I'm looking forward to meeting her. BOOTH: (scowls as he pushes open the doors of his office) BRENNAN: Okay. Bye. (hangs up with a beep.) This might be fun. His girlfriend works with tropical fish. BOOTH: (skeptically) Tropical. Fish. BRENNAN: Yeah. BOOTH: This is just weird. Where are we meeting? BRENNAN: At their ceramics class. BOOTH: What? No, you're kidding. BRENNAN: Why would I be kidding? He said it would be a good idea to have a common activity. BOOTH: Ceramics? I thought the whole point of therapy was to give us peace of mind, not drive us crazy. (BOOTH's computer starts beeping; we inset to a video chat invitation on BOOTH's monitor, which reads "JEFFERSONIAN/ANGELA") Hey, it's Angela. (BOOTH clicks his mouse, and answers her video chat invitation.) Hey, Angela. ANGELA: Hey! I did a rendering of our victim's face. We're checking him against any reports of missing persons. BOOTH: Wait a second, that's Tripp Goddard. ANGELA: Tripp Goddard? BOOTH: He's a motorcycle racer. BRENNAN: (looks nonplussed) BOOTH: Oh, I forget sometimes that I'm talking to girls. BRENNAN: That would explain the wrist and neck injuries on Zack's report. Have him confirm with dentals. ANGELA: Yeah, (CUT to ANGELA in the holographics suite at the Jeffersonian) I don't appreciate the "girls" comment. (CUT BACK to BOOTH and BRENNAN in BOOTH's office.) BOOTH: Uh...Tripp won a huge motorcycle race about two weeks ago. BRENNAN: That fits time of death. (CUT to ANGELA in the Holographics Suite at the Jeffersonian) ANGELA: That would've been the Super Grand Prix, out in Virginia. Tripp won in the final two laps after some kind of accident took out the frontrunner. (cheekily) Girls, huh? (ANGELA terminates the connection, and we see an inset screen with the Jeffersonian logo and the text "Video Conference Connection Terminated.") (Slam Bolt Racing, Exterior sh*t of motorcycles in bright blues and yellows rounding a curve to the sound of vehicle exhaust. Racing journalist GARTH JODREY [Chris William Martin] begins a voiceover as the racers cross a finish line and the checkered flags are waved.) GARTH: It's not about the machine, it's about the man. (We cut to an interior sh*t at Slam Bolt Racing as he continues speaking.) I mean, sure you need a great bike, but a great rider on a crap bike? Still going to win. (We see that GARTH, who uses a wheelchair, has been conversing with an attractive brunette in a leather jacket, PHILIPPA FITZ [Abigail Spencer].) PHILIPPA: Riders say it's about the rider, mechanics say it's the machine, you know what I say? It's about whoever signs the paychecks. GARTH: (as BRENNAN and BOOTH come around a mechanic's station into the background of the sh*t) Ah, yes, and that would be you. PHILIPPA: (teasingly) Yes, it would; don't forget it. BOOTH: Excuse me. (flashes his badge) FBI Special Agent Booth, this here is Dr. Temperance Brennan of the Jeffersonian. We're looking for someone who might be able to tell us a little bit about Tripp Goddard. PHILIPPA: Well, I'm Philippa Fitz, and Tripp rides for our family team, Slam Bolt. GARTH: What did Tripp do? BOOTH: Who are you? GARTH: Garth Jodrey, I'm a journalist. (Opens his leather jacket to show a logo on his t-shirt) Motokneescrapers.com. BRENNAN: What does that mean? BOOTH: Racers, when they--they lean real low on the corners, their-their knees, they scrape the asphalt. BRENNAN: That would explain his knee injuries. PHILIPPA: No one has seen Tripp since after the Super Grand Prix. BRENNAN: Well, where did he go? PHILIPPA: After a big win, he usually takes off in his truck and climbs mountains, swims oceans, no one really knows for sure. Can I help you? BOOTH: Mr. Goddard's d*ad. GARTH: What? What happened? BRENNAN: We believe he was m*rder. (CUT to a conversation with LENNY FITZ [Wings Hauser], PHILIPPA's father.) LENNY: Who would k*ll Tripp? I don't know. GARTH: (as he crosses the room.) Well, the fans loved him. Everybody else hated him. LENNY: Get lost, Garth. PHILIPPA: Daddy, please. LENNY: No. I want him out of here, Philippa. (GARTH looks up at PHILIPPA for a tense moment. She finally jerks her head, indicating that he should leave. He departs.) BOOTH: Garth doesn't seem to think that Tripp was the good old boy that you do. LENNY: His got his reasons. PHILIPPA: The wheelchair, for one. BOOTH: Tripp put him in that wheelchair? LENNY: It was an accident. During a race, a couple years ago. PHILIPPA: You can't honestly believe that Garth had anything to do with this. I mean, how? He's in a wheelchair. BRENNAN: With help, obviously. BOOTH: When was the last time you saw Tripp? PHILIPPA: The victory party, after the race. LENNY: I saw him get him his truck and leave, about midnight. BOOTH: Great, I'm going to need to know the make, model, the year, license plate of the truck. LENNY: Anything you need, we're here. Just find the bastard who did this to him. (End Act One.) (Begin Act Two. "Skinny Penny" by the Stereotypes plays as footage of the Super Grand Prix rolls. #66, DANNY FITZ [Channon Roe] is in the lead, with #1, TRIPP GODDARD [John Edward Lee] hot on his trail. The footage cuts to a crowd sh*t, and back to footage of DANNY followed closely by TRIPP. More crowd sh*ts, then it is revealed that BOOTH, BRENNAN, and GARTH are watching this footage on an LCD screen in the FBI Conference room. When we cut back to the LCD screen, the leader-board on the footage shows that TRIPP is in the lead, followed by D.J. COPPS. TRIPP crosses the finish line, and we cut to TRIPP holding the trophy, surrounded by pit crew, laughing triumphantly. DANNY tries to approach TRIPP, but is held back by pit crew.) GARTH: (v.o.) Okay, that's Danny Fitz. (On the screen, DANNY breaks free of his pit crew and grabs TRIPP by the front of his racing jacket. The footage pauses, but judging by their facial expressions, there is clearly an ugly altercation in the making.) I tell ya, I would've loved to have decked Tripp like that after our race, only I was in a coma for a few days. BRENNAN: Another Fitz? GARTH: Lenny's son, Philippa's twin brother... Alright, watch this. (GARTH uses a remote to manipulate the footage.) Danny's got the race in the bag. Final lap, Tripp does that. (On the tape in extreme close-up, we see TRIPP's front wheel bump DANNY's back wheel; we pull back to find that DANNY has wiped out.) Classic inside-out block pass. BRENNAN: Is he allowed to do that? BOOTH: Only if it's an accident. GARTH: Slam Bolt would've taken first and second against Flame Spark if Tripp hadn't of clipped Danny. BRENNAN: (laughs) There's someone named Flame Spark? BOOTH: Yeah; Flame Spark Spark Plugs. It's Slam Bolt's rival team. TRIPP: (on the tape) I saw a little daylight. Looked like Danny was gonna go wide, so I went for it. I mean, it is a bummer when somebody loses the front of their bike like that, but, um...(TRIPP shrugs) Whaddaya gonna do? GARTH: Danny had that race in the bag. BOOTH: Tripp did the same thing to you, didn't he? GARTH: (a b*at) Yeah. Well, I guess Tripp didn't learn anything from the time he did it to me. BOOTH: Danny Fitz, was he at the victory party? GARTH: Yeah, absolutely. Put on a face for the press. BRENNAN: Did Danny leave before, or after Tripp? GARTH: About the same time. BOOTH: How about you? GARTH: I took off right after.(On the videotape, TRIPP and DANNY are engaged in a shoving match.) BOOTH: You're good friends with Danny, aren't you? GARTH: You mean, are we good enough friends to k*ll Tripp together? You know, I'm pretty sure I don't have to say anything without a lawyer. (BRENNAN and BOOTH exchange a look.) (MEDICO-LEGAL LAB; the JEFFERSONIAN. A metal bar falls on the floor between two feet, which we see are ZACK's, as ZACK is carrying in an armload of potential m*rder w*apon. ZACK bends down to pick up the bar. HODGINS looks over at him before going back to examining the now extremely clean skull. As ZACK finally corrals the first bar he dropped, he loses control of another bar.) HODGINS: (testily.) It's not going to work... ZACK: What? HODGINS: Dropping loud pieces of metal to hurry me up. ZACK: I need the skull so I can compare tool marks to potential m*rder w*apon. HODGINS: Just going to have to wait. ZACK: (frowns and walks further into the room.) HODGINS: (zooms in to an extreme close-up of the skull's surface on a monitor. A computer program isolates particulates on the screen.) Titanium, magnesium, and heat-treated boron particulates are embedded in the skull fractures. ZACK: Mmmmm.... HODGINS: What? ZACK: That's a unique and exotic combination of metals not found in any of these...(A bunch of the aforementioned "these" go sliding out of ZACK's arms, and he bends down to collect them.) HODGINS: It is possible that these particulates aren't from the tool, I mean, not from the tool alone. ZACK: I don't understand. HODGINS: Hand-made racing motorcycles are made from these metals. ZACK: So the particles could've gone from the bicycles to the tools to the victim. HODGINS: It's-it's not a bicycle. It's a motorcycle. ZACK: (irritably) Bi-cycle. Two wheels. The term applies. (He drops another group of the metal bars, and bends down to collect them.) HODGINS: Drop those. (off his look.) Drop them. I mean it Zack, b*mb away. (ZACK drops all the w*apon to the floor.) ZACK: I don't know what that proves. HODGINS: It means I don't handle irritation as well as I'd like. ZACK: Can I pick these up now? HODGINS: (forcefully) No. (ZACK looks at him quizzically, and HODGINS crosses the room towards him.) You can pick one up. Most likely culprit. ZACK: A narrow instrument, no more than an inch, caused the injuries. HODGINS: Okay...(HODGINS bends down and proceeds to pick up more than one bar.) ZACK: Strain, the crushing, tearing, shearing, equals a change in dimension divided by the original dimension. HODGINS: I do bugs and slime; I don't do arithmetic. ZACK: An elongated rod, with (he selects a shiny, square-shaped pipe from the group HODGINS has selected) this cross-section, is the most likely culprit. HODGINS: Good. Good job, Zack. ZACK: (confused) Am I...King of the Lab? HODGINS: We both are. (HODGINS drops the remaining crowbars.) Let's go tell Cam. (FBI Conference room. BOOTH is replaying the footage of DANNY FITZ wiping out over and over again and giggling. A slow pan reveals an unamused DANNY.) BOOTH: Ooohhhh....ouch....Okay, now that, that's gotta hurt. Wait, here it comes again, I mean, look at that. Whoa...watch it, watch out, watch out, whoa! (BOOTH jumps backwards to reveal the unamused face of DANNY's lawyer, BRAXTON SMALLS [M.C. Gainey]) SMALLS: Let the record show that Agent Booth is taunting my client by repeatedly showing footage of his traumatic accident. DANNY: Don't say accident, man; Tripp did that to me on purpose. BRENNAN: How fast were you going at the time of your incident? DANNY: I don't know, exactly. I was accelerating through 160. BOOTH: Tripp was accelerating faster; see there? (BOOTH punches a button on the remote. The footage replays on the screen.) Whoosh. SMALLS: Again with taunting. BRENNAN: Why was Tripp so much better than you? SMALLS: Taunting? BRENNAN: No, I'm not taunting, Mr. Smalls, I'm restating an objective fact. DANNY: Tripp had a better bike! He had maybe twenty horses on me. BOOTH: So you get Tripp's bike now, right, Mr. Fitz? DANNY: I didn't k*ll Tripp for his motorcycle. BOOTH: Why did you k*ll him? SMALLS: Whoa, full stop there, cowboy. BOOTH: Alright, don't sweat it there, princess. Alright, any other reason why you'd want to get rid of Tripp? DANNY: No. SMALLS: Danny, certain things you hide make you look guilty. DANNY: Couple years back, Tripp was going out with my sister. Cheated on her with a groupie. SMALLS: Came to blows. BRENNAN: Who won? DANNY: I did, for once. Knocked him on his ass! BOOTH: And you defended her honor. SMALLS: Danny and Philippa are twins, Agent Booth. They're very close. BOOTH: He cheated on your sister, forced you to crash...How'd you exactly describe your relationship with Tripp? DANNY: (snidely) We were the best of friends. SMALLS: As your lawyer, I must caution you that sarcasm doesn't show up on the transcript. Best to avoid it. DANNY: Look, I'm sorry Tripp's d*ad, but I'm not exactly grievin', you feel me? BOOTH: Bones, he's not afraid of me at all. BRENNAN: It's hard to scare someone who rides around a track at 200 miles an hour. DANNY: Now her, I like. (to BRENNAN) D'you wanna go out sometime? (BRENNAN looks surprised.) SMALLS: Restrain yourself. BOOTH: Nah, she doesn't wanna go out with you. BRENNAN: Let me speak for myself! BOOTH: m*rder suspect, here, Bones. (Cut to a hilariously lecherous facial expression of DANNY's. BRENNAN looks skeptical.) (Medico-Legal Lab; Jeffersonian. The Original Recipe Squint Squad + Cam are in the side room at the lab.) CAM: The wound at the front of the head or at the back? ZACK: Back. ANGELA: Could it be both? ZACK: No. CAM: The blow to the front of the head was from a sharp tool. ZACK: Sharper than round, but blunter than sharp. ANGELA: What? CAM: That actually made sense to me. ANGELA: You two have been spending way too much time together. HODGINS: Can you estimate the amount of force? ZACK: In the back of the head, length undetermined. A width of 3.8 centimeters; approximately a thousand pounds of force. ANGELA: So a lot. HODGINS: (like it's no big deal) Half a ton. ANGELA: Which is a lot. ZACK: That actually isn't very much. ANGELA: All right; now I'm back in a physics class I want to ditch. HODGINS: A boxer's fist can land with double that force. CAM: A big meaty fist in a glove. HODGINS: Yeah, with the force spread out over a hell of a lot more than 3.8 centimeters. ZACK: Correct. It wouldn't take all that much force to crush a skull with this. CAM: So. We haven't eliminated anyone from our list of suspects. Plus, we don't know what that's a cross-section of, and we don't know what caused the damage to the front of the face. (taking in ZACK and HODGINS' nonplussed faces as the Piano Music of Zany Hijinks rears its head on the soundtrack.) What, exactly, made you two come in here crowing "King of the Lab"? HODGINS: (opens his mouth to speak, then closes it and points at ZACK, who stares back at him.) I'm gonna go back and look at very small things under my very large microscope. (HODGINS leaves. CAM glances at ZACK.) ZACK: I can probably identify the type of tool off this cross section. CAM: Do it and call Booth. See if it's of any use to him. (ZACK turns to leave.) ANGELA: (conspiratorially, to CAM.) Boys. CAM: Wow. (Medico-Legal Lab; HODGINS and ZACK's workstations.) HODGINS: (on the phone to BOOTH) I don't have the w*apon, but, I microwaved the fabric samples and used gas sensors to analyze (Slam Bolt Racing; BOOTH and BRENNAN are standing by a yellow and white motorcycle.) BOOTH: (cutting HODGINS off mid-sentence.) Alright, alright; just--let's just cut to the chase, there, okay, Mr. Wizard? (Medico-Legal Lab) HODGINS: (shrugs) I have identified what was on the victim's clothing. (Slam Bolt Racing) BOOTH: Fine. I'll take anything at this moment. BRENNAN: What is it? HODGINS: (through BOOTH's Blackberry) It's toluene. It's a clear liquid used to clean up oil. BOOTH: (agitatedly.) How is that supposed to help us? Every mechanic in the world uses that stuff. (BRENNAN, with a pensive expression on her face, examines a rack against a wall.) I need a w*apon; do you hear me? A w*apon. (Medico-Legal Lab; Jeffersonian.) HODGINS: You know, I'm feeling really underappreciated today. BOOTH: Alright, well, you know what?-- (Slam Bolt Racing) BOOTH: (continued) You can suck it up, buttercup. BRENNAN: Booth? BOOTH: Yah? BRENNAN: (opens the door on a yellow rack of conveniently-labeled chemicals; the foremost container is labeled "Toluene" in larger lettering than any of the other bottles. BRENNAN points at it.) Toluene. HODGINS: (over BOOTH's Blackberry.) It's also excellent for cleaning up blood. BRENNAN: So, if you k*lled someone here, and they bled a lot... BOOTH: (looks over at a drain in the middle of the floor.) The drain...(to an FBI Forensics Technician [Burnadean Jones])Hey, check this drain for blood. (Medico-Legal Lab) HODGINS: Blood suspended in toluene might be testable for DNA. BRENNAN: (sotto voce) Tell Hodgins he did a good job. BOOTH: Tell Hodgins he did a good job, if...(He trails off when he sees blood spatter leading towards the drain by the blue glow of the FBI technician's ALS.) HODGINS: (over BOOTH's Blackberry) I'm waiting. (End Act Two.) (Begin Act Three. BOOTH and BRENNAN are in Dr. SWEETS's office. The bass xylophone and heavy brass sounds of Work-related hijinks are on the soundtrack. BOOTH looks less than happy to be visiting Dr. SWEETS. BRENNAN starts to say something, then doesn't. The awkward silence continues. Finally BOOTH breaks it.) BOOTH: I hate when you do this. SWEETS: Do what? BOOTH: You don't talk. SWEETS: Sometimes you hate when I talk, so it's a double-edged sword. BOOTH: Bones doesn't mind sitting in silence, do ya? BRENNAN: (answering in the negative) Mm-mmm. BOOTH: I hate it. SWEETS: Why do you think that is? BRENNAN: He gets bored. BOOTH: You're right, I do, I get bored. BRENNAN: You should see him on stakeouts; he talks and talks and ---(BOOTH stares at her) Well, it's very interesting! SWEETS: Is it always about work? BRENNAN: Mmm...no. SWEETS: (cocks his head.) You're lying! BOOTH: Aw, c'mon. How do you know that? SWEETS: I have special training in how to tell when people are lying. BRENNAN: Is that true? SWEETS: See, if you were me, you'd know. BOOTH: (stares.) SWEETS: You're lying to protect your partner. I understand that. But let's agree amongst ourselves, that this is a truth zone. (BOOTH groans and pinches the bridge of his nose.) Is something bothering you? BOOTH: It's this whole...going on a date thing. BRENNAN and SWEETS in stereo: No, it's not a date! SWEETS: (continuing) It's a social outing for the purpose of professional evaluation. BOOTH: Come on; ceramics? I'm not that kind of a guy, alright? Whaddaya say we go, y'know, bowling, or to a f*ring range, or climbing a wall? SWEETS: Oh, right. Something you're good at. BOOTH: A movie! Or dinner. Dinner and a movie. Somewhere that I don't have to make something. BRENNAN: (exhales) Oooohhh... BOOTH: What? What oooh? BRENNAN: Well, what Sweets would do in this situation is he'd jump on word usage. He's going to ask you why you're resistant to making. SWEETS: (indignantly) I JUMP on the semantics? (shakes his head) That's a really aggressive turn of phrase. BOOTH: Ha. Thanks for pulling focus, there, Bones. (SWEETS starts to shake his head.) Pulling. Is that an aggressive word too? SWEETS: Okay, what, did you two plan this? BOOTH: It's paranoia! That is paranoia. BRENNAN: Since this is a truth zone, I will tell you the truth. We didn't plan anything. (SWEETS examines her shrewdly and she meets his eyes.) SWEETS: You're telling the truth. BOOTH: He's guessing, Bones. SWEETS: (giddy, like a little kid.) We're going to a ceramics class, and we're all going to MAKE something. Time's up. (Melville Practice Track at Slam Bolt Racing. Motorcycle #38 is rounding a corner as "Get it Right" by Mink plays on the soundtrack. #38, #42, and #1 are all on the track.) BOOTH: (v.o.) Look, Sweets can't really tell if someone's lying. (Cut to BRENNAN and BOOTH walking along a side track.) I'm telling you, he's playing with our minds. BRENNAN: There's an area of study called neurolinguistics which proposes that subconscious eye movements and body language tell a well-trained observer if the subject is lying. BOOTH: Well, I don't believe it. (As they round the corner of a trailer, one can see GARTH JODREY in blurred focus in the foreground.) Ha. I don't believe it. (DANNY is standing by GARTH and LENNY next to the #1 bike.) BRENNAN: Is that Tripp's bike? BOOTH: Hyeah; looks like Danny's gonna finally get what he wants, huh? LENNY: Do me a favor, son. Take it easy, a couple times around, before you blast off, okay? DANNY: I know, Dad. Ease into it. GARTH: Hey, can I get a picture? BOOTH: Yeah, let's get a picture. Look at that. # 1 of the Slam Bolt racing team. You gotta feel good about that. DANNY: I'm not talkin' to you without my lawyer present. (DANNY dons his motorcycle helmet.) LENNY: That goes for all of us. (to DANNY) Look, you, I can replace. Do NOT wreck my bike. (DANNY revs the engine and pops a low wheelie before taking off around the track with a screech.) GARTH: Y'know, Lenny, I'm thinkin' your boy isn't gonna relax into this. LENNY: Well, Danny gets a chance to grab the brass ring, he's gonna take it.(DANNY revs the engine into the curve.) BOOTH: Okay, watch this, Bones, he's gonna decelerate right before the turn and just slingshot right through it. BRENNAN: I don't see the deceleration part. (Something is clearly wrong with DANNY; the bike begins to shake and then to bank heavily right, then heavily left.) LENNY: No, no, no! (DANNY's last bank turns into a wipeout in a shower of sparks as he scrapes across the track. He's thrown free of the bike; however, it explodes in a ball of flame that engulfs him. GARTH, ever the photojournalist, continues snapping pictures as BRENNAN and BOOTH run towards DANNY. LENNY merely stares catatonically.) SAFETY CREWMEMBER: He's down! Come on, let's get in there. PHILIPPA: (was watching from her car; she sprints to where DANNY is on the track) No! NOOO!!! No! No! (LENNY sinks to his knees as PHILIPPA grabs him by the arm. DANNY and the BIKE have now become separate fireballs as the Plinky Piano of Loss plays on the soundtrack and two f*re-extinguisher bearing members of the Slam Bolt safety crew come running up.) PHILIPPA:Not Danny. (In the corner of the sh*t, GARTH appears to be classily photographing PHILIPPA and LENNY's reaction.) BRENNAN: (on her cellphone) Yes, we're at the Melville practice track on Highway 64. Send an air ambulance now; there's been a motorcycle accident. (End Act Three.) (Begin Act Four; interior sh*t at the Slam Bolt Garage. An FBI forensics team is photographing the charred remains of the bike; to the left of the sh*t, FBI Motor Tech OPAL WARNEKE [Darlena Tejeiro] is feeding data into a computer.The Sad Piano of Loss is still playing on the soundtrack. PHILIPPA walks through the garage.) BRENNAN: (to PHILIPPA) Where's your father? PHILIPPA: He's at the house. He's already had two heart att*cks; he doesn't need to be here for this. OPAL: Seems like a crime to mess up such a sweet bike, huh? BOOTH: Yeah, a crime, like m*rder. OPAL: (backtracking) Right. I..I just meant the bike itself, it's... BOOTH: No, I get it. You like bikes. OPAL: (pointing to a part she has in her hand.) These rotors are laser cut and honed. Very exact. Bend one just a little, and when this baby gets to speed the rotor hits a brake pad. Separates a little farther, and the next thing you know... BRENNAN: Yes. We saw. BOOTH: So it couldn't have been an accident... OPAL: You mean oops, I accidentally stuck a piece of metal through this little tiny hole and pushed it with all my might? BRENNAN: So anyone could have done this? OPAL: Anyone who's familiar with motorcycles. And was a k*ller. PHILIPPA: Why would anyone want to k*ll Danny? BRENNAN: (takes PHILIPPA by the shoulder and walks her away.) You can't be near the evidence. I'm sorry. BOOTH: (to OPAL) See what else you can find, will ya? OPAL: (nods.) (Medico-Legal Lab; Jeffersonian. HODGINS is adding a few drops of the reagent Eugenol to the tip of a cotton swab.) HODGINS: Recovering ink traces on plastic and polymers is problematic, so, I am using a new technique. A little of the reagent Eugenol, and (He holds the plastic piece [the melted Sharpie from the sifting-the-mud scene] under a blue light, revealing the letters "EE S APERS DO CO") Voila. E-eh say-pers doh coh. ZACK: Does that mean anything to you? HODGINS: Korean restaurant? ZACK: Unlikely. There are obviously missing letters. We need to place the consonants most likely to appear with this configuration of vowels. And vowels to consonants. HODGINS: That is an enormous amount of variables, Zack. ZACK: Shh...Lee Snappers Doll Company. HODGINS: Don't think so. ZACK: Free Newspapers Dot Com. Keen Snappers Don't Come. HODGINS: Definitely not. ZACK: Knee Scrapers Dot Com. HODGINS: Oh my God. That's it. Motokneescrapers.com . How'd you do that? ZACK: Process of elimination? You realize I have no idea what it means. HODGINS: It's the website run by the journalist that Tripp put in a wheelchair. ZACK: So this man's pen was found on the m*rder victim. HODGINS: Or, it fell in the mud when the body was dumped. (Exterior sh*t of the Capitol, for no apparent reason. When we fade up, BRENNAN is in Ceramics Class with BOOTH, SWEETS, and his girlfriend, APRIL PRESA [Senta Moses], smiling as the pot she is throwing begins to take shape.) BRENNAN: I'm enjoying this. The last time I threw pots I was in Colombia with the Auroco Indians. BOOTH: (griping) Last time I did something like this, I was in nursery school. APRIL: (laughs) Well, we love it. Don't we, Lance? SWEETS: (smiles, forcedly) Yes. BOOTH: Well, I love my work, but I'm not going to talk about that right now, even though we think a paraplegic k*lled Tripp Goddard. APRIL: That sounds fascinating. SWEETS: April? APRIL: Oopsie! (forced giggle.) BRENNAN: (changing the subject) Dr. Sweets says that you work with tropical fish. APRIL: Yes, I love fish. They're just like people. BRENNAN: No, no they're not, actually. People can't breathe underwater. APRIL: (starts laughing.) She's funny. BOOTH: (snickers along.) BRENNAN: I am? What? Why is that funny? BOOTH: I don't think she meant that literally, Bones. BRENNAN: Oh. APRIL: It's their eyes. You can tell so much from eyes. BRENNAN: The retinal scan is as specific as a fingerprint. APRIL: No, no. Their souls. You can see their little souls. BRENNAN: I don't understand. You believe that fish have souls? APRIL: Yes. You can see it in their coloring; it's a reflection of who they are. BRENNAN: (still confused.) Their coloring has developed over millennia as a way to deal with predators. SWEETS: (To BRENNAN and BOOTH) April just means they're beautiful. APRIL: Don't tell me what I mean, Lance. I mean they have souls. SWEETS: Ah, okay. BOOTH: Hey, look what I'm makin'! (BOOTH proudly spreads his hands to reveal that, where APRIL, SWEETS, and BRENNAN have been using pottery wheels to throw similar thin-walled pots, he has constructed the beginnings of what looks to be a well-detailed carousel horse.) BRENNAN: You've done this before. BOOTH: (modestly) Nah... BRENNAN: You have. BOOTH: You really think that's good? BRENNAN: Yes, very. SWEETS: Yours is good too, April. APRIL: I'm not talking to you. SWEETS: (snickers nervously) APRIL: You think that's funny. BRENNAN: (stage whispers to BOOTH) Are they fighting? BOOTH: Just focus on your pot there. SWEETS: I'm with patients, April. BOOTH: Nope, no patients tonight. Just us people makin' pots. APRIL: You can't apologize for me, Lance. SWEETS: Can we please just move on? APRIL: No. It just-- I meant that, I believe that all creatures, people, fish, dogs, we're all connected. We all share the same stuff that makes life so beautiful and precious. BRENNAN: On a quantum level, that's true, although the word stuff is not accurate. APRIL: (smiles gratefully at BRENNAN, then, snidely, to SWEETS) See? (she slams a towel down on the table.) SWEETS: What? I have great respect for your fish. Admittedly, I might relate to other things more. APRIL: He kills about a thousand people a night. SWEETS: Yeah, in a video game, April. They're not real. BOOTH: Hey, Sweets, your thing there's droopy. (SWEETS's tall pot is starting to collapse like the Leaning Tower of Pisa.) SWEETS: (looks upset, then sighs.) BOOTH: Look at my horse! APRIL: Wow. SWEETS: That's amazing, Agent Booth. BOOTH: (makes horse-like noises as he moves the horse up and down as though it's galloping.) BRENNAN: Very impressive. BOOTH: Yes, it is. (BOOTH picks a stray piece of clay off the back of the horse and goes to flick it away; it strikes BRENNAN in a fairly personal region and she gasps.) Bones, I'm sorry. (BRENNAN slings back a lump of clay.) Ooh! Jeez! (BOOTH throws back a lump, and it destroys the top part of BRENNAN's pot. BRENNAN pouts.) Hey, Sweets, I apologize. (BOOTH begins breaking off more pieces of clay to sling at BRENNAN) This whole ceramics thing is GREAT! (SWEETS gets a big smile on his face.) SWEETS: (As BOOTH and BRENNAN continue to laugh, SWEETS breaks off a piece of clay and lightly tosses it at APRIL. She, in turn, grabs a handful of slip [clay with a liquid consistency] and slings it in SWEETS's face, even getting some on his teeth. It's very ugly. SWEETS tries to play it off with a nonchalant laugh.) Yeah, this is fun. (When BRENNAN has figured out what just happened and you're still trying to play it off, you're in trouble, dude.) (Random exterior nighttime sh*t of the Washington Monument with Dupont Circle behind it, and a sh*t of sunrise behind the Capitol building.) (BOOTH's car; daytime.) BOOTH: I tell you one thing, Sweets didn't get any last night. BRENNAN: They're too young to be in a serious relationship. In agrarian societies, young couplings made sense; the partnership was for survival, but today... BOOTH: You know, you can play the field and not plow it. BRENNAN: That was distasteful. BOOTH: What? BRENNAN: I like April, though. BOOTH: She talks to fish, okay? I'm with Sweets on this one. BRENNAN: (gives BOOTH a look. BRENNAN's phone rings as BOOTH comes to the not-at-all inaccurate conclusion that his comment might've pushed the boundaries of decency. She answers the phone.) (Medico-Legal Lab; Jeffersonian. Room with all the drawers.) ZACK: Hey, it's Zack. (BOOTH's CAR) BRENNAN: Hi, Zack. (BRENNAN punches a button on the phone and puts it on speaker.) (Medico-Legal Lab) ZACK: The prybar from the garage is not the m*rder w*apon. It's a prybar like this one, but not this one. The deep parallel grooves on the interior border are not a match. BOOTH: What about the blood? HODGINS: Apparently, the toluene--- (BOOTH's CAR) HODGINS: (over speakerphone, continued) caused a false positive. BRENNAN: What about the vertical fracture on the frontal suture? BOOTH: (pleased with himself and seeking approval) That's the forehead. BRENNAN: (looks at him strangely) HODGINS: Yeah, I did another scraping of the fracture and I found a sliver of glass with-- (Medico-Legal Lab) HODGINS: (continued) --a mastic film on it. The mass spec shows it as a nitrate of silver, so I think we're looking for some kind of mirror. BRENNAN: Good! Thank you. (BOOTH's SUV pulls up to a wooded area.) OPAL: (v.o.) Found it-- (We now see TRIPP's TRUCK, as OPAL lifts the crime scene tape surrounding it.) OPAL: --early this morning. No way of knowing how long it's been here. My guess is it was stolen, driven around some, then stripped for parts. BRENNAN: VIN number matches? OPAL: Oh, it's the victim's truck, all right. (Conspiratorially, to BRENNAN) Hey, I gotta tell you, I love working this one. I'm usually looking over some battered old heap for evidence, but the vehicles on this case (she exhales appreciatively) they are sweet. BOOTH: You got anything else for me? OPAL: Ah, they're testing mud on the bottom of the vehicle on the chance it might match where the victim was dumped. BRENNAN: Pry bar. BOOTH: Huh? BRENNAN: Pry bar. OPAL: Yup. Covered in blood. I blame the Stooges. BRENNAN: Excuse me? OPAL: The Three Stooges. They're always bashing each other in the heads with hammers and bricks and stuff, and never got hurt. People think they can do it too. BOOTH: Yeah. Thanks for that. OPAL: All I'm saying is that killings like this are Stooge-related. BRENNAN: Booth... BOOTH: Yeah? BRENNAN: Side mirror. (They both approach the truck.) Long jagged edge. He was standing by his truck, someone came up behind him and h*t him with a prybar. BOOTH: Falls forward into the mirror. BRENNAN: Fracturing his frontonasal suture. OPAL: Huh? BRENNAN AND BOOTH: Forehead. BRENNAN: Booth, this suggests only one assailant. BOOTH: Can we get some lumino; check the mirror for blood? OPAL: Well, we're not hurting for blood around here. (She walks to the truck's in-bed storage container, which she pops open to reveal that it's streaked with blood.) BOOTH: Oh, jeez. Whoa! Whoa. OPAL: Don't need any luminol for this. BOOTH: So he was k*lled, loaded in the box, driven to the mud, and dumped. BRENNAN: That's physically impossible for a paraplegic to do. BOOTH: It's only one m*rder; it wasn't Garth. Do we have any prints? OPAL: Just the victim's, but we did find some hair in the box where the body was placed. (An FBI Forensic Tech hands her a bag with the hair in it.) It's dyed. We're checking for the exact brand and color. BRENNAN: The roots are gray...it's short. BOOTH: Lenny Fitz...dyes his hair. BRENNAN: Why would Lenny k*ll his most valuable rider? (End Act Four.) (Begin Act Five. FBI Interrogation room. LENNY is massaging his forehead, accompanied by his attorney, SMALLS.) SMALLS: I'd like the record to reflect that my client has been drinking. LENNY: That's an understatement. SMALLS: And that he's rejecting my advice not to speak to you at this time. BOOTH: Did you drink a lot there, Lenny? Maybe out of guilt? LENNY: I lost a son, Agent Booth. A son. So excuse me for feelin' bad about that, all right? BRENNAN: Do you mean your biological son, or Tripp Goddard? LENNY: Lady, I loved Tripp Goddard like a son, but Danny--Danny was my son. There's a difference. SMALLS: I'm confused. Is my client a person of interest in this, or an actual suspect, and in which death? BRENNAN: Well, that depends upon whether or not the same person k*lled both Danny Fitz and Tripp Goddard. LENNY: You can't honestly think that I k*lled either one of them! BOOTH: Well, we found Tripp's truck. LENNY: Where? BOOTH: Clearing in Jackson State Park. BRENNAN: Forensic evidence shows that Tripp was m*rder in the mechanic's bay and his body was transported in his own truck. SMALLS: What's that got to do with my client? BRENNAN: There's forensic evidence tying him (indicating LENNY) to the body. SMALLS: (disdainfully) What you got, a nail clipping, a piece of dried snot, a hair? BOOTH: No, we've got forensic evidence. SMALLS: Lenny, when was the last time you saw Tripp? LENNY: I told you, at the victory party. SMALLS: You shook hands with him, sat next to him at the bar, didja make out a little? LENNY: I hugged him. SMALLS: Any other questions about how trace evidence from my client may have wound up on Tripp's remains? BOOTH: Just hold him on suspicion; that's all. (BOOTH and BRENNAN rise to leave.) LENNY: Look, I didn't k*ll Tripp! SMALLS: I can get a court order to release him in less than an hour. LENNY: Look, why would I k*ll someone I just signed a business deal with? BOOTH: Wait, you---you what? SMALLS: Mr. Fitz signed ten percent of his company over to Tripp. BOOTH: You mean the motorcycle team. SMALLS: No, Mr. Fitz means the beverage company. BRENNAN: Slam Bolt Energy Drinks? (SMALLS nods.) Why offer so much? LENNY: Because he was the best. SO I offered him a piece of the business, as an incentive to race exclusively for Slam Bolt. SMALLS: And everybody's happy. BOOTH: Who isn't happy? LENNY: Every other motorcycle team. BRENNAN: Did Tripp Goddard sign? LENNY: I only got him the contract that night. SMALLS: And then hugged him. BOOTH: So you signed it, but he didn't. SMALLS: We don't know. (pauses, during which the Heavy Piano of Plot Import kicks up again.) You haven't found the contract, have you? (BRENNAN looks up at BOOTH, who is standing.) BOOTH: We'll be in touch. (BRENNAN stands and they both leave. LENNY buries his face in his hands.) (Exterior sh*t. BOOTH's SUV drives by a government building with Corinthian columns.) BOOTH: (starts out in v.o.) Sexual jealousy as a motive didn't pan out, professional jealousy was looking pretty good.... BRENNAN: Until Danny was k*lled. BOOTH: But money, that's always good. BRENNAN: (exhales) How much money? BOOTH: Well, company like Slam Bolt? Millions is my guess. BRENNAN: Tripp Goddard could've been att*cked by more than one person; the skull shows that as a possibility. BOOTH: No changies, Bones. Prybar to the back of the skull, mirror to the face, no takebacks, one k*ller. BRENNAN: I'm just saying that maybe Philippa and Danny didn't like it when their father signed over a chunk of their family company to Tripp Goddard. BOOTH: Well, it's a good business decision. (off BRENNAN's look) Look, Garth wants Tripp d*ad for puttin' him in a wheelchair. Philippa wants Tripp d*ad for grabbing up a hunk of her father's company. BRENNAN: Two K*llers again? You said no changies and no takebacks. BOOTH: It doesn't scan. You know, ah...why would either Garth or Philippa want Danny d*ad? BRENNAN: You're the motive guy. BOOTH: Look, we found Garth's "knee scrapers" pen in the mud... BRENNAN: No, that doesn't prove anything. He gave them out to everybody. BOOTH: (scowls) It's...it's right here, Bones, it's right in front of us...but I just--can't get it. BRENNAN: That whole business with changies and takebacks --that's not real, right? BOOTH: No. (BRENNAN glances in a variety of directions. BOOTH looks over at her.) But I have another question. BRENNAN: Is there anything more we can learn from the m*rder w*apon? BOOTH: No, that's a you question. My question is, how did the m*rder know about the secret mud hole. (BOOTH's OFFICE. TIM is sitting in front of Booth's desk, on which a Philadelphia Flyers candy jar and a Pittsburgh Steelers coffee mug are sitting.) TIM: Look. I know I was breakin' the rules when I drove my truck on national park land. But, I mean, this girl...Didn't you see her? BOOTH: (is lining up a putt on his mini-golf set.) I really don't care about that. TIM: Come on, man, have a heart! BOOTH: Look, I got it about the girl the minute I saw her, okay? We all do things..(he putts) for the girl. TIM: So what do you need to talk to me for? BOOTH: I need to know how you found out about that mudhole. TIM: Oh. BOOTH: Oh, what? TIM: I don't wanna be a rat, you know? BOOTH: Look, sport, I don't care about the girl, or the mud, or the four-by-four, okay? Hardly anyone knows about that place and someone dumped a body there. TIM: (reluctantly) My friend told me about it. BOOTH: I need a name. TIM: He didn't do it; he's in a wheelchair. BOOTH: Your friend's name Garth Jodrey? TIM: How'd you know that? BOOTH: (points to his nameplate on his desk) Special Agent Seeley Booth. (with emphasis) Special.(He claps TIM on the shoulder.) (Jeffersonian, exterior sh*t. Day.) ZACK: (v.o.) This is the shaft-- (Interior, Medico-Legal Lab. Platform. We are focused on the prybar.) ZACK: (continued)--of the prybar. It's made of tempered steel with a shiny chrome covering. BRENNAN: The m*rder w*apon we found on Tripp's truck. ZACK: Yes. As you can see, the chrome is compromised. (perplexed) Putting chrome on a prybar is not a good example of functionality. ANGELA: (shrugs) Maybe it was decorative. HODGINS: (looking at the magnification on a video monitor.) Those're blood flecks. BRENNAN: From the victim? HODGINS: We have no way of knowing until DNA tests is done. ZACK: The blood flecks begin approximately 25% of the way up the handle. BRENNAN: What does that indicate? ZACK: I have absolutely no idea. ANGELA: Oh, come on! Choke? (off the dumbfounded looks from HODGINS, ZACK, and BRENNAN.) Didn't anybody play softball or baseball? (ZACK shakes his head no.) Okay. (She picks up a similar prybar, and demonstrates the grip by holding the bar first by its handle, then by moving her grip upwards.) It's a choke-up. HODGINS: (catching on) For somebody not strong enough to swing the entire length of the bat, of course! It's a choke-up. (BRENNAN continues to look lost.) ZACK: (using the English-to-Brennan dictionary) To forshorten the fulcrum. BRENNAN: Yes, I see, because the m*rder was weaker than the full-grown male human for whom the prybar was designed. ANGELA: Right, like a girl. Now, when I batted, I always had to choke up.And of course, I kicked ass. (She grins.) HODGINS: Sweet. BRENNAN: I'll have Cam check the DNA. (BRENNAN turns and leaves, to the accompaniment of a kicky musical sting.) (BRENNAN's office. We pan in from behind BRENNAN's tropical fish t*nk, to see BRENNAN sitting at a table. APRIL walks in.) APRIL: Excuse me. Temperance? BRENNAN: April, hi. APRIL: I, uh...wanted to talk to you, woman to woman, if that's possible. BRENNAN: It is possible, because we are both women. APRIL: (smiles slowly, then sits down at the table. She then stands back up.) Seeing you the other night, it made me realize that you have a very objective eye. BRENNAN: Thank you. APRIL: And you got to see Lance and me together, and I wonder if--if you might tell me what you think. BRENNAN: Could you be more specific in the question? APRIL: Oh. (sits down, breaths in heavily, then exhales.) Fish. Fish choose their mates based primarily on color gradations. Two gouramis, for example, one male and one female? They'll mate if they're both vibrant blue. Now, if the male becomes paler, which can happen over the course of time, the female becomes nonreceptive to the male, even aggressive--do you see where I'm going with this? BRENNAN: Sweets is too pale. APRIL: Yes. But let's say young, instead of pale, and go with that. BRENNAN: Is there an age difference? APRIL: (scoffs) Yeah. I'm almost 27, and Lance just turned 23. (pauses) What's the age difference between you and Booth? BRENNAN: Ah, five years, but no, we are not blue fish. APRIL: (gets it, and nods.) But still. He's very firm once you get him out of that suit, but ... BRENNAN: A pale blue. APRIL: Robin's-egg, really. (on the verge of tears)...And I'm a vibrant, vibrant cobalt.(pulling it together) Not literally, I mean, we're both mostly pink, in reality. BRENNAN: No, I understand. APRIL: (back to verging on tears, querulously) Did we seem good together to you? BRENNAN: April, it was--only one evening. APRIL: (nods) CAM: (leans in the door of BRENNAN's OFFICE) We got the DNA results from the m*rder w*apon. BRENNAN: (to CAM) Sex? APRIL: (tearily) Oh, it was much more than adequate, it was wonderful, really. (APRIL sniffs. Closeup on CAM's hilarious "WTF?" face, and CAM walks into the room.) I mean, he's a nighttime person and I'm most...enthusiastic in the morning, but that's not the problem. (CAM is right next to APRIL before she notices.APRIL looks up, and CAM gives her a cheshire-cat smile.) Oh.Sorry! You're--you're talking about work. (She makes a "locked-up-my-mouth-and-threw-away-the-key" gesture.) CAM: DNA says the m*rder's female. (Stunned, BRENNAN opens the file folder.) (FBI Interrogation Room. BOOTH and BRENNAN are questioning SMALLS and PHILIPPA.) SMALLS:(v.o.) Excuse me, we're here about a mud bath? BOOTH: No, we got a sworn statement here from Garth Jodrey that Philippa Fitz took him to the mud hole three years ago. BRENNAN: To have sex. BOOTH: The same mudhole that Tripp was dumped in. PHILIPPA: I could give you a sworn statement that Garth took me to that mud hole. BOOTH: Oho, I slid that one right by her. PHILIPPA: What? SMALLS: You just admitted that you had prior knowledge to the location of a mud hole. BRENNAN: No changies. BOOTH: No takebacks. SMALLS: Answer nothing without prior confirmation from me. BOOTH: You k*lled Tripp because your father was about to sign the company over to him. PHILIPPA: What? SMALLS: Don't respond in any way. BOOTH: We have DNA evidence that shows that you swung the prybar into Tripp's head. SMALLS: According to the forensic report, the sample was very small, and was totally used up during the course of the test. BRENNAN: It's an accurate test. SMALLS: But it can't be repeated. And my client has a twin brother. Juries hate DNA evidence and twins. What's that sound? I believe that's reasonable doubt startin' its engines. BRENNAN: We have evidence that the same prybar was used to sabotage Tripp's motorcycle. SMALLS: A common tool left in a semi-public area? In a situation that could have arisen from incompetence rather than sabotage. BOOTH: (to PHILIPPA) You sabotaged the bike to k*ll Tripp, but he signed the contract before he could ride the bike and die the way he was supposed to. BRENNAN: So, you k*lled him with a prybar, loaded him onto his own truck, and dumped him in the mud puddle. BOOTH: Everything was great until your brother rode the bike that you sabotaged. PHILIPPA: You don't ride someone else's bike; Danny knew that! SMALLS: Philippa... BRENNAN: You k*lled him. Accidentally, but you did k*ll him. PHILIPPA: I loved my brother... SMALLS: Don't speak, please. (to BRENNAN and BOOTH) Are we free to go, or would you like to waste some more of the taxpayers' money? BRENNAN: She did it! SMALLS: You may get a prosecutor to lay a m*rder charge, but a jury will never bring home this baby the way you want it to. BOOTH: You're right. But, I'm still gonna make the arrest. SMALLS: To what end? You can't win! BOOTH: We let everybody know what Philippa did, including her father. PHILIPPA: (sobs.) BRENNAN: (brings BOOTH a cup of coffee in the conference area of the lab.) I'm okay with what you did there. BOOTH: Mmm...yeah, thanks a million, Bones. BRENNAN: Don't get mad; I'm just saying that, I just like it better when we catch 'em, and they go to jail. BOOTH: Yeah, well, sometimes it can get messy, Bones, but the point is, it gets done. BRENNAN: This one started out in a bit of mud and ended in a bit of mud. BOOTH: (laughs) That's very damned poetic of you. (A moody guitar begins to play as SWEETS enters the conference area, looking all forlorn.) SWEETS: Oh, hey guys. I didn't know you'd be here. BOOTH: Whaddya think, Bones? BRENNAN: He's lying. (to SWEETS) Do you wanna sit down? SWEETS: (shakes his head no.) Not really. BOOTH: Lying again. BRENNAN: (gestures with her head that he should join them.) C'mon. Sit down. SWEETS: Okay. BOOTH: April dump you? BRENNAN: How did you know that? BOOTH: He's got that "dump-ee" look on his face. SWEETS: (sighs) I'm a trained psychologist. I mean, I saw this coming; it's not like the signs eluded me. So I prepared myself ment*lly for it, and BOOTH: Hey, Sweets...Bones and I, we're going bowling tonight. BRENNAN: (playing along) Yes, yes, bowling. You know what, you wanna come? To go bowling with us at the bowling rink? BOOTH: Alley. BRENNAN: Bowling alley. The bowling alley. SWEETS: You know, fish aren't actually sentient. There's a reason people say "cold as a fish." (BOOTH and BRENNAN nod sympathetically.) Me? I'm a dog person. I think that has meaning. Don't you? BRENNAN: Sure... SWEETS: (in little-boy voice) Do you think April was pretty? BRENNAN (looks to BOOTH for what she should say; he shakes his head no.) Not at all. SWEETS: You're lying, Dr. Brennan. I appreciate the effort; thank you. BOOTH: (grabs the back of SWEETS's rolling chair.) Come on, Sweets, whaddya say we go bowling? (to BRENNAN as he drags SWEETS's chair out of there.) I got him, c'mon! SWEETS: (over BOOTH) Nah, that's alright... BOOTH: C’mon! END

{"type": "series", "show": "Bones", "episode": "03x10 - The Man in the Mud"}

foreverdreaming

"Player Under Pressure" Episode 2x19 Written By: Janet Tamaro Directed by: Jessica Landaw Transcribed by: vanima_luhta Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Atlantic State University gymnasium. Brennan and Booth exit the car amid the flashing lights of police cruisers.) BRENNAN: Wow. I guess there’s life on this campus after all. BOOTH: Oh what? You’ve been here before? BRENNAN: I guest lectured last year. Forensic science majors. Four students showed up. Just four! BOOTH: Four? What was your topic? BRENNAN: Dimorphic distinctions within the human thoracic cavity. BOOTH: Boy, and just four whole people showed up, huh? (Brennan gives Booth a look.) BRENNAN: The dean blamed it on some game halfway across the country. BOOTH: C’mon, this is Atlantic State University, home of the Jaguars. Okay, other than sex and beer, nothing is more important to these kids than their basketball team. BRENNAN: What about academics? BOOTH: Tell you what, you bring your little, uh, didactic thoracic, uh, speech here any other time of the year and, uh, you’ll draw maybe five, five and a half easy. BRENNAN: Dimorphic, not didactic. (Booth and Brennan enter gymnasium.) (Cut to: Inside of gymnasium, the bleachers are being rolled out.) FBI AGENT CARLIE BURNS: Student employee named Justine Berry opened up the practice gym. Campus police called us because they didn’t know what to make of what they found. BOOTH: (slaps the other FBI agent on the back) Yeah, I got it. (Chief Jack Cutler approaches.) FBI Special Agent Seeley Booth, that there is uh, that’s Dr. Brennan. CUTLER: Chief Jack Cutler, campus police. Justine was opening up the gym after the four day weekend. (Brennan, Booth and Cutler approach a gothic looking student.) BOOTH: You work here Miss Berry? JUSTINE: What the hell? You know what I mean? BRENNAN: Not at all. JUSTINE: Second I unlock the door, the smell just... (Looks to Culter) right? (Brennan, Booth and Cutler walk toward the back of the bleachers.) CUTLER: The bleachers fold out. You need a key to open or shut them. Whatever got caught back here, it sure as hell ain’t an animal. BOOTH: Whoa, it? BRENNAN: Sounds interesting (Cut to: Brennan and Booth entering the back of the bleachers.) BOOTH: Oh, hey. Y’know, last time I was under the bleachers, I was, uh, getting ready to smoke a cigarette and make out with Vanessa Taylor. (Brennan pulls on some gloves.) BRENNAN: I didn’t know you smoked. BOOTH: Eighth grade, Bones. Huh? C’mon, didn’t you ever get naughty with a jock under the bleachers? BRENNAN: Wait. You were a jock? BOOTH: Well, you know you had to be one if you wanted to make out with Vanessa Taylor. (They come upon a mass of liquefied remains over which flies are buzzing and maggots are crawling. It is a body that was clearly squished beneath the bleachers into a grate in the wall.) BOOTH: What is it? BONES: Male. (Sniffs) Smell that? BOOTH: You’re kidding. BONES: Well, I don’t mean decomp. Alcohol. BOOTH: Vagrant passes out by the heating grate and somebody closes up the bleachers. (A squeaking sound and movement come from the deceased’s clothes.) BOOTH: Whoa! (Steps back quickly.) BRENNAN: (Smiling, she lifts a rat by its tail.) That would account for the accelerated decomp. BOOTH: (Whistles.) BRENNAN: (Pulls back some of the clothing.) And the babies. BOOTH: Baby rats? BRENNAN: Yeah. We’ll need them. BOOTH: ‘Kay, um. Yeah, uh. Chief Cutler, you got a rat carrier? (Cut to: Chief Cutler at the end of the bleachers.) CUTLER: Yeah, I’ll find something. BRENNAN: We’ll need the floor. (Cut to: Booth’s look of disbelief.) BOOTH: The floor? BRENNAN: And whatever got pushed through that grate. CUTLER: (Approaches with a gym bag.) Here you go, this do? BOOTH: Yeah, that’ll be great. Just put that rat there in the rat motel and we’re good to go. BRENNAN: We’ll need to take the pinkies or they’ll die. BOOTH: Yeah, cause the world needs more rats. (Looks at the ring on Cutler’s finger.) Eighty-two Champs. Eighty-two Champs? Let me see that ring. (Looks at it more closely.) Wait a minute. Chief Cutler as in Jack "Cutter" Cutler? CUTLER: Yeah, haven’t heard that one in a while. BOOTH: Ha! Bones! You’re looking at the star point guard for one of the best college basketball teams, ever! BRENNAN: Huh. BOOTH: Drafted by the Detroit Pistons. CUTLER: Knees blew out. Ended my career. BRENNAN: (Picks up a chain off the deceased.) Booth. BOOTH: Yeah? (Looks down at the chain, a number eleven dangling from it, then looks to Cutler.) Eleven. CUTLER: (Shaking his head.) Oh my God, no. BRENNAN: What? BOOTH: Hey, did he wear one of these? CUTLER: He never took it off. BRENNAN: Who? BOOTH: R.J. Manning. He’s one of the best college forwards in the conference. I mean, he was destined to be the number one pick. BRENNAN: I don’t know what that means, but if this is Manning, that’s not going to happen. (Astonished looks pass between Booth and Brennan before cutting to the remains where flies continue to buzz.) ACT ONE (Cut to: Medico-Legal Lab- platform. Zack and Brennan conversing. Hodgins and Cam examining remains.) ZACK: Eight seconds for the bleachers to close? BRENNAN: According to the Chief of campus police. ZACK: I don’t think the victim was k*lled by the bleachers. HODGINS: What do you mean? Dude’s an accordion. CAM: Well, what k*lled him if it wasn’t the bleachers closing? ZACK: The skull shows evidence of powdering. BRENNAN: Crushing would snap the bone. Multiple strikes lead to powdering. ZACK: But, it is possible that the skull being forced through the grate caused the powdering. We’ll know more after the skull is reconstructed. HODGINS: Man, the Jaguars will not be the same without R.J. Manning. ZACK: Thirty plus points in his last five games. Forty plus in the last three. BRENNAN: Ugh, not you guys, too. HODGINS: Hey, R.J. Manning was going to be the next Kobe Bryant. CAM: That explains why every news source in town wants to confirm his death. BRENNAN: The ancient Greeks chased a ball made of animal skin wrapped around seeds. But that was a fertility rite played in the nude. HODGINS: Nude? Count me in. ZACK: I tend to look better fully clothed. BRENNAN: (Examining the skull.) Both central and lateral maxillary incisors are implants. ZACK: (Nodding.) That’s a match. BRENNAN: (Looks from the screen where Manning’s picture is displayed to the rest of the group.) It’s Manning. CAM: I’ll inform the press. (Cam exits.) BRENNAN: Zack, your priority is to classify the skull fractures. HODGINS: (Chuckling.) Dude, you’re not going home for days. (Zack gives Hodgins a dirty look.) BRENNAN: The victim’s clothing and the chunk of floor should keep you pretty busy, too, Dr. Hodgins. (Hodgins looks humbled.) (Cut to: FBI Building- Conference Room. Brennan and Booth sit across the table from R.J.’s sisters, one called Kamaria, and George Francis.) KAMARIA: (Clearly upset.) Sure it’s R.J. and not just somebody wearing his medallion? BRENNAN: We matched your brother’s dental records. GEORGE FRANCIS: That means it’s, it’s definitely R.J., Kamaria. BOOTH: Are you R.J.’s lawyer? FRANCIS: No, uh well, you could probably say that. I’m uh, I’m alumnus of Atlantic State. Um, what I do now is I volunteer my time to help the team with their finances and their scholarships, living arrangements. BRENNAN: Did you all live together? KAMARIA: No, R.J. lived on campus. But he still takes care of me and my little sister. FRANCIS: Their parents passed away two years ago. KAMARIA: We lived on R.J.’s scholarship and Mr. Francis got me a good job downtown. (Cut to: Family picture of R.J., Kamaria and their little sister.) BOOTH: Yeah, R.J. ever mention any trouble in his life lately? Arguments? KAMARIA: (Shakes her head.) Only... (Looks to Francis who nods.) FRANCIS: No, it’s okay, it’s okay. KAMARIA: He had a fight with Mr. Francis. BOOTH: Why did R.J. strike you? FRANCIS: I dunno, he was an exhausted 20 year old man and I was treating him like a kid. (Shrugs) KAMARIA: R.J. loved Mr. Francis. We all do. You can ask R.J.’s girlfriend. FRANCIS: That’s Dallas Verona, she’s a cheerleader. Uh, also you know you should talk to Coach Morse. They were the two people closest to him, other than his family. (Booth and Brennan look at each other.) (Cut to: Medico-Legal Lab. Hodgins is trying to stretch a turkey carcass over a replica of a human skull. Zack is looking over his shoulder.) HODGINS: Dammit. I should have gotten a bigger turkey. Do you have a smaller skull? ZACK: Do I have a smaller skull than whom? HODGINS: (Exasperated.) I meant is there a smaller skull we can wrap in this turkey carcass. (Cam enters.) CAM: Boys, this better be good. ZACK: It’s going to take me a very long time to reconstruct R.J. Manning’s skull. In order to discover whether he died from multiple blows... HODGINS: Which suggests m*rder. (Speaking as he puts the turkey covered skull in a machine.) ZACK: Or if the skull was crushed through the heating grate, just like this one... HODGINS: We covered a skull with turkey meat. ZACK: I calibrated the pounds per square inch from the closing bleachers. HODGINS: And we filled the skull cavity with a gelatinous matrix. CAM: (Nods.) Okay, turn it on. (They all put on safety goggles and Hodgins rubs his hands together before turning on the machine. Hodgins and Zack bend down to watch the turkey come through the grate. It explodes and the gelatinous matrix splatters them in the face.) CAM: (With gelatinous matrix on her face and in her hair.) By gelatinous matrix you meant ambrosia salad? HODGINS: Gelatinous matrix sounded better. ZACK: (Zack inspects the remains of the turkey and skull replica.) There’s absolutely no sign of powdering here. HODGINS: Then R.J. Manning was k*lled by multiple strikes to the head. (Zack nods. Cam nods and wipes some of the ambrosia salad from her chin, shaking her head as she exits.) (Cut to: Booth and Brennan in the car, conversing.) BOOTH: I tell you, George Francis does not care about that family. BRENNAN: Kamaria seemed to like him. BOOTH: Yeah well sure, because he paid the rent and made her brother a star. But, you know, he’s got a whole other agenda. BRENNAN: How do you know? BOOTH: ‘Cause, I was a college athlete. Guys like that, they’re always buzzin’ around campus. BRENNAN: Why? BOOTH: Why? Cause there’s millions of dollars at stake. BRENNAN: For bouncing a ball? BOOTH: Yeah, all that bouncing, you know, translates into dollars. From TV rights, revenue shares, uh, tournament fees. BRENNAN: Well, I don’t understand what’s interesting about it. BOOTH: Well, unlike you, most people enjoy a pastime that, uh, takes them out of their head. BRENNAN: Takes them out of their head, like drugs and alcohol. (Booth looks annoyed and Brennan’s cell phone rings.) BRENNAN: Brennan. (Listens to the other end of the line for a moment then turns to Booth.) Hodgins and Zack proved that R.J. was m*rder. BOOTH: m*rder. (Cut to: ASU gymnasium. The basketball team is listening to Coach Morse. Brennan and Booth stand to one side, listening.) MORSE: We’ve suffered a loss, gentlemen. One of our brothers is gone. As a team, we grieve for him. But I tell you what you do not weep for, though. Lose the best damn power forward in this entire country. (Cut to: Cheerleaders sitting on the bleachers.) (Cut back to: Coach Morse talking to the team.) MORSE: Colby Page is not shedding tears because we lost a power forward, is he? COLBY: No, sir! MORSE: How do I know that? Cause Colby Page is going to step right up and take R.J.’s position. This is his opportunity and it’s good that he sees it as such. Colby. COLBY: (Bows his head along with the rest of the team, to pray. His voice is choked with emotion.) Father God, accept our brother, R.J. Manning, into your loving arms. Give us the faith and the strength to carry on. Amen. TEAM: Amen. (Booth crosses himself.) MORSE: Now you boys go be together, talk about R.J. Come right back here and be ready to carry on and do what needs doing. TEAM: Yes, Coach. Yes, sir. Alright, let’s go. Alright, Colby. Let’s do this. Let’s go, move it, Dekker. Yes, sir. (The team runs out of the gymnasium.) (Coach Morse approaches Brennan and Booth who are waiting on the sidelines.) BOOTH: Very impressive, Coach. MORSE: You the FBI? BOOTH: Yes, sir. MORSE: Listen, if you’re going to talk at the boys, I prefer you do it soon. Let us move on from the tragedy, okay? (Booth nods, the coach walks away and Brennan watches him go before turning back to Booth.) BRENNAN: What now? BOOTH: Well, we find out which one of these pretty girls over here is R.J.’s girlfriend. (Cut to: Cheerleaders filing off the bleachers.) (Cut to: Interrogation Room. Booth, Brennan and Dallas Verona sit around a table.) DALLAS VERONA: I went home for the long weekend. R.J. stayed on campus. BRENNAN: Why? DALLAS: Whatever. Team stuff? BOOTH: Did you call R.J.? Talk to him? DALLAS: Yeah, and texted him. But he didn’t answer. That’s not weird or anything. R.J.’s the face-to-face kind, right? BOOTH: Everything okay between you? (Dallas nods, choking up.) BRENNAN: Were you sexually active? DALLAS: He was my boyfriend. He was in great shape, so pretty active, yeah. BRENNAN: Were there any noticeable changes in your sex life? Frequency? Duration? DALLAS: (Shakes her head.) Every day but game day. (Rolls her eyes.) That was R.J.’s motto. BOOTH: No jealous boyfriend from the past, angry dad, nothing? DALLAS: Oh my God. Mr. Francis is right. You people think R.J. was m*rder. BRENNAN: Was he under any kind of stress? DALLAS: Of course. BRENNAN: Mid-term exams. (Booth scoffs.) DALLAS: R.J. was a star. They made sure he could pass his mid-terms. R.J. was stressed because he always wanted to win. BOOTH: Stressed enough to h*t Mr. Francis. DALLAS: R.J. never told me why he did that. But he felt bad about it. (Booth looks at Brennan) (Cut to: Medico-Legal Lab. A glass container of writhing maggots is picked up by a smiling Hodgins who looks to Cam.) HODGINS: We couldn’t find enough tissue for a tox screen because these little scamps ate what was left. (Dumps the jar into a blender.) CAM: Yeah, uh. (Points to the blender as Hodgins turns it on and raises her voice over the noise.) Hodgins, is that my own personal blender? From the kitchen? HODGINS: We’ll toss these babies into the gas chromatograph. (Turns off the blender and takes off the lid.) CAM: Did you get it from the kitchen? HODGINS: Yes. Any foreign substances in R.J.’s body should show up in the maggot juice. CAM: Is it labeled "Personal Property of C.S." on the bottom? (Hodgins lifts the blender from the base and they both look at the bottom. He looks at Cam and nods.) HODGINS: Yes. (Cam nods.) Don’t worry, I’ll rinse it out. (Flips the switch and turns the blender back on. Cam looks sick.) (Cut to: ASU gymnasium, Booth and Brennan playing basketball.) BOOTH: I can give you a few pointers, Bones. Colby doesn’t get out of class for a few minutes. You’ve gotta sort of flip your wrist you see, like this? (Demonstrates the proper way to sh**t a basketball. He makes it and goes after it.) BRENNAN: Sports should not have such a priority in the University. BOOTH: Alright, you know what? That’s crazy. BRENNAN: No, anthropologically speaking, sports are a way for boys to practice their battle skills. BOOTH: Yeah, okay, so you want to just focus straight up, get up on your toes and just sluff... (sh**t and makes the basket.) BRENNAN: The truth is athletes are basically emotionally arrested in boyhood, acting out childish games as if they have adult importance. The only thing more juvenile are grown adults who watch sports. BOOTH: Why do you gotta say stuff like that? BRENNAN: What? You mean the truth? BOOTH: (He rounds on Brennan.) Alright. You know what? I’m a jock. So when you say those, you know, things that you say, what are you saying about me? BRENNAN: Nothing. You grew out of it. BOOTH: No, I didn’t, alright? My shoulder crapped out on me. Otherwise, I would have gone all the way with it. (Sets the basketball down at Brennan’s feet and feigns sh**ting a basket before walking away.) BRENNAN: What?! BOOTH: You know what, and another thing, alright? I, uh, I fought in a w*r! So, sports is a, uh, childish substitute? I can live with that. (Walks out the doors of the gymnasium, clearly bothered.) (Brennan turns toward the basket, sighs and then picks up the ball. She looks at it and then sh**t, making it. She grins, looks back at the doors and then back at the basket.) (Cut to: Booth waiting outside for Brennan who walks through the doors shortly. They go after Colby Page.) BOOTH: Ahhh. Yo! Colby! BRENNAN: Yo? (Catches up to Booth.) BOOTH: Yeah, yo. You know, I’m a little irritated with you. Just leave me alone long enough so I... BRENNAN: What? BOOTH: ...can get over it? BRENNAN: Why are you irritated? BOOTH: Why? Because I love sports. I watch sports. You know, I’m all about sports. You know? (Flashes his badge as he walks up to Colby Page and Celeste Cutler.) Agent Seeley Booth, this here’s Dr. Brennan. COLBY: Yeah, Mr. Francis said you wanna talk to me? BOOTH: George Francis. Really looks out for you guys, huh? BRENNAN: You must be happy to be a stringer again? BOOTH: Starter, Bones. BRENNAN: Starter. COLBY: Like Coach said, I’m happy to be starting, but not happy about how it happened. CELESTE: Colby didn’t ask for this. COLBY: It’s okay, Celeste. CELESTE: Colby’s a team player, he’s stepping up. COLBY: This is my fiancé, Celeste Cutler. BRENNAN: They’re engaged? They’re awfully young. BOOTH: Cutler. As in "Cutter" Cutler? CELESTE: Yeah, he’s my father. BOOTH: Look, your... your father’s in law enforcement, you understand I have to ask these questions. BRENNAN: Plus, your boyfriend is one of the few people who benefitted directly from R.J. Manning’s death. CELESTE: (To Brennan.) I don’t like you. (To Colby.) I hate her. COLBY: I can handle this. Just go on, Celeste, okay? (Celeste exits.) COLBY: I’m sorry about Celeste, she’s just really, really loyal. (Sits down.) BOOTH: Listen, I have to ask you, um, where were you over the long weekend? COLBY: I was home. Look, I had to disagree with Coach, but I didn’t really benefit from R.J.’s death. BRENNAN: It sure seems like you did. BOOTH: Starting power forward. That’s pretty big around here. COLBY: I’m not gonna replace R.J. just because I take over his position. A’ight, every game, people are gonna say, "Good game, Son." But in their head, they’re thinkin’ He’s no R.J. Manning. Now does that sound to you like something that I would k*ll to achieve? Look, I was happy where I was. I’m a team player. Not a star. BOOTH: Now look, you said you were at home. Can, uh, anyone verify that? Your parents? COLBY: I’m not gonna answer anymore questions until I talk to Mr. Francis. (Stands.) I’m sorry. (Colby exits.) BOOTH: Mm. Francis again. (Sighs.) ACT TWO (Cut to: Medico-Legal Lab- Angela’s Office. Cam walks in to find Angela at her computer.) CAM: Hodgins here? ANGELA: Nope. CAM: Do you know where he is? ANGELA: Nope. (Cam exits, then returns shortly.) CAM: Can I leave a message for him with you? ANGELA: (Sighs.) Why me? CAM: Are you serious? ANGELA: Fine. (Hits a button on the computer and turns toward her desk.) CAM: I mean, you live together, right? ANGELA: No. I mean, not officially. We have our own places. CAM: But you spend all your time together. ANGELA: What’s the message? CAM: Tox results for R.J. Manning. Negative for alcohol and sedatives. ANGELA: He reeked of bourbon. CAM: Somebody emptied a bottle on him. More interestingly, he was on steroids. (Angela sits at her desk.) I still haven’t found an explanation for the extra synovial fluid in the joints. (Cam turns to go.) ANGELA: I’m not sure I can remember all this. CAM: (Ticks off a list on her fingers.) Steroids, bourbon, synovial fluid. What’s the problem? ANGELA: I draw stuff, okay? Fluids are not my actual area of expertise. CAM: It’s Hodgins actual area of expertise and Hodgins is your area of expertise. So by my calculations, all the areas of expertise are overlapping perfectly. ANGELA: It’s not a problem. I’ll give it to him. CAM: Thank you. (Cam exits and Angela looks disturbed.) (Cut to: Coach Morse’s office. Booth and Morse are talking at the window while they watch a practice going on below.) BOOTH: You know, I read your contract, Coach. You get a million dollar conduct bonus for keeping the kids here in line. MORSE: I oversee thirty healthy, rambunctious, Type-A boys. I earn every penny of it. BOOTH: Guess you’d kiss that, uh, million dollars goodbye if R.J. Manning tested positive for steroids. MORSE: R.J.? (Booth nods.) No way. BOOTH: Tox screen came back positive. MORSE: No, doesn’t make sense. BOOTH: The better he plays, he’s worth more to the pros. Better chance you have to, uh, move up to the NBA. MORSE: (Sighs and pulls his ear forward to show Booth a scar behind it.) Do you see this? See this scar? Brain cancer from steroids. When it comes to my team, I have zero tolerance and they know it. BOOTH: What do you do if you catch them? MORSE: I sure as hell don’t k*ll ‘em. BOOTH: Million dollar bonus, free ride to the NBA. MORSE: Listen, I’ll tell you what, you call my doctor. I’m terminal. I got two years tops. The money, the career, not big incentives. (Booth nods.) I’d appreciate it if you didn’t tell anybody about my condition. I don’t want sympathy. I just want my boys to win this season. BOOTH: You understand I gotta pursue this steroid thing. MORSE: You don’t even need a warrant. Any boy that does not submit a urine sample is off this team. (Cut to: Medico-Legal Lab- platform. Image of urine samples, the sound of a keycard swiping at the platform. Cam and Brennan enter.) BRENNAN: Not one sample shows steroid use? CAM: Not one. Coach’s confidence in his boys was justified. At least as far as steroids. BRENNAN: Something else showed up? CAM: Two of the samples came back positive for Cephixime. BRENNAN: The antibiotic? CAM: Most commonly used to treat gonorrhea. BRENNAN: Gonorrhea would explain the extra synovial fluid in R.J.’s joints. So, R.J. plus two members of the team had gonorrhea. CAM: Nope, two of the urine samples came back with not only identical levels of antibiotic, but the exact same specific gravity. BRENNAN: Two samples from the same player. CAM: Yes. My guess is that someone with gonorrhea is trying to protect someone using steroids. (Brennan shakes her head with a smirk.) Nice bunch of boys. (Cut to: Interrogation Room. Booth is interrogating two players, Ed Dekker and Jimmy Fields.) BOOTH: One of you is taking steroids and the other one is being treated for the clap. JIMMY: Somebody tested positive for steroids? BOOTH: Ah. Thank you for your candor, Jimmy, thank you. JIMMY: I didn’t admit anything, I asked a question. BOOTH: That’s great. The guy on steroids would be worried about steroids, the guy with the clap, that would be you Eddie, I wouldn’t worry. ED: Well, why worry? It’s just a sh*t in the ass. JIMMY: He was guessing until you admitted that, douche bag. BOOTH: Thank you, Ed, I appreciate it. You can leave now. JIMMY: Why can he leave? BOOTH: I really don’t care about where he’s been dipping his, you know, wick. Alright? I care about illegal steroids. Get lost, Ed. Leave. (A confused Ed exits.) JIMMY: What’s steroids go to do with what happened to R.J.? BOOTH: Oh, I don’t know. Maybe R.J. is just worried about the, uh, the side effects. You know, all the, uh, the yelling and screaming. You know, the zits on his pretty face, his...manhood shrinking. So maybe he just gets nervous and he wants to confess to Coach Morse. JIMMY: What, so I k*ll him? (Booth shrugs.) That’s crazy! R.J. made me look good enough to go to Europe leagues. Maybe even the NBA. You can’t even prove I’m on steroids. BOOTH: Nah, nah, see. I execute this warrant to check you for steroids, uh, it’s a paper trail and it becomes public knowledge my friend. (Pushes a paper across the table toward Jimmy.) JIMMY: I’ll lose my eligibility. BOOTH: Bingo. So you tell me who provided you with the steroids and this stays between you and me. Or, uh... (Takes a sample cup from his pocket and sets it on the table, tapping it.) ... you gotta pee in a cup. JIMMY: C’mon, man. BOOTH: Oh, and this time I’m going to have to watch you pee in a cup. I hope you don’t have a bashful bladder. (Cut to: Medico-Legal Lab- Cam’s office. Cam is sitting at her computer when Angela walks in.) ANGELA: Dr. Saroyan? CAM: Yes, Angela? ANGELA: I’ve been thinking about it. And I don’t think it was professional of you to leave this file with me. CAM: Really? Why is that? ANGELA: I’m not Hodgins’ assistant. CAM: But you are his girlfriend. ANGELA: The problem is that being his girlfriend is a personal, private thing. And this is work. CAM: Ah. ANGELA: And I don’t think it’s good to mix the personal and work. Hodgins and I are completely separate human beings with completely separate careers. CAM: (Puts a disc in her computer.) In your opinion, I crossed a line. ANGELA: Yeah, it’s my opinion. CAM: I apologize, Angela. ANGELA: Thank you. (Turns to leave.) CAM: (Hits a key on her keyboard.) But you might be able to understand why I was a little confused, because apparently you’re not always against bringing your personal life to work. (Sounds of love making fill the room.) ANGELA: (With a shocked expression, approaches the desk and stares at the computer screen, slack jawed.) Oh my God. CAM: Cause what you’re doing there is extremely personal. ANGELA: Yeah...extremely...personal. CAM: I’m seeing parts of you and Hodgins I’d rather leave to the imagination. ANGELA: When did they put security cameras in the storage area? (Cam shrugs.) Who else has seen this? CAM: So far, just me and a very appreciative security guard. ANGELA: Oh my God. Well, you’ve made your point. CAM: (Takes the disc from the computer and hands it to Angela.) Good. That’s the only copy. ANGELA: Do we get any points for this occurring during lunch hour? Which is, as you know, personal time. CAM: Mm, no. ANGELA: Fair enough. I had to ask. (Both smile and Angela exits.) (Cut to: ASU- School hallway. Booth and Brennan walk down a hall and run into George Francis and Colby Page.) FRANCIS: Trust me, I know what I’m talking about. No, I know what I’m talking about. You gotta know, you gotta... BOOTH: Yeah, George Francis, you’re under arrest. (Booth grabs him and slams him against the wall.) FRANCIS: Ow! BRENNAN: Whoa! BOOTH: For providing restricted substances. BRENNAN: Y-you said you were just going to talk. BOOTH: Yeah, and then I saw his face and I got mad, okay? You have the right to remain silent, anything you say can and will be used against you in a court of law. (Handcuffs Francis.) So this is a pretty good time to probably tell us that you k*lled R.J. Manning, save us all a whole hell of a lot of time. FRANCIS: Why would I k*ll R.J.? Why would I k*ll the golden goose? BRENNAN: He wasn’t a goose. He was a man. BOOTH: He give you steroids too, Colby? COLBY: No, he was just trying to get me into free student housing. FRANCIS: Colby, tell Cutler okay? Just tell him what’s going on. (Booth, Brennan and Francis exit, leaving Colby standing in the hall.) ACT THREE (Cut to: Interrogation Room. Booth and Francis are inside the room, Brennan and Cutler are standing on the other side of the two-way mirror in the observation room.) CUTLER: He was with Colby? BRENNAN: Uh-huh. CUTLER: Colby’s like a son to me. Well, he’s about to become my son-in-law. BRENNAN: You don’t care that Colby’s not a star like R.J.? CUTLER: As a man, sure, I’d rather be R.J. Manning. But as a father, Colby will make a much better husband to my daughter. BRENNAN: Was it worth it? You walk like a man decades older than you are, you never got to play in the pros. (Cut to: Booth standing in the doorway of the room where Brennan and Cutler are talking.) BOOTH: Wife left you because you didn’t turn out to be the star she married? CUTLER: Hey, it’s not like I was a lot of fun to be around when the cheering stopped. You two don’t pull any punches, do you? BOOTH: Mmuh. I’ll tell you what else I know, you’d do it all over again, Bud. BRENNAN: That doesn’t make any sense. (Booth scoffs and looks at Cutler.) Jocks. You understand each other, but your priorities are completely skewed. BOOTH: Ignore Dr. Brennan, okay? She’s unreasonable on the subject. (Points through the glass at Francis.) He wouldn’t admit to the steroid thing. CUTLER: Plan B? BOOTH: Plan B. BRENNAN: What’s plan B? BOOTH: Convince him that if he doesn’t admit the steroid thing, then he’s confessing to m*rder. (Booth and Cutler exit the room.) We, uh jocks, we’ll take care of this one. (Brennan is left standing in the room alone, confused.) (Cut to: Medico-Legal Lab- platform. Cam is looking into a microscope, Hodgins is standing behind her.) CAM: I’m looking at a cockroach’s leg? HODGINS: Technical term is tarsus. CAM: (Looks at a magnification on a computer screen.) Are they usually blue like that? HODGINS: No, he stepped in an amalgam of fats, waxes, oil and calcium dye. (Cam stares at him. He clarifies.) Lipstick. CAM: (Nods.) R.J. Manning wore blue... (Hodgins steps in front of her and crosses his arms.) ...lipstick? HODGINS: The lipstick wasn’t found on his...lips. You know what I mean? CAM: Yes, thank you. HODGINS: You sure? CAM: Yes, Dr. Hodgins. (Hodgins nods.) (Cut to: Angela’s Office. She is looking around surreptitiously before putting a disc into her computer. Smiling she becomes engrossed with what is on the screen as the sounds of love making fill the air. Cam pokes her head in and then steps into the office.) CAM: Angela? ANGELA: Yeah? (Cam gives her an uncomfortable smile.) You know, this is pretty good. I mean, usually with these things you think, God... more yoga, less carbs, you know, but this ain’t bad. CAM: You might wanna...turn the volume down. ANGELA: (Waves distractedly as Cam makes her exit.) Yeah, yeah. Thanks. (Cut to: Interrogation Room. Booth is standing against the wall while Cutler talks to Francis.) FRANCIS: You’re going to believe some kid taking steroids over the best friend this college ever had? CUTLER: Of course. FRANCIS: Why? CUTLER: Because, George, if you and R.J. argued about steroids, say he wanted more and you were saying no. That would explain why he h*t you. (Cut to: Brennan standing in the observation room, watching the interrogation.) BOOTH: Yeah, you know... ‘roid rage? FRANCIS: (Scoffs.) I never provided steroids to anybody. BOOTH: Uh-huh, okay. (To Cutler.) You know what I gotta do here, right? CUTLER: Let me reason with him one more time. Here’s what’s gonna happen, George. If you don’t admit to providing the steroids, Agent Booth is going to arrest you. For m*rder. FRANCIS: (Looks up at Booth.) That’s ridiculous. BOOTH: Really? Cause you’ve got a great motive. FRANCIS: What motive? CUTLER: R.J. Manning admitted to you that he was going to fess up to Coach Morse that he was on ‘roids. You panicked and k*lled him. FRANCIS: Now who’s going to fall for this? BOOTH: Oh. The grand jury? FRANCIS: R.J. hitting me had nothing to do with steroids. CUTLER: Agent Booth needs more than your assurance on that, George. (Francis looks up to Booth who nods.) Alright, R.J. and I had a deal. (Cut to: Brennan watching from the other side of the glass.) FRANCIS: And he wanted to break that deal. (Cut back to: Interrogation room.) CUTLER: You signed him up, didn’t you? Illegal as hell. (Looks up at Booth.) But George had R.J. sign with him for representation into the NBA. Huh? NBA salary, merchandising rights, signature shoe. And R.J. wanted out, right? FRANCIS: Cars, apartments, proving for his family. I deserve a little return on my investment. CUTLER: Was R.J. the only one that you had a deal with? BOOTH: Whoa, whoa, whoa, whoa, whoa. (Grabs Cutler’s arm as he stands up and moves toward Francis.) CUTLER: Huh? Who else? Colby? Huh? FRANCIS: Colby’s a nice kid but he’s never going pro, Cutter. Now, I didn’t k*ll R.J. Manning. There’s no point to it. I had a legally binding contract with him. CUTLER: (Goes for Francis.) You rat bastard! BOOTH: Whoa. CUTLER: If you don’t arrest him for that ‘roid thing, I will. BOOTH: Okay, okay, I got him, I got him, I will, I will. I got it. (Pushes Cutler out the door, then shuts it and looks at Brennan through the glass. Francis smirks.) (Cut to: Medico-Legal Lab- platform. A petri dish is being squirted with some sort of liquid and swirled around. Cam and Angela are standing around a table.) CAM: This is saliva I found in Manning’s shorts. I also found pre-seminal fluid. (Brennan approaches.) BRENNAN: What does that mean? ANGELA: Are you serious? BRENNAN: Well, I know it means he had an erection, but what does the erection mean? CAM: That he was sexually stimulated. BRENNAN: Well, I know that. Healthy post-adolescent males experience eleven to twenty erections every day. Any number of which produce pre-seminal fluid. CAM: Yes, but do those erections produce saliva? BRENNAN: No. ANGELA: Cam’s a doctor, honey. That was an amusing rhetorical question. CAM: (Shows them another petri dish with a loogie in it.) Zack also found this in the victim’s hair. BRENNAN: What, semen? CAM: No, esophageal mucus. Commonly known as a loogie. BRENNAN: Someone spat at the victim? ANGELA: Should I paint you a picture? BRENNAN: (Smiling.) Nooo. Traces of pre-seminal fluid and saliva inside the basketball shorts suggest oral sex during which the victim did not ej*cul*te. CAM: Well, perhaps he was k*lled before ejaculation. ANGELA: I don’t want to get graphic or anything, but wouldn’t it be difficult to simultaneously bash someone’s head in while servicing them? CAM: Talk about multi-tasking. BRENNAN: Which means there might have been a witness to this m*rder. CAM: According to a cockroach I know, she might have been wearing blue lipstick. ANGELA: Hm. (Cut to: Zack’s office. Zack is sitting and Angela stands to one side of him while Cam stands to the other.) ANGELA: We have been assuming that the victim was conked on the head and then dragged under the bleachers and compressed. ZACK: I see. CAM: Two people involved. Victim and m*rder. ZACK: I see. ANGELA: But now, we could have a three person situation. ZACK: I see. CAM: Victim, m*rder and victim’s special friend. ZACK: And you need what from me? CAM: Any information you might have that could lead us to either the special friend or the m*rder. ZACK: You might be interested in these crystalline deposits. ANGELA: (Looking at a magnified picture of the victim’s dismembered wrist.) Ew, what is that? ZACK: Bacteria, crystallized post mortem. CAM: Gonorrhea bacteria? (Zack nods.) And we’re back to R.J.’s special friend. If only we could figure out who she is. ZACK: Mm, you may want to ask Edward Dekker. (Points to a magnified picture of cells on a computer screen.) This is from R.J. Manning. (Hits some keys on the keyboard and another image is shown side by side with the original picture, it looks exactly the same.) And this is from Edward Dekker. Same strain. CAM: The members of this team are very close. (Zack looks pleased, and then very confused.) (Cut to: ASU Men’s Locker Room. Brennan and Booth walk quickly down an aisle looking for Edward Dekker ) BOOTH: Wait outside, Bones, c’mon. BRENNAN: Are you still angry at me for saying that athletes are emotionally stunted? STUDENT: Hey baby, I know you want some... BOOTH: Of course not. (They find Eddie in the shower.) Hey. Hey, hey Ed. Can I talk to you, Ed, for a second? DEKKER: (Turns off the shower.) All I did was pee in a cup for Jimmy Fields. All of a sudden this is a federal case? BOOTH: Turns out he has the clap. BRENNAN: The exact same strain as you. DEKKER: Wait, you think I had sex with R.J.? BOOTH: (He and Brennan look at each other.) I dunno, did you? DEKKER: No! BRENNAN: Then why’d you bring it up? DEKKER: You brought it up. All I did was pee in a cup. BRENNAN: Why? DEKKER: Because, Jimmy’s a teammate and he asked me to. I would have done it for any of my bros. BRENNAN: (Speaking to Booth.) How’d this boy get into college? BOOTH: Basketball. DEKKER: Hey look, you know, I don’t think I can be discussing sexually topics with her looking at me. BRENNAN: Why? DEKKER: Cause, you’re hot. And I’m naked. BOOTH: (Laughs.) Look, maybe you should just go stand over there. BRENNAN: What, because he’s...shy? DEKKER: Look, maybe you didn’t notice, but, uh, I got no reason to be shy. BOOTH: Obviously he can’t concentrate, so either cover your eyes or stand over there. (Brennan covers her eyes reluctantly. Booth points to her.) BRENNAN: (She gives up and walks to where Dekker can’t see her.) I’ll just, uh, I’ll be...right here. DEKKER: Man, she’s smokin’. (Grabs a towel and turns to walk away.) (Cut to: Row of lockers.) BOOTH: (Follows Dekker to his locker.) Alright, now listen, Ed, I need to know if you and R.J. had sex with the same girl. DEKKER: Definitely. BOOTH: Okay, who? DEKKER: (Shrugs.) I dunno. BOOTH: You don’t know? DEKKER: Well, look there are girls who like to have sex with basketball players. B-Bunnies. BOOTH: B-Bunnies. Right, yeah. DEKKER: Yeah, look I’m not saying me and R.J. ever crossed swords or anything, but um, we were definitely taking sh*ts at the same hoops. BOOTH: Right, um. You wear condoms. DEKKER: Always, yeah. BOOTH: You got the clap. DEKKER: (Looks dejected.) Right. BOOTH: So, who didn’t you wear a condom with? (Dekker sighs.) Right, boy, now you’re using your whole brain. Come on. DEKKER: Alright, look I got a name in my head, okay, but there’s no way R.J. Manning ever tapped that. BOOTH: The name, Ed, I need the name. DEKKER: (Leans in and whispers.) My Poli-Sci tutor, Justine. Hot not. (Booth writes the name down.) BRENNAN: (Peeks over the lockers.) All the bad decisions you made and the one thing you’re ashamed of is having sex with a not hot girl? BOOTH: (Looking bewildered.) What are you doing? BRENNAN: What? (Cut to: ASU- patio with covered tables and chairs. Brennan and Booth are sitting at a table with Justine Berry.) JUSTINE: I know I have gonorrhea. I’m being treated for it. BOOTH: Yeah, well, where’d you get it? JUSTINE: They asked me the same thing in Health Services. Could have been a couple places. BRENNAN: Well, you’re a smart girl, why didn’t you wear a condom? JUSTINE: I do. Most of the time. BRENNAN: (Looking to Booth.) You know what? I made a mistake. She is not a smart girl. This is a terrible University. BOOTH: (To Justine.) Do you ever wear bright blue lipstick? JUSTINE: Why is there some kind of link between the clap and blue lipstick? BOOTH: Let’s discuss Ed Dekker. JUSTINE: Okay, yes, I gave gonorrhea to Dekker. Are you going to arrest me? BRENNAN: We know that R.J. Manning had the exact same strain. BOOTH: Did you give it to him, too, or... I mean, do you have some sort of hate on for the entire basketball team? JUSTINE: (Beginning to cry.) R.J. gave it to me. And then he wouldn’t even talk to me. So I gave it to Ed Dekker for revenge. Poetic you know? Let R.J. know I was still alive. (Sniffs.) Those guys all talk, compare their conquests. BOOTH: You have a key to the bleachers. JUSTINE: (Looking shocked and angry.) I didn’t k*ll R.J.! I’m not that nuts! BRENNAN: We need a sample of your DNA. JUSTINE: Why? BOOTH: Because just before he was k*lled, R.J. was having sex with someone who may have seen his m*rder. JUSTINE: (Nods, wipes her face with a napkin and rips out some of her hair, throwing them at Brennan and Booth.) You’ve got my snot, my tears, and my hair. Knock yourself out. (Gets up and stalks away.) BRENNAN: I don’t understand. BOOTH: R.J. Manning broke her heart and a bit of her brain in the process. ACT FOUR (Cut to: Medico-Legal Lab. Cam walks out of an office talking to Angela, they proceed to walk down a hall.) CAM: Justine Berry’s not the one who left her saliva or her lipstick on the victim’s privates. ANGELA: (Handing over a tube of lipstick.) Okay, I’ll help. But I do not want to be known as the make-up expert around here. CAM: You found blue lipstick. ANGELA: Mmhmm. CAM: Shock Rah by Zensual ANGELA: Zen plus sensual. Chakra. Shock Rah. Rah as in Rah-Rah, as in Rah-Rah-Sis-Boom-Bah. CAM: Okay, you started off in English, but I have no idea where you ended up. ANGELA: This is a promotional line, marketed specifically to high school and college cheering squads. Tailored to their team colors. CAM: Ah, Atlantic State Jaguars. ANGELA: R.J. Manning was under those bleachers getting’ lipsticked by a cheerleader. (Cut to: ASU gymnasium. Cheerleaders practicing a routine. All of them wearing blue lipstick. Cutler walks in with a warrant and they all look nervous.) (Cut to: Medico-Legal Lab. Cheerleaders’ mouths being swabbed for DNA. Booth taps the last girl in line, Dallas Verona, on the shoulder. She turns around.) BOOTH: Do you know why we’re doing this? DALLAS: I can guess. BRENNAN: We found evidence that one of the cheerleaders might have been with R.J. before he died. Sexually. DALLAS: I know what "been with" means. BOOTH: You know the DNA will, uh, tell us if it was you. DALLAS: It wasn’t. BRENNAN: (To Booth.) Why isn’t she upset? DALLAS: Oh, please. Oh, I get it. You think because R.J. compulsively played around, I might have lured him to his death or something? BRENNAN: Wow, she’s smart. BOOTH: Mmm. Well, do you want to pick out anyone in particular here? DALLAS: (Scoffs.) Did you see, R.J.? Before he was d*ad, I mean? He was a very good looking guy. You factor in his sex drive and how he played...half these girls have done him. Hell, he even did the towel girl. BOOTH: Great, do you know about Justine Berry? DALLAS: R.J. liked girls. All kinds of girls. I’m just one kind. BRENNAN: Hm, which kind is that? DALLAS: The permanent kind. BRENNAN: You planned to live like that? DALLAS: R.J. came home to me. That’s the way it would have stayed. From his crappy student apartment to the giant mansion he would have gotten. (Begins to tear up and turns away.) BRENNAN: Is she crying because she loved him or because she lost a mansion? BOOTH: (Mouths.) The mansion. (Cut to: Exam room. Zack is reconstructing the skull while Brennan watches and speaks to him.) BRENNAN: She made the decision to hang onto him by letting him have sex with any other woman he wanted. ZACK: That sounds extremely rational. BRENNAN: That’s what’s confusing. (Zack finishes the skull and holds it up.) Well done. (She takes the skull from him.) ZACK: The idea that one person can be all things to another person, satisfy every need, or even more than one is sentimental and mockish. BRENNAN: (Examining the skull with an ultraviolet light.) There are indentations here. ZACK: (Moves a magnifying lens over the skull, it appears magnified on a computer screen.) Alpha-numeric. Z and S? BRENNAN: It’s an imprint. It’s backwards. ZACK: (Zack types some strokes and the image reverses.) The numerals 2 and 5? BRENNAN: Twenty-five. Twenty-five pounds. An imprint from free weights. (Cut to: ASU Fitness Room- An FBI forensic tech is inspecting the free weights with an ALS light, while Brennan looks on. Booth is talking to Cutler.) BOOTH: Our unknown female either meets or lures R.J. under the bleachers. CULTER: Lures? BRENNAN: We’re pretty sure the girl didn’t actually k*ll R.J. but that doesn’t mean that she wasn’t bait. FORENSIC TECH: I got somethin’. Blood spatter. It was wiped, but it’s definite. BRENNAN: Looks like we have our m*rder w*apon. (Cut to: Medico-Legal Lab. Cam exiting the platform, walking toward Booth and Brennan.) CAM: DNA evidence is in. The blood on the weight, is definitely R.J.’s. (All three begin walking down the hall toward Cam’s office.) BRENNAN: What about the saliva and the sputum? CAM: (To Booth.) The loogie. BOOTH: I know about loogies. CAM: Two things about the saliva. One, is that it did not come from the same person who provided the loogie. BOOTH: Oh, wait. So the person who serviced R.J. is not the same person who spat on him. CAM: (They enter Cam’s office and she begins to bring something up on her computer.) Two, we got a partial match on the saliva from one of the cheerleaders. (Cut to: Cam’s computer screen and a picture of Celeste Cutler.) BOOTH: Celeste Cutler. (Cut to: Interrogation Room. Celeste Cutler and Colby Page, who are holding hands, sit across from Brennan and Booth.) CELESTE: You think Colby and I plotted to k*ll R.J. Manning? BOOTH: Celeste, you lured R.J. Manning under the bleachers and kept him busy. (Brennan is taking a DNA sample from Colby Page.) COLBY: Kept him busy how? BRENNAN: Well, evidence shows she was performing oral sex on him. BOOTH: Which gave you time to bash his head in. (Colby looks at Celeste, hurt, and lets go of her hand.) BRENNAN: But you made one mistake. BOOTH: One. COLBY: Look, I haven’t done anything. BRENNAN: We will match this DNA to the sputum found at the scene. COLBY: What? BOOTH: You hocked a loogie on him, kid. You k*lled him, and you spat on his face. COLBY: Look, God as my witness, that never happened. (There’s a knock on the door and Cam enters.) CAM: Sorry to interrupt, but you really need to see this. BRENNAN: (Stands and goes to the doorway where Cam hands her a file.) Complete profile? CAM: All thirteen STRs. BRENNAN: Thanks. (Cam exits.) BRENNAN: (To Booth.) We got a h*t on CODIS from the DNA on the um, hocked loogie. (Booth takes the file and looks at it while Celeste and Colby look at each other.) (Cut to: ASU gymnasium. Cutler is sitting on the bleachers when Booth and Brennan enter.) BOOTH: (To Brennan.) Just a moment. (To Cutler, from across the floor.) Hey, Chief. CUTLER: If I hadn’t of spat on that son of a bitch, you never would have caught me, right? BRENNAN: Well, Celeste might have told us. CUTLER: She doesn’t know. I came in and saw my little girl, saw her with R.J. ... (crying) ...doing what she was doing. She heard me and took off. None of the girls could resist R.J. Kid had it all. Magic boy. You know what else he had? The clap. And he knew that when he took my daughter underneath the blea- (breaks down crying and pulls a g*n from a gym bag in front of him.) BOOTH: No. (Pulls his own g*n.) He’s got a g*n, Bones. I need you to leave now. CUTLER: Don’t worry, it’s not you I intend to sh**t. (Sighs and puts the g*n to his head.) BOOTH: There’s no way Cutter Cutler kills himself. No way Cutter Cutler goes down without a fight. BRENNAN: (In a quiet tone.) What are you doing? Do you want him to sh**t at you? BOOTH: Go. (Brennan exits.) CUTLER: I was just like him, you know? Under these same bleachers, in fact. I was as bad as him. You wouldn’t understand. (Lowers the g*n, holding it against his chest.) BOOTH: We were all like that. CUTLER: It changes your life view, you see your little girl. It’s a different perspective. BOOTH: People are gonna understand the action that you took, okay? I do. Man, you’re Cutter Cutler. Lowest assist and turnover ratios. Twelve triple doubles in your last season. Nobody could change direction in the open court like you, man, nobody. (Cutler puts the g*n to his head.) BOOTH: No, do it now. Change direction again. CUTLER: (Holds the g*n to his chest again.) Cutter Cutler died a long time ago. I’m just putting him away. (Booth raises his g*n at the same time Cutler puts it to his head again. Brennan is seen at the side of the bleachers reaching her hand up to stop him. He cocks the hammer back and goes to pull the trigger, but the web of Brennan’s hand slips between the hammer and the f*ring pin, pinching the skin.) BRENNAN: (In pain.) Ahhh. (Takes the g*n from Cutler, still painfully pinched on her hand. She removes it, revealing a bleeding wound.) Ow! BOOTH: Alright. (Booth stares, Cutler breaks down and cries and Brennan sucks on her bleeding hand.) (Cut to: Royal Diner. Brennan and Booth sitting at a table by the window.) BOOTH: Your hand hurt? BRENNAN: A little. BOOTH: So, jock mentality...teams...not all bad, huh? BRENNAN: Why are you telling me this? BOOTH: You just said we’re all stunted adolescents who take children’s games too seriously. BRENNAN: I never meant you. BOOTH: Bones.... BRENNAN: What? BOOTH: Bones, I’m one of those guys. BRENNAN: No, you aren’t. You don’t play at being a warrior. You are a warrior. Every day. You’re definitely... a fully developed man. (Smiling.) BOOTH: (Smiling.) Okay, okay. You leave the tip. BRENNAN: Even Cutler knew you were lying when you said you treated women like that beneath the bleachers. BOOTH: Oh, and you believe him? BRENNAN: Yes, because you still remember that first girl’s name. (She sucks down the last of her milkshake and Booth takes another drink of his, leaving a milkshake moustache.) Let’s go. (She motions to his lip a few times before he wipes it off.) END.

{"type": "series", "show": "Bones", "episode": "03x11 - The Player Under Pressure"}

foreverdreaming

"The Baby in the Bough" Episode 3x09 Written By: Karine Rosenthal Directed by: Ian Toynton Transcribed by: lim Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Freeway stock. Night. Booth's Car exterior. Booth's Car interior. BOOTH is driving.) BRENNAN: What do you know about the Cayman Islands? BOOTH: Great diving, you know? Lots of sea turtles. Why? Are you going? BRENNAN: No. My accountant wants me to set up a tax shelter there. BOOTH: Tax shelter?! Exactly how loaded are you? BRENNAN: (indignantly) That is an offensive way to phrase the question. (she pauses, and mumbles) Quite loaded. I'm betting on a seven figure advance for my next book. BOOTH: Seven figures. Wow. With-without the decimal point? BRENNAN: (defensively) The publishers make considerably more. BOOTH: What's the first of those seven figures? BRENNAN: A prime number. What do you do with your money? BOOTH: I use it for food and rent. (Cut to Booth's Car exterior on freeway.) (Cut to: firemen and emergency workers grouped around a crash site in Pendleton. There are f*re trucks, police cars and an ambulance. A sports car has run off the road. The area is muddy and wooded. It is night and the site is lit with floodlights on stands. The firemen are packing up hoses and calling to each other as they work. SHERIFF DELPY, BOOTH and BRENNAN walk into sh*t.) FIREMAN: (in background) Hey, this is all done get over to- BOOTH: (to DELPY) Hey. What have we got here? DELPY: You Agent Booth? BOOTH: (shaking his hand) Special Agent Booth. How you doing? DELPY: Sheriff Delpy. BOOTH: This here's my partner- BRENNAN: I can introduce myself. Doctor Temperance Brennan. BOOTH: Somebody ran the car off the road? DELPY: Yeah. Well, it makes it impossible to get any traceable tire marks. (BRENNAN approaches the victim, who is a b*rned husk still seated in the driver seat of the open top car.) BRENNAN: The victim was doused with gasoline and then set on f*re. DELPY: Farmer three miles away saw the smoke, called it in. Brennan: Female. Probably in her early twenties. Preauricula sulcus on the iliac. She's given birth. BOOTH: Ran off the side of the road, set on f*re... Somebody wanted her d*ad. DELPY: Well that's why I need your help. I only got six deputies covered four hundred square miles. We're stretched thinner than plastic wrap. BRENNAN: Compound fractures to the right tibia and fibula. (BOOTH opens the hood of the car and notices a diaper bag in the back seat.) Crushed manubrium; massive skull trauma. (BABY ANDY cries and BOOTH looks up quickly as BRENNAN continues her examination) I'm not certain yet whether she died in the accident or the f*re- BOOTH: Ssssh! You hear that? (The SHERIFF and BRENNAN listen) Everybody! Keep quiet! Stop workin'! (To Brennan) Did you hear that? BRENNAN: Sounds like a cat. (They all look around.) BOOTH: A baby. (He looks up. The camera looks down on BOOTH and BRENNAN from the treetops. Pan across to reveal BABY ANDY in a car-seat, lodged in the branches. DELPY: Holy crap. BOOTH: Get a ladder down here now! FIREMAN: All right, let's move! (Cut to DELPY and EMERGENCY WORKER holding BABY ANDY as they walk alongside the emergency vehicles to BOOTH and BRENNAN) DELPY: There's not even a scratch on the boy. It's a miracle. BRENNAN: Well, hardly! Car-seats are specifically engineered to protect the child. BOOTH: From what? Flying out the back of a car and landing in a tree? (BABY ANDY squawks) Oh, look at him, Bones. He looks a little fussy there. Why don't you pick him up and give him a cuddle? BRENNAN: What? Just because I have breasts doesn't mean that I have magical powers over infants. You're the one with the son. BOOTH: All right, fine. I'll take him. Here you go. (He hands her the diaper bag.) You have fun with the diaper bag. You look good. (he takes BABY ANDY) Come on, little man! Whoa-ho. Hi! Why don't you say hi to your grumpy old Auntie Bones. BRENNAN: No! I am not grumpy! (To the SHERIFF) The-the vinyl seat melted and fused to the body so we need that brought back to the Jeffersonian. And the driver's door for particulate evidence. DELPY: (Sniffing) The kid smells a little ripe. Might want to take care of that. BOOTH: Ye-eah. (He sighs) Okay, Bones, I'm gonna have to change him. Just hold on to him here (holding BABY ANDY out for Bones to take). Here you go. Here you go. Okay? Got him? BRENNAN: What? Oh! Woah! Arrrgh. BOOTH: Okay. Here we go. (Taking off his suit jacket) We'll work together on this one. (He lays his suit jacket on the wide back step of a f*re truck) Changin' Diapers 101. ( BRENNAN passes him BABY ANDY) Here we go. Here we go, little big man. Okay. watch your-Here. Right here. Look at that. All right. Get me a diaper there, Bones. BRENNAN: Right. There you go. BOOTH: Thanks. Baby powder. BRENNAN: You know, Booth, I have better things to do with my time. (She looks through the bag) There's no powder. BOOTH: No powder? BRENNAN: Yeah. Hey. Wait a minute. (She pulls a key from the bag and shows it to BOOTH.) BOOTH: Where'd that come from? BRENNAN: There's a rip in the lining of the bag. Seems like someone was trying to hide it. BOOTH: Okay. I'll get an evidence bag and I'll ask EMT if they have any baby powder. Just watch him. (He jogs away.) BRENNAN: Wait. Wait. Wait! Booth. There's a baby! I don't feel comforta-. (She trails off, exasperated. BABY ANDY gurgles.) Coochie-coo? (BABY ANDY cries.) Oh! No no! No need to fuss! Obviously something is upsetting you. Children have toys; you must have some. Let me see. (She rummages in the bag, retrieving a purple stuffed elephant.) You know, elephants are not purple. This is wrong. ( BABY ANDY cries. BRENNAN sighs). Hey, look at that: he flipped over! BOOTH: Bones! That's because you gotta *watch* him. Jeez. Woah. Okay, look, little big man. If you're gonna be in my jacket, we gotta get you out of that diaper. Woah. Okay, where's the key? BRENNAN: I put it on your jacket. BOOTH: Next to the baby? BRENNAN: Yeah. BOOTH: Are you crazy? Do you know that babies put everything in their mouth, Bones? He could have swallowed the key! It's so dangerous. All right. Okay. ( He picks up the BABY ANDY whilst BRENNAN looks for the key) Shh shh shh shh. The *key*, Bones. look for the key. BRENNAN: It's not here. Oh, no. He must've... swallowed it. BOOTH: (In synchrony) Swallowed it. (BABY ANDY cries.) Okay. (BOOTH hands BABY ANDY to BRENNAN) Here you go. Get used to him. BRENNAN: What do you mean? BOOTH: That key was evidence. You know how chain of custody works. That kid stays with us until we get the key back. (BRENNAN looks at him. BABY ANDY pees down her leg,) BRENNAN: Ugh. Argh. BOOTH: (Takes the still-peeing BABY ANDY.) Wooh. That's a stream. TITLES. ACT ONE. (Open: Medico-Legal-Lab. CAM, ANGELA and ZACK stand in a line looking down at something offscreen.) ANGELA: I have never seen anything so gorgeous on this table before. CAM: Or so alive! (Camera looks down from above at ZACK, ANGELA and CAM standing along one side of an examination table. BABY ANDY lies on it, laid on a piece of cloth and burbling happily.) ZACK: Why is Doctor Brennan the official custodian? ANGELA: She's registered as a foster parent. Russ asked her to do it after he began his prison term. CAM: Russ wants to make sure his step-daughters are taken care of if anything happens to Amy. ZACK: Prodigious saliva production. HODGINS: (Walking into sh*t carrying a security swipe-wand metal detector.) Okay. Now we can determine if the little guy really *did* swallow the key, or if he has been falsely accused. (HODGINS passes the wand over BABY ANDY. The wand squeals as it passes over BABY ANDY's abdomen.) CAM: Well, unless he's already had a hip replacement, it sounds like there's a key in there. ANGELA: He liked it! Do it again. (HODGINS wiggles the wand over BABY ANDY, who chuckles and squirms.) BRENNAN: What are you doing? HODGINS: (Grinning) We were just- (He sees BRENNAN'S expression and becomes serious.) We verified that the baby did indeed swallow the key. BRENNAN: Then you should X-Ray him to get a clean view. He's not a plaything. (To Zack.) And you're supposed to be examining the victim. ANGELA: We thought it would be bad form to examine the remains in front of the baby. You know, creepy formative memory? BRENNAN: Then would you mind taking him for a little while so that we can work? ANGELA: I'd love to. (She gathers up BABY ANDY, smiling. ANGELA looks at HODGINS. who laughs indulgently.) Get used to it. I want, like, a million of these. HODGINS: Cool. (Angela carries BABY ANDY away. HODGINS to CAM) What do you think she meant by "a million"? Two? (Scene: Booth's Office. BOOTH is looking through some photographs. AGENT CHARLIE BURNS knocks on his door. CHARLIE: Agent Booth? BOOTH: Yeah? CHARLIE: Got a h*t on your b*rned car. It was registered to a d*ad guy. BOOTH: A d*ad woman driving a d*ad man's car. CHARLIE: Plates expired five years ago. d*ad guy's family said they sold the car for scrap to a junkyard in Seneca Rocks, West Virginia. BOOTH: Let me guess: junkyard guy sells off the old heaps to people who wanna get off the grid. CHARLIE: He used to. Operation got shut down two years ago. No one's seen him since. BOOTH: Let me know if forensics finds anything to help Bones id. the remains. CHARLIE: (Nods.) Is it true that Doctor Brennan's taking care of the baby? Because that's something I'd pay to see. BOOTH: (Studying his photographs.) Goodbye, Charlie. (Medico-Legal Lab-forensics platform.) ZACK: The victim exhibits enlarged hypertrophic lesions and multiple muscle attachments. BRENNAN: The result of strenuous activity, most likely occupational. CAM: The ligamenta flava shows evidence of whiplash. All the para-mortem injuries are consistent with vehicular trauma. She was d*ad prior to immolation. BRENNAN: Zack, grind some bones so Hodgins can perform an isotope analysis. We might be able to figure out where she lived. ANGELA: (Walking in to the room) Junior made us a little present. BRENNAN: The key. Finally. ANGELA: Not yet. This is just the usual present, but with one major difference. (Angela opens the diaper she is holding to show a pink-soaked seat.) ZACK: I assume pink isn't a normal color for this type of thing. CAM: Does yours ever look pink? ZACK: No, but I'm not an infant. BRENNAN: Where is the baby? ANGELA: Asleep in your office. I was gonna start the facial reconstruction, so... BRENNAN: He's my charge; I'll sit with him. CAM: (Picking up the diaper.) Let me run some tests. See what I can find. ZACK: Actually, one time when I was visiting my cousins, we ate a lot of beets, and the next day- CAM: Zack, really. Too much sharing. (Cut to BRENNAN and BOOTH walking around the Medico-Legal Lab Floor) BOOTH: You know, you look very mom-like with that baby monitor. BRENNAN: I have a responsibility under state law as a foster parent. I've already bought him toys and clothes. BOOTH: Ah, so you've bought him some clothes? BRENNAN: Well, I sent an intern, who apparently loves bears, which in reality would devour a small child. (BRENNAN and BOOTH round the corner to meet HODGINS at the base of the Forensics Platform) HODGINS: I tested the ground bone for strontium. BRENNAN: Strontium is an element found in most rocks. HODGINS: Human beings absorb it through the consumption of local vegetation and water. (He brings up a map on his computer) Over time, the isotope collects in the bones, meaning- BOOTH: You could use it to figure out where someone's from. (BRENNAN and HODGINS look at BOOTH in surprise.) That is right, people. I am a constant surprise. (The baby monitor transmits BABY ANDY whimpering.) BRENNAN: I don't understand. He's been fed; he's changed; I patted him, and now he's just...complaining. BOOTH: He's acting like a real baby. HODGINS: The victim was from northern West Virginia. Tucker County to be more precise. BRENNAN: Well, are you sure she's from Tucker County? The crash was in Pendleton. HODGINS: Very sure. Particulate matter collected from the salvaged area of the car contained guano from a Corynorhinus townsendii virginianus. BRENNAN: So we know where to look. (She stares at the baby monitor, which is still transmitting BABY ANDY's cries). BOOTH: Are you gonna get him? BRENNAN: I figured you'd get him. BOOTH: Don't you have a "responsibility under state law"? BRENNAN: But you're the baby daddy. BOOTH: Baby daddy?! BRENNAN: You have prior experience with pre-verbal infancy. BOOTH: You can be the daddy mommy. ANGELA: (Enters, with BABY ANDY) Okay, you two had better get your act together or I'm suing for custody. (ANGELA hands BRENNAN a head sh*t of a young white woman with dark brown hair.) This is my rendering of the victim. BRENNAN: Numerous genetic similarities. Cam's running DNA tests to be sure, but I'm comfortable with the assessment that this was the child's mother. BOOTH: He misses his mother. He's sad. (BRENNAN takes BABY ANDY) BRENNAN: We need to go to Tucker County. (Fade to Booth's Car. Huntsville, Tucker County.) BOOTH: The last coal mine closed about eight years ago. This place is a ghost town. BRENNAN: The local economy was devastated. BOOTH: Yeah. That could be why our victim was driving a junker. She couldn't afford registration, insurance... You know, I don't wanna sound insensitive here, but I'm telling you: real estate? It's gotta be a steal. I mean, you could build yourself a beautiful house on the river. I could come out and fish. You could put in one of those media rooms. You know, I saw a one hundred and three inch flat-screen TV- BRENNAN: I don't need another residence, Booth. BOOTH: Just, you know, tryin' to give you a little financial advice. (BRENNAN looks at BABY ANDY in the back seat.) BRENNAN: He seems so peaceful. He has no idea that he's all alone. BOOTH: Well, maybe that wasn't his mom. Maybe there's a dad. BRENNAN: No-one filed a report, Booth. No-one's worried about him. BOOTH: Yeah, well, you are. (They share a look. BRENNAN looks out her window and sees a man working in the front yard of a dilapidated house on the otherwise deserted street.) BRENNAN: There's someone. (BOOTH pulls over.) PAUL: You people are from the government? BOOTH: Yes, sir. With the FBI. PAUL: (Nods toward to BABY ANDY) Ah. Training them up young, I see. BOOTH: If you could just... help us. PAUL: Right. Just like the government helped us when the bridge washed out. When they closed the school. BRENNAN: Well, the business and industry left the area. The local tax base is non-existent. The government can't be expected to provide services without the fiscal means to do so. PAUL: What'd she say? Are you from France or somewhere? (BOOTH chuckles) BRENNAN: Economies live and die just like any organism. When they expire, the logical thing to do is to move. PAUL: This land is part of me. I've lived here all my life, my father before me, his father..! DOROTHY: Paul. Who're you hollering at now? PAUL: They're from the government. DOROTHY: (Seeing BABY ANDY) Oh my god! You have no right. No right at all! Taking people's children away? BOOTH: (Moving to cover BABY ANDY) Hey, hey! DOROTHY: You should be ashamed. That girl does the best she can to provide for Andy. BOOTH: Andy? Do you know this baby? DOROTHY: (suspiciously) Yeah. Folks up the street? Carol and Jimmy Grant? They take care of him when his mom works. BOOTH: (Shows her the head sh*t.) Is that his mother? DOROTHY: Looks like her. But you should check with the Grants. What's goin' on? Has something happened? (Cut to THE GRANTS, interior. BOOTH is showing the head sh*t to CAROL GRANT) CAROL: Yeah, that's Meg. Meg Taylor. We all went to high school together: me and Jimmy and Meg, and Meg's husband, Lou. JIMMY: Back when we had a high school. BOOTH: Meg's husband, does he still live around here? JIMMY: Uh, I've not seen him lately. Not that I'd want to. He's in and out of jail, does anything for a drink, left Meg before Andy was born. CAROL: I'm not sure he's laid eyes on Andy more'n twice. JIMMY: Meg worked herself to the bone for this boy. CAROL: We couldn't have one of our own so we were real happy to help Meg out. JIMMY: Meg would have to, heh, pry her away from him at the end of the day. BRENNAN: Where did she work? CAROL: Ah, Fallbrook Rubber? They recycle tires. JIMMY: They turn them into ground coverings, you know, for playgrounds and such. It's one of the only places left around here to work. BOOTH: And how about the two of you. You're both currently, what, unemployed? JIMMY: No, uh, I work part-time, looking after some of the buildings they shut down. CAROL: Jimmy used to teach high school and I did some project management, mostly for construction, but now... We do what we can. JIMMY: This town used to be something. I mean, we were on the scenic route. You know, people would come to visit. It wasn't all coal. CAROL: What'll happen to Andy, because we can watch him. BOOTH: He's gonna have to stay with us for now. Tell me where Meg lived? (Huntsville: A denim-clad man is leaning in the doorway of a decrepit building. A sign swings above his head. The windows are boarded over. Booth's Car drives past and we hear BRENNAN talking.) BRENNAN: Looks like everything's closed down around here. BOOTH: Yeah, probably lost all its customers. With no bridge, the highway routes all the traffic away from the town- (BRENNAN'S phone rings.) BRENNAN: Brennan. CAM: Got the scoop on the poop. (Cut to Medico-Legal Lab: ZACK in the foreground; CAM in the background talking on the phone.) CAM: It was pharmaceutical dye used to color the phenobarbital that showed up on his tox. screen. BRENNAN: Andy had phenobarbital in his system? CAM: Oh, his name's Andy? Adorable. I had a dog named Andy. That came out wrong. ZACK: Why does he have phenobarbital in his system? CAM: It's often prescribed for seizures. ZACK: Perhaps the infant is epileptic. BOOTH: Hey! Don't say that. Andy's going to be just fine. CAM: Well, he was still breastfeeding, so there's a slight chance he ingested the drug that way but... the depth of color makes it unlikely. BRENNAN: We're on our way to check out his mother's home. I'll see if I can find a prescription bottle. (BOOTH and BRENNAN pull up at a trailer park by some train tracks.) BRENNAN: Okay. BOOTH: Nono no no no no no no no. BRENNAN: What? BOOTH: No no no no. Look, the front door is open. You stay here. BRENNAN: But- BOOTH: Bones, there is a baby involved. If you hear g*n, anything like that, drive away. BRENNAN: Bu-I'm not leaving you. BOOTH: Yes you will, because this is about the baby, not me. Promise me. BRENNAN: (Looks at the baby for a long moment.) I promise. (BOOTH approaches the trailer, w*apon drawn. He cautiously enters to see LOU, a man with wild hair, ransacking the place. LOU looks up. BOOTH aims his w*apon.) BOOTH: Okay. Easy. Both hands to the ceiling, nice and easy. Right there. (LOU makes a break for it and BOOTH detains him easily.) Yeah. Easy! God! (BOOTH handcuffs LOU.) You know, I asked you very nicely. BREAK (Trailer, exterior. Booth's Car, interior. BRENNAN and BABY ANDY are inside.) BRENNAN: We will find out what happened to your mother. I promise. You know, Booth is an excellent investigator and, I don't like to boast, but I am the best in my field. (BABY ANDY squalls) What do you want? Ah. How, how about some visual and auditory stimulation? Okay. Let's see. Um. (Trailer, interior, BOOTH is hustling LOU to the front door) LOU: I told you, I'm Meg's husband. I live here. BOOTH: If you live here, why'd you break the front lock? LOU: I didn't do it! Somebody else broke in. And when I saw it I thought I'd come in and check on Meg. BOOTH: Oh, so, you live here or came by to check on Meg? Which one is it? LOU: Ugh, all right now you're getting me all confused. BOOTH: Yeah, I bet. LOU: Look, Meg bails me out sometimes. If she can. And when I saw she wasn't here, I just figured I'd, you know, help myself. BOOTH: How often do you steal from your wife? LOU: It's not stealing. She likes to help me. BOOTH: Well, Meg's d*ad. She was k*lled. LOU: How? BOOTH: You seem shocked. LOU: Well, of course I am! BOOTH: Where were you last night? LOU: (Dazedly) Last night? (BOOTH claps his hands sharply in LOU's face) I don't remember. (Booth's Car, interior. BABY ANDY continues to cry. BRENNAN waggles her hands at him.) BRENNAN: Phalanges! Phalanges. Phalanges! Dancing phalanges. Dancing phalanges! Yeah-hah-hah. Booth thinks bones are dry and boring, but- show me your phalanges. (BABY ANDY wiggles his fingers.) BOOTH: (Walking a handcuffed LOU to car) Hey, Bones. Her husband, real genius, doesn't even remember where he was last night. BRENNAN: We've got your son in here. His mother's d*ad and now you're the only one- LOU: Oh, no no no no no. I never wanted to have a kid. She did it because she thought it would, uh, straighten me out, but I told her I couldn't handle a kid because I'm a free spirit? BOOTH: What you are is a drunk, Lou. (On radio) All right, dispatch. I need a forensics team and a car for a burglary suspect and a possible m*rder- LOU: Woah! I didn't k*ll her! Why would I? She took care of me. (Medico-Legal Lab. Angela's Office.) ANGELA: I've determined an approximate size and shape for the key. CAM: Did you reference it against currently registered key patterns? ANGELA: Yeah, and the closest match is an old design used for safety deposit boxes in banks. I'm looking into banks near Huntsville that still use them. CAM: Most safety deposit keys are numerically coded. ANGELA: Well, we couldn't get a clear enough picture without exposing Andy to too much radiation. CAM: Okay. (She goes to leave. She stops and turns.) How many? Exactly? ANGELA: Excuse me? CAM: Kids. 'Cause a million seems a little impractical. ANGELA: I don't know. I kind of have a thing for chaos. I guess I'll stop when the Feds need to airlift me in supplies. CAM: (Laughs.) You don't by chance live in a shoe, do you? ANGELA: You don't want kids? CAM: Eh, screaming, crying, vomit...other bodily fluids. It's like a day around here. It's not worth giving up this body for that. (Cam departs, slinkily. Angela looks worried.) (Trailer, exterior. An FBI forensics team member carries out a box.) BOOTH: Ooh, let's see what you got here. (He r*fles through the box.) Hey, Bones! Come on, the sweep's finished. It's all yours, come on. BRENNAN: The phenobarbital was prescribed to Andy from a clinic over fifty miles away. BOOTH: Yeah, that was probably the closest medical care they got. BRENNAN: It's an extremely harsh drug to give to a child. (BRENNAN looks around the trailer.) It's quite sweet: the pictures... She really loved him. BOOTH: (Pointing to a wall calendar.) Check this out. Somebody had a doctor's appointment in D.C. yesterday. Maybe that's where they were headed. BRENNAN: Okay, we'll need this prescription and Andy's medical records. BOOTH: Okay. I'll have 'em sent to the Jeffersonian. Because that's what we do. (BOOTH departs.) (Brennan's cellphone, nestled in BABY ANDY's car-seat, rings) BRENNAN: Brennan. (Medico-Legal Lab, Zack is examining the body.) ZACK: I made some discoveries regarding our victim. Is this a good time? (BABY ANDY clutches at BRENNAN'S necklace.) BRENNAN: No no no no no. ZACK: Oh-kay. (Zack hangs up.) BRENNAN: Zack? Hello? (BRENNAN dials.) (Medico-Legal Lab.) ZACK: Doctor Addy. BRENNAN: Uh, it's Doctor Brennan. ZACK: Oh. Is this a better time? BRENNAN: (To BABY ANDY, who is again clutching at her jewelry) No no no. ZACK: Then why'd you call back?! BRENNAN: I wasn't speaking with you, Zack. ZACK: I believe you are. BRENNAN: I was saying no to Andy. He was grabbing my necklace. (Quietly, giving the necklace to BABY ANDY) Here you go. You were saying? ZACK: Our victim had healed compression fractures in her L1 and L2 vertebrae. BRENNAN: From a traumatic injury? ZACK: No. Malnourishment. She also has some minor deformities, including a slight bowing of the legs and bony outgrowths at a number of muscle attachments. BRENNAN: Do you know if Cam found any painkillers in Andy's tox. screen? ZACK: No. Just the phenobarbital. (Trailer exterior. BRENNAN carries BABY ANDY to Booth's Car.) BOOTH: First the key, now jewelry. What's next? Are you gonna let him play with a bowling ball? BRENNAN: What? I'm watching him! BRENNAN: Meg had a number of bone conditions that would have caused chronic pain but she wasn't taking any pain medication. BOOTH: (Handing BRENNAN her necklace) Here. It was probably because she didn't want it affecting her, you know, her supply. BRENNAN: What, you mean her breast milk? You know, you can say the word "breast", Booth. BOOTH: Yeah, I know, Bones. BRENNAN: Well, didn't Rebecca breastfeed Parker? BOOTH: I am not. You know... (BOOTH gets in the car and waits for BRENNAN to close her door. He lowers his voice.) I am not discussing that with you. BRENNAN: Would teat make you more comfortable? BOOTH: I am not talking teats with you! BRENNAN: Why not? BOOTH: Enough! (He blows a breath out.) So our victim wasn't taking any painkillers. BRENNAN: No, but her occupational markers in her lateral upper condyle and lower discs suggest that her job requires manual labor. Her pain might have been excruciating. BOOTH: Probably had no choice. I mean, jobs around here are pretty scarce. All right, what do you say we go talk to her boss? BRENNAN: Were you breastfed? I was. (Interior. Fallbrook Rubber, tire recycling plant. CHIP BARNETT talks to BOOTH and BRENNAN while TERRY, RICH, and other plant workers stack tires in the background) CHIP: What, uh, yesterday was her day off, and when she was late today I just...god-I mean- Who did it? What happened? BOOTH: We're not sure yet, Mr Barnett. How long have you been the manager of this plant? CHIP: Three years now. It's the only real business left around here. BRENNAN: Since Meg's job involved a lot of physical labor, were you aware of her spinal condition? CHIP: The pain, you mean? Yeah, I saw it. I offered to put her on disability. She said she and the baby couldn't get by on that. She was tougher than half the guys here. (He looks on BABY ANDY.) Poor little bug. I got five kids myself. I can't. I can't imagine... BOOTH: Any reason to think Meg was in trouble? CHIP: Nah. I was her boss. She didn't confide in me. TERRY: How about that husband of hers? He was trash on a cr*cker if I've ever seen it. CHIP: Yeah, they weren't even livin' together any more. RICH: Doesn't mean he ain't jealous. Maybe someone told him about Shepard. BRENNAN: Who's Shepard? CHIP: Dave Shepard. Some accountant from corporate headquarters in D.C. He was here for a week. Left a few days ago. RICH: He was here to cut costs. We've all heard that before. TERRY: Goodbye, jobs. BRENNAN: Was there anything between Meg and Shepard? CHIP: The guy was kinda slimy. You know: offering to buy her sodas, asking about her kid, all the time looking at her... you know. BRENNAN: Breasts? BOOTH: Did Meg return the attention? RICH: He's from the city, had money. After her deadbeat of a husband you can't fault her for wanting a good meal. TERRY: The only guy Meg really cared about is right there. (Indicates BABY ANDY) She woulda done anything for this kid. (Tire plant, exterior. Camera looks down on BRENNAN and BOOTH as they carry BABY ANDY back to Booth's Car. BOOTH talks on his cellphone.) BOOTH: Just do a check on all the employees. And also, give me the contact information on this Dave Shepard, in the D.C. area. I'm telling you, Lou Taylor didn't do it. He was in jail; they picked him up passed out in another county. BRENNAN: Booth. BOOTH: Hold on. Yeah, well, you know what? If *Lou* didn't toss the place then somebody else did, all right? So just keep checking for prints. (BOOTH hangs up) I'm telling you, somebody else is looking for that key. BRENNAN: Booth? BOOTH: Yeah? BRENNAN: Andy's making that face again. (Booth's Car, exterior. BOOTH changes BABY ANDY in the open trunk while BRENNAN, wearing gloves, examines the key.) BOOTH: I'm serious, Bones, next time you're changing the diaper. BRENNAN: Fine. (To ANGELA over webcam) There's a series of numbers on it. ANGELA: These keys were coded to indicate a specific bank so read me your numbers. BRENNAN: 36 09 20 14 (ANGELA'S Office) ANGELA: Okay, searching. Got it. It's from Green Hills Bank in Petersberg, West Virginia. I'll send the directions to your phone. BRENNAN: Thank you. ANGELA: No problem. How's my little bruiser? (BOOTH lifts BABY ANDY out of the car.) BRENNAN: Well, he looks pleased that a piece of metal is no longer passing through his intestinal tract. BOOTH: (Sing song) No more metal! No more metal. BRENNAN: (Frowning) His legs are bowed. BOOTH: All babies' legs are bowed. BRENNAN: No, not like this. How could I have missed that? (To ANGELA) Tell Zack to run a P ratio test on the victim's teeth. He'll know what I mean. ANGELA: Sure thing. Take care of him, sweetie. BRENNAN: I will. (She disconnects and turns back to BOOTH.) I've got the bank's address. It's in Petersberg, one town from Huntsville. BOOTH: Great! I'll request a warrant. That'll give us time to go to Family Services in Parsons to- BRENNAN: What? No! Not yet. BOOTH: Bones, I know this is difficult but we both agreed that we'd keep Andy to get the key. Now that we have the key... BRENNAN: No. You can't leave him with Family Services in the middle of nowhere. Cam still needs to review his medical records. BOOTH: Oh, well... I mean... Bones, there are doctors there. BRENNAN: You have no idea what that place will be like, Booth. Med students, underfunded, understaffed- BOOTH: Bones. BRENNAN: His mother is d*ad and his father is a felon. I've been in his situation, Booth. I am not turning him over until I'm satisfied that he is somewhere safe where he'll get the care he deserves. BOOTH: Fine. He can stay with us, for now. BRENNAN: (Quietly) Thank you. BOOTH: Okay. I'll go lock the back up. (BRENNAN puts BABY ANDY in the car. Impulsively she blows a raspberry on his tummy, then another. BABY ANDY and BRENNAN laugh. BRENNAN looks around shiftily.) (Green Hills Bank, Petersberg, interior.) BANK MANAGER: Just let me know if there's anything else you need. BRENNAN: Do you like elephants? Huh? BOOTH: Bank manager said Meg was a new client, only got this box a few days ago. (BOOTH opens the safety deposit box and unwraps a blue cloth to reveal a g*n.) Ooh. BRENNAN: Uh-oh. BOOTH: Uh-oh is right. Oh, Andy, what kind of trouble was mama in? BREAK (BRENNAN examines the g*n while BOOTH plays with BABY ANDY) BRENNAN: There's a sticky residue lining the trigger. I see fragments of a foreign object inside the barrel. I need to take this back to the Jeffersonian. BOOTH: Well, Meg Taylor didn't own a firearm, at least not legally. (To BABY ANDY) We need to find out where mommy got the g*n, don't we? BRENNAN: Hey! Someone filed off the serial numbers. BOOTH: Do you think I didn't know that before I handed it to you? I mean, I am FBI. (To BABY ANDY) Not just some guy who changes your stinky diapers. BRENNAN: It's been fired recently. I'm finding g*n residue. BOOTH: g*n's not gonna get me the owner's name. I need fingerprints, DNA. BRENNAN: (Thoughtfully) Do you think there are any public pools around here? (Huntsville Public Pool, exterior. It is drained and derelict. JIMMY GRANT shows BRENNAN and BOOTH, carrying BABY ANDY, inside to the pump room.) JIMMY: It's a pretty depressing job, keeping an eye on the ruins, but I try to think positive. Like I'm keeping them safe until they open up again. Ah, chemicals are down here. BRENNAN: Thanks. JIMMY: Can I hold him? Just for a bit? BOOTH: Okay. Just for a little bit, right, Andy? (JIMMY takes BABY ANDY.) BRENNAN: Do you know of any medical conditions that Andy was being treated for? JIMMY: Meg never liked to share her problems. She was, uh, pretty independent but, I mean, Andy's always seemed just fine. Is he sick? BOOTH: We were just checking. Must have been a pretty nice pool? JIMMY: Yeah. Heh. Coached the high school team once, back when I was teaching- BRENNAN: Perfect. Muriatic acid. BOOTH: Bones, what are you doing? JIMMY: Hey, I get it. Someone filed the numbers off, didn't they? BOOTH: How'd you know that? JIMMY: Oh, she's using the acid to react with the metal. It restores the original etchings. (BOOTH chuckles in surprise.) JIMMY: I taught high school science. BOOTH: Really. BRENNAN: You must have been a good teacher. (Brennan swabs the g*n with the hydrochloric acid to reveal etched serial numbers: 160-56391) I got the numbers. (FBI interrogation room. BOOTH paces as he interrogates EARL DELANCY) BOOTH: Mr Delancy, you worked for Fallbrook Rubber before you came to D.C. EARL: Yeah. Got laid off a couple months ago. Surprised that place is still in business. BOOTH: So you knew Meg Taylor? EARL: Sure. Can't picture her with a g*n though. She was sweet as they come. BOOTH: The g*n was registered to you. EARL: But I haven't seen it in a couple of years. I pawned it when things first started getting tight. BOOTH: It's illegal for pawnshops to buy g*n. EARL: (Chuckling) Have you seen Huntsville? People do whatever it takes to stay afloat. BOOTH: It says here in your file that you as*ault the plant manager when he laid you off. Also took a swing at Dave Shepard. EARL: That's right, yeah! Look, that sumbitch drives up from D. C. every few months, and when he leaves, five more of us are out on our asses. Sure I took a swing at him. I'd do it again, too, if I ever saw him. BOOTH: Where's the pawn shop? EARL: Corner of Elm and Wilson. Went out of business, though: too many people selling, not enough people buyin'. (Medico-Legal Lab.) HODGINS: This g*n is covered in a fine dust of particulate matter. It's going to take a while to id. ZACK: The fragments inside the g*n's barrel are bone. HODGINS: Really? To get blowback like that, somebody would have to have been sh*t point blank. ZACK: In the head. Brain tissue on the fragments means they're from a frontal bone. HODGINS: Wow, maybe our victim sh*t somebody? ZACK: If she did, then why would she put the g*n in a safety deposit box? It's not logical. HODGINS: Yeah, you're right. Well, we'll soon know for sure. ZACK: What do you mean? HODGINS: I've identified the residue on the g*n's trigger. It's b*rned skin. The finger must've gotten caught and b*rned when the sh**t fired the g*n. Cam should be able to get some DNA. (BRENNAN and BABY ANDY are in Brennan's Office. BOOTH enters.) BOOTH: Hey, Bones. The pawnshop, it closed last year. No one's seen the owner. I mean, this g*n? That could have been floating around for months. (to BABY ANDY) Hey, little man! Yeah-aha. Uh, Bones? What's the muzak? BRENNAN: I'm on hold. There's an anthropologically proven link between poverty and v*olence: more people competing for scarcer resources. BOOTH: That's, that's great, Bones, but the bottom line is we're not gonna know if the g*n owner is telling the truth. CONGRESSIONAL STAFFER: (Over speakerphone.) Doctor Brennan? BRENNAN: Yes, I'm still here. BOOTH: (to BABY ANDY) Woah, hey. Hey. BRENNAN: Well, then tell the congressman I'd appreciate a call back. Thank you. BOOTH: (to BRENNAN via BABY ANDY) Congressman, woah, what is Bones up to, huh? BRENNAN: I'm just putting in a few calls. You know, I have contributed a great deal of money to numerous campaigns. I think these politicians owe me. BOOTH: Bones, that's not how it's supposed to work. BRENNAN: That is exactly how it does work, Booth. If the government fixed that bridge leading to Huntsville, they'd be back on the scenic route. BOOTH: (Laughing) Okay, what about the "lack of fiscal resources" that you were talking about? BRENNAN: They found millions to build a bridge to nowhere in Alaska. (to BABY ANDY) Do you need to burp? BOOTH: No. BRENNAN: I was talking to Andy. BOOTH: I know you were talking about Andy. (to BABY ANDY) My man, Andy! So, what's up with the little guy here. How's his condition? Any news? BRENNAN: Cam's still looking at his records, consulting with some pediatricians. BOOTH: (to BRENNAN via BABY ANDY) He's going to be just fine, isn't he? He's a tiger? (BOOTH plays with BABY ANDY's feet) Tiger tiger tiger tiger. Tiger tiger tiger tiger. Tiger tiger tiger tiger. BRENNAN: You know, verbal development would be heightened if you didn't talk to him like a fool. BOOTH: Well what were you just doing? Just then? BRENNAN: What? I wasn't doing anything? BOOTH: You were so! You were goin' doodoo doodoo- BRENNAN: What are you talking about? I never did that! BOOTH: Doo-doh baby-yes, that's what [unintelligible bickering] CAM: (Walking in) I have some info about the skin Hodgins found on the g*n's trigger. BOOTH: Yep. CAM: It was male: not Meg Taylor. BRENNAN: So Meg was either an accomplice or- BOOTH: She witnessed the m*rder, got her hands on the g*n, then hid it. (BOOTH'S phone rings) Woah. Excuse me. Booth. Yeah. (He writes something down.) Huntsville! BRENNAN: (Beams at BABY ANDY) Yeah! BOOTH: Bones, we just found our missing accountant. He used his credit card to check into a hotel near Huntsville. (To caller) Great. Thanks. (BOOTH hangs up.) Local police are picking him up now. (Tucker County Jailhouse, interior. An officer shows BOOTH down a corridor into an interrogation room where a HOMELESS MAN sits) OFFICER: There. BOOTH: You're kidding me, right? This is not Dave Shepard. (to HOMELESS MAN) You're not Dave Shepard! HOMELESS MAN: Tell me something I don't know. BOOTH: How'd you end up with his credit card? HOMELESS MAN: It was inside that bag. (He indicates a bloodstained holdall.) I found it in a trash heap near the old coal mine. (Ruefully.) I thought my luck had changed. BOOTH: Was there blood on this bag when you found it? HOMELESS MAN: I guess. Hey, can I have the sweaters? They're really soft. BOOTH: (To OFFICER.) I'll take the bag and everything in it back to D.C. Cut this guy loose. HOMELESS MAN: Cut me loose?! BOOTH: Yep. (He walks out.) HOMELESS MAN: I don't mind staying here, you know, couple of nights maybe? Whaddya say? Couple of nights? (Medico-Legal Lab. Cam's Office. CAM sits at her computer and BRENNAN stands at her shoulder.) CAM: So this Dave Shepard guy is an accountant? That's usually not a profession I associate with K*llers. BRENNAN: Booth thinks that our victim may have seen Dave Shepard sh**t someone. Since he's been missing since her death, he could have k*lled her too. CAM: Yeah, well, tell Booth I just found the guy. (Screen shows: DNA Match found: 99.0173 CFD) Or parts of his skull, anyway. I ran the DNA from the blood on the duffel bag and the frontal bone fragments from the g*n through CODIS-both his. BRENNAN: So Dave Shepard isn't our k*ller, he's another victim. CAM: He was sh*t in the head by a male, with a g*n Meg Taylor was trying to hide. ANGELA: Hey, you wanted me? BRENNAN: Yeah, there was a flash drive in Dave Shepard's duffel bag. (BRENNAN hands a bagged flash drive to ANGELA) ANGELA: It's crushed. CAM: That's where you come in. BRENNAN: We need to know if Dave Shepard found something that could have gotten him k*lled. ANGELA: Okay. I'll get right on it. (ANGELA leaves.) BRENNAN: Did you call your pediatrician friend? CAM: He's on his way. BRENNAN: You know he's good, right? Because we have to be certain- CAM: Doctor Brennan, he's the Chief of Pediatrics at Children's National Medical Centre. He's the best. (BRENNAN nods.) (Medico-Legal Lab. Ookey Room.) HODGINS: Hi, Beautiful. Coming to visit? ANGELA: Yeah. I need some cotton swabs and some bleach. I'm cleaning dried blood off that flash drive. (HODGINS and ANGELA share a smile. She walks to the door and pauses.) You do want kids, don't you? HODGINS: What? ANGELA: Kids. Small humans. HODGINS: I'll admit: I only ever planned on one or two, but, if you want a million, I want a million. ANGELA: Really? HODGINS: Absolutely. I don't care if you're mushy and shapeless, puffy from constant hormonal fluctuations-I'll still find you sexy. ANGELA: Well, I'm not going to look like a- HODGINS: It's okay! I mean, when you get wider there'll be more of you to love. (ANGELA looks faintly worried.) I think we should start right now. Why wait until we get married? There's no telling how long it's gonna be until you get your divorce. ANGELA: Hodgins! Your...computer, it's beeping. HODGINS: Oh (HODGINS walks to check his screen, smiling to himself.) That's interesting. ANGELA: What is it? HODGINS: Particulates from the g*n. Dust was composed of silica, sulphur compounds and synthetic rubbers. ANGELA: Sounds like tires. HODGINS: The g*n was used at the tire recycling plant. (He strides away.) ANGELA: (With folded arms.) I'm not gonna get wider. (Fallbrook Rubber, tire recycling plant, interior. BOOTH, BRENNAN, and an FBI team search the plant.) BOOTH: Thanks. CHIP: What exactly are you looking for? BOOTH: Well, we're not sure yet. Anything that can help us find out what happened to Dave Shepard and Meg Taylor. CHIP: (to workers) Okay, people. Back to work. You let them do their job, they'll let us do ours. (TERRY starts up a huge mulching machine. BRENNAN follows its machinations with her eyes. She makes for the top platform of the mulcher.) BOOTH: Hey, where're you going? Hey Bones? (Handing his coffee to a colleague) Hey, pal, hold on to that for a second there, would you? Bones! (He climbs the stairs after her.) Hey! Where you going? Hey! BRENNAN: (Looking down into the mulcher.) Booth, look at this. (to TERRY) Turn off the machine! BOOTH: Yeah, if I were a d*ad body and I needed to disappear? BRENNAN: This would be a pretty thorough way to do it. BOOTH: Hey, pal, how often do you ship out a load of this mulch? TERRY: We collect a week's worth at a time, but we bag it up every couple of hours. BRENNAN: Dave disappeared four days ago. He could still be here. (Fallbrook Rubber, warehouse interior.) TERRY: (Indicating a row of mulch bags.) It's this lot right here. BOOTH: Yeah. Bones? BRENNAN: Yeah. BOOTH: THis lot was collected right after Dave's disappearance. TERRY: Everything is washed, sanitized, and ready to be shipped. BOOTH: But that means that all the evidence has been washed away! BRENNAN: (Laying out some equipment.) Not necessarily. Scoop up some of the mulch. (BRENNAN sets a glass jar on a table and fills it half full with water from a bottle.) Put it in this water. (BRENNAN screws on a lid, shakes the jar, and holds it up to the light. BOOTH looks closely too.) Next batch. BOOTH: Uh, Bones, what exactly are we doing? BRENNAN: I'll explain in a minute. (They repeat the process.) Try the next bag. BOOTH: Next bag. (They repeat the process.) Next bag. (They repeat the process.) BRENNAN: (Holding up a jar.) The rubber pieces float, see? But bone...(Bone fragments sink to the bottom of the water.) BOOTH: Sinks. You just found Dave. (to TERRY) Tell the manager to shut this plant down now. BRENNAN: (Answering her phone.) Brennan? ANGELA: Brennan, it's me. Turn on your video stream. BRENNAN: Is Andy all right? ANGELA: The pediatrician is examining him right now. (BRENNAN slides her laptop cradle out of the trunk of Booth's Car.) The baby is fine. Take a look at this. (Angela transmits data.) I recovered most of the memory from that flash drive. Dave Shepard's internal audit? Showed a completely different set of numbers to those reported to corporate headquarters. BOOTH: Somebody was doctoring the profit reports. BRENNAN: Siphoning money into a private account. Dave figured it out while he was in Huntsville, that's what got him k*lled. BOOTH: And if Meg knew about it then the k*ller would want her d*ad too. Come on. (They walk back into the plant to RICH and TERRY.) Hey, where's Barnett? RICH: Chip left. BOOTH: Where'd he go? RICH: Said he had an emergency at home. (BOOTH huffs. BRENNAN grabs the jar of evidence. Cut to CHIP throwing suitcases in his car. He gets in and tries to drive away, wheels spinning, but BOOTH and BRENNAN round the corner, siren wailing, and block his exit (in Booth's car).) CHIP: Jeez. Damn! (He drives in reverse until he hits the post of a chain link fence. CHIP abandons the vehicle and runs away, clambering heavily over his car. BOOTH pursues on foot with BRENNAN close behind. BOOTH catches CHIP and restrains him against another chain link fence.) BOOTH: (Handcuffing CHIP.) Chip Barnett, you're under arrest for eluding a federal agent. I'm sure we'll be throwing in a few m*rder charges as well. You know your rights, yeah? CHIP: Argh! Gah! Yeah. It was only a matter of time before they closed the plant. BOOTH: So you embezzled from the company. CHIP: A man does what he has to for his family. BRENNAN: So that justifies k*lling two innocent people? CHIP: Shepard was gonna turn me in. BOOTH: So you *sh*t* him. Meg witnessed it, got a hold of the g*n- CHIP: She wanted money to keep quiet, take her kid to some doctor in D.C. BRENNAN: So you knew where she was headed. BOOTH: Yeah, you followed her out of town so you could k*ll her with no-one around. CHIP: I didn't want to k*ll her. I went to her trailer, I looked for the g*n first, but you do what you have to- BRENNAN: There was a baby in that car, you son of a bitch. (Brennan walks off, disgusted. BOOTH hauls CHIP along.) BREAK (Brennan's Office. BOOTH walks in and the camera reveals BRENNAN sitting with BABY ANDY.) BOOTH: Hey. BRENNAN: Hey. BOOTH: One of the techs found this in Meg's trailer. (BOOTH holds an envelope.) BRENNAN: What is it? BOOTH: A letter that Meg wrote to her friend, Carol Grant. CAM: (Entering, carrying papers) Hey. Andy has a genetic condition. BOOTH: What is it? CAM: Vitamin D resistant rickets. Meg had a mild form, very few symptoms; she probably didn't even know she had it. BRENNAN: But males are prone to more severe cases than females so Andy would have exhibited more extreme symptomatology. CAM: Including the seizures. The clinic probably prescribed him the phenobarbital without searching for underlying causes. BOOTH: Well, is Andy going to be all right? CAM: Absolutely. (BOOTH sags in relief.) Very treatable. My friend can treat him as an outpatient. Andy's going to be fine. BRENNAN: Thanks, Cam. Really. CAM: Don't mention it. (CAM departs.) BOOTH: (to BABY ANDY) Yeah! BRENNAN: (to BABY ANDY) You're going to be fine. BOOTH: (to BRENNAN via BABY ANDY) Looks like our little guy's going to be just fine. (They share a long look.) *The* little guy. BRENNAN: Andy. BOOTH: Andy's going to be just fine. (He hands BRENNAN the envelope.) You should read this. (FBI Conference Room. BRENNAN holds BABY ANDY. BOOTH stands beside her. JIMMY GRANT signs papers while CAROL GRANT reads Meg's letter tearily.) CAROL: Dear Carol, If anything happens to me, take care of my Andy. I know you don't have much, none of us do, but you have love. And I know Andy would be lucky to be part of your family. (CAROL signs a paper.) (BRENNAN slowly hands BABY ANDY over to THE GRANTS. BABY ANDY holds his arms out for a second and then relaxes into CAROL'S arms. BRENNAN is on the verge of tears.) (Fade to Booth's Car, exterior. A park. BOOTH and BRENNAN sit in the open trunk, drinking coffee.) BOOTH: You know, I'm gonna miss that little guy...And so are you, so don't deny it. BRENNAN: I'm not ashamed to say that I have developed a certain...affection for Andy. It's a natural byproduct of caregiving. BOOTH: Yeah. So, what do you think, huh? Change your mind about having kids? BRENNAN: Booth! BOOTH: Okay, all right. You got some time. (He pauses, grinning.) Not *that* much time... BRENNAN: (Swatting BOOTH.) Booth! (and knocking the coffee cup out of his hand.) BOOTH: Hey! BRENNAN: Now look what you did! (BRENNAN wipes down some comb-bound documents.) BOOTH: What *I* did?! BRENNAN: Yeah. BOOTH: You're the one who h*t me! (He takes the documents.) Woah, what is all this stuff? BRENNAN: It's information Carol gave me, from a structural engineer. BOOTH: Oh, so you took my financial advice, didn't you? Hm? You're gonna build that home. BRENNAN: No. The congressman couldn't help so I'm rebuilding the bridge into Huntsville. I've hired Carol Grant as the project manager. BOOTH: Wow. That is going to cost a fortune. BRENNAN: Well, to you it's a fortune, but with my advance, and selling the movie rights- BOOTH: Yeah, I get it. You know, I thought you said that towns lived and died liked organisms, that sometimes we should just let them go. BRENNAN: Sometimes it takes one thing, like a bridge, for a town to start recovering. Back on the scenic route the gas stations could reopen, restaurants, maybe a bed and breakfast for people wanting to stay in the area. BOOTH: Wow. Listen to you. Good for you. (He hands her the documents and sits back.) You know, it's a, it's a shame. BRENNAN: What? BOOTH: No kids: who's going to be proud of you? BRENNAN: I don't do it for that. BOOTH: Yeah, okay. I know. I know. You know, with next year's book, you should uh, you should get that second home in that town you saved. I mean, it only makes sense, right? Because every year, you know, plasmas, they go down, they get cheaper and cheaper-it happens all the time. BRENNAN: Forget it. BOOTH: What? I'm just saying. Andy's going to miss his Auntie Bones. He's going to want to see you. We could all go fishing, come back home, plop ourselves in front of that one hundred and three inch plasma screen of *heaven* and *football* and you can make the *five layer* dip. BRENNAN: Seven layer dip. BOOTH: Even better! Seven layers! Perfect! You can talk to Andy: hello Andy, little baby, little baby baby Andy- (BRENNAN plugs his mouth with a pacifier. BOOTH sucks on it.) END

{"type": "series", "show": "Bones", "episode": "03x12 - The Baby in the Bough"}

foreverdreaming

"The Verdict in the Story" Episode 3x13 Written By: Christopher Ambrose Directed by: Jeannot Szwarc Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Booth and Brennan arrive at a crime scene) BOOTH: Bones, you are not going to believe this one. BRENNAN: Well, you said that about the guy who was stuffed inside a huge truck tire. I believed that. BOOTH: Yeah, that was a good one. This is a whole new level of weird. (Camera pulls back to reveal a skeleton. It's feet and hands are tied together behind it's back and it's resting on a pile of bricks.) BRENNAN: Whoa. I don't believe it. BOOTH: Mhm. What did I tell ya? BRENNAN: How could this happen? BOOTH: Whoa, well, um...Maybe he was rolled up in a carpet. BRENNAN: (laughs) Where's the carpet? BOOTH: Well, it rotted away. You know, with the meaty parts. (Brennan starts laughing hysterically) BOOTH: What? It's possible. BRENNAN: (still laughing) That - that would've, that would've taken thousands of years. Um, uh. The bones should be in a pile but. (cracks up again) something is holding them together and - (Brennan laughs uncontrollably) BOOTH: What is with you? BRENNAN: (still laughing) Rolled in a carpet!? "Meaty parts!" (Caroline enters wearing a hard hat.) CAROLINE: Excuse me? BRENNAN: (still laughing) Ah, uh...oh. CAROLINE: What is so funny? BRENNAN: Nothing. (she tries to stop the laughter) CAROLINE: I should hope not because there's a d*ad body deserving of respect right in front of you. What happened to him? (Brennan cracks up again) CAROLINE: I did not know she could laugh. BOOTH: What are you doing at the crime scene? CAROLINE: Dr. Brennan is suspended from all crime-related duties. BOOTH: What? BRENNAN: What? For laughing at Booth? BOOTH: That really doesn't bother me. CAROLINE: We have a date for your father's m*rder trial. Booth is the arresting officer. You can't work together until it's over. BRENNAN: This is not necessary. BOOTH: They don't need to separate us. BRENNAN: I'm very compartmentalized. BOOTH: Very compartmentalized. CAROLINE: Take it up with the FBI, Cherie. (Caroline leaves) BOOTH: Well, that sucks. BRENNAN: This one looked really interesting. BOOTH: Yeah. Really, really interesting. Well, I'll let you know what happens. BRENNAN: You're not going to solve it without me. (Cut to: Royal Diner. Booth, Brennan and Sweets are sitting and eating) BOOTH: I mean, there's no use in doing partners' therapy when we aren't partners. SWEETS: What? You split up? BOOTH: We got split up. BRENNAN: The FBI says we can't work together. SWEETS: Why? BOOTH: Brennan's dad m*rder the deputy director of the FBI. BRENNAN: His trial begins next week. SWEETS: I should have been informed. BRENNAN: Of the trial? Why? BOOTH: Oh, because Sweets did the psychological profile of Max for the prosecution. BRENNAN: What? Why didn't you tell me before? SWEETS: Why is that important to you? BOOTH: Sweets! No therapy! Didn't I just - listen. (to Brennan) Because while it wouldn't matter to say - a normal person - I just figured you wouldn't care. BRENNAN: You're absolutely right. SWEETS: Dr. Brennan. Everyone you work with, including your therapist.. BOOTH: Former therapist. SWEETS: Is endeavoring to imprison your father. That's wicked stressful. BRENNAN: Booth is right, it doesn't bother me. SWEETS: No, Booth is wrong. Yes, it does. May I suggest that this is a golden opportunity for you to feel a situation rather than simply rationalize it? BRENNAN: I'm fine. SWEETS: If you were fine, you'd be balled up in the corner, weeping, or semi-catatonic. BRENNAN: (to Booth) Does that sound fine to you? BOOTH: I'm sorry, Bones, but I'm gonna have to agree with Sweets on this one. SWEETS: I think it's important that you know that we know that the colder and more objective you appear on the outside, the more pain you're feeling on the inside. BRENNAN: I'm fine. SWEETS: No. You're not. BOOTH: (getting up) Well, Sweets. I'm - I'm gonna miss you. It was a real pleasure working with you. SWEETS: Really? You are? BRENNAN: (gets up) I, too, find him intriguing in a non-rigorous, pragmatically irrelevant kind of way. BOOTH: I agree with what she said. BRENNAN: Thank you for trying to help Booth and me work together. BOOTH: Thanks, Sweets. SWEETS: You're welcome...but honestly, guys...we- BOOTH: Will you pick this up? The tab? (Booth and Brennan head out of the diner) SWEETS: (calling after them as they walk out) Yeah, sure. We can keep working together - (sighs) Lame. I thought I was doing a good job. (Opening Credits) (Cut to: Federal Detention Facility - Visiting Room. Brennan, Russ, Max, and his lawyer David Barron meet with Clark Edison, who will be the forensic expert on the case.) MAX: No offense, but I would feel better if the famous Dr. Temperance Brennan was my scientific mouthpiece. RUSS: (to Clark) Have you done this before? BRENNAN: This is not Clark's first trial. MAX: Oh, he's a full-grown scientist? CLARK: I shave sir. I have a driver's license. I've won a couple fist fights. I've saved a life. I've lain with woman. I've been hustled at pool. I've defied my father's wishes. I have broken hearts and I have been heartbroken. So, by all the markers of this society, I am a grown man. MAX: Oh. You "lain with woman"? RUSS: Is he gonna talk like that at dad's trial? BARRON: Listen, Max. I would have Clark list his qualifications for you right now, but that would spoil the surprise when they read them out in court. BRENNAN: Clark is the last forensic anthropologist that I'd want to be up against in a court of law. RUSS: What about that genius kid at your lab? MAX: The oversized eyes and the toaster head? That guy? CLARK: I'm sorry if my normal sized head and eyes diminish your confidence. BRENNAN: Zack is working for the prosecution. MAX: Okay. (he reaches for Clark's hand) Welcome aboard, kid. RUSS: Dad... CLARK: Thank you. (Max tightens his grip) Are you seriously squeezing my hand that hard? BRENNAN: Give Clark his hand back, Dad! (Max lets go) CLARK: Thanks. RUSS: We'll wait outside, Tempe. MAX: I still wish you were going to be my scientist. BRENNAN: Here. (she takes out a long box and puts it on the table) You should wear this tie in the courtroom. MAX: Oh! But it's - it's a grey tie. BRENNAN: Apparently, the color grey tells the jury that you are a serious man with good judgment MAX: Yeah, or that I'm drab BRENNAN: I can't stop this from happening. MAX: What do you mean? BRENNAN: Booth, Hodgins, Zack, Angela, Caroline - they're all my friends but I can't- MAX: Hey, listen. I know you love me, alright? I can see it even if nobody else can so that's something you don't have to worry about. (Brennan looks like she might cry and Max reaches for her hand and they have a moment. He then raises her hand and kisses it. She does love him.) MAX: I'll wear the tie. (Cut to: Medico Legal Lab- Forensics Platform. Angela, Zack, Hodgins and Cam are watching from outside the platform as Brennan, David Barron and Clark re-examine the remains.) ANGELA: I hate this. I hate it. CAM: What? Strangers on our forensic platform? HODGINS: Ange doesn't like that we're on different sides. ANGELA: All of us together and Brennan alone. ZACK: Not alone. She's with those African American people. (Cam, Hodgins & Angela turn and look at him) CAM: This is not a competition. HODGINS: I'm pretty sure the reason they call the justice system "adversarial" is that it is competitive. CAM: No. It's not a competition between us and Brennan. This is just an unfortunate situation. ANGELA: Yeah. Yeah. It's an unfortunate situation. If Brennan understands that we're aren't crazily competitive about it then we'll all come through this with our friendships in tact. ZACK: Besides, Dr. Brennan must realize that we're going to destroy them. (They turned to look at Zack again) HODGINS: I'll explain "crazily competitive" to Zack over and over again until he gets it. CAM: Okay. Prosecution briefing in 20 and Caroline does not tolerate tardiness. (They leave) CLARK: Well, I've reviewed the physical evidence as compiled by Dr. Addy and provided by the prosecution BRENNAN: What do you think? CLARK: There are always judgment calls but it holds together. I may feel better about our position once I do my own intensive examination. BARRON: Tell me the first thing that occurs to you when you look at the x-rays and skeletal remains of the victim. CLARK: The k*ller was merciful. BRENNAN: That is completely unscientific. BARRON: The victim was s*ab several times, set on f*re and gutted. Where's the mercy? CLARK: Death was instantaneous. A single blow to the mastoid process so zero pain. Guts, s*ab, burns - all that occurred post-mortem. BARRON: Mercy. BRENNAN: Zack will be the more precise expert witness. BARRON: Clark will be the more understandable and persuasive. CLARK: In prosecution, scientific objectivity is seen as a virtue. BARRON: In defense, we humanize the accused. BRENNAN: I accept your logic. BARRON: I'm gonna put some effort into making Dr. Addy look bad. I'd appreciate it if the jury didn't see you doubting me. BRENNAN: Well, that will be difficult because my father actually is guilty. BARRON: Dr. Brennan. I need that to be the last time you speak those thoughts aloud. BRENNAN: Why? BARRON: Because what we think about the client's guilt or innocence is irrelevant. It's their job to prove your father is guilty beyond a shadow of a doubt. (to Clark) How much time do you need with the skeleton? CLARK: As much as you can get me. (to Brennan) I'd also like to take a look at your case files if I might. BRENNAN: Why? CLARK: Because you taught Dr. Addy. I'd like to get a feel for who I'm up against. (Cut to: FBI - Conference Room. Caroline is briefing the team - minus Brennan - to prepare them for the trial.) CAROLINE: I'm gonna say to you what I always say to you before a trial because this one is no different than any other trial. ZACK: You've never said that before. CAROLINE: What? HODGINS: You've never told us that a trial is no different from any other trial. ZACK: Which suggests that this one is different. CAROLINE: Have you no control over these people? CAM: None whatsoever. BOOTH: Look, Caroline. It's Bones. It's different. Let's just admit that. CAROLINE: Here's what's not different. Lose the "Cocky" belt buckle. (pan to Booth's belt buckle) No badges saying "Resist Authority" or "The Truth is Out There". (pan to a pin on Hodgins's jacket). Do not cut your own hair the day before a trial. (pan to Zack). (to Angela) Ugly up a little. The plain women on the jury hate you. (to Sweets) Use your fully grown-up words. (to Cam) Eat. Last time, your stomach was growling louder than your testimony. CAM: Then don't put me on first thing in the morning. SWEETS: I assure you I will be totally, awesomely mature on the stand. ANGELA: Ms. Julian, I'm not taking the stand. CAM: You have to. ANGELA: Look, I'm not gonna tell anybody else what to do here but I'm not testifying. (Angela gets up and walks out) CAROLINE: Booth? BOOTH: Right. Okay. Listen up, people. Bones, she believes in the system. She finds out that Angela is not going to testify, she's not going to like it. Okay? She'd want all of us to do our jobs. SWEETS: Dr. Brennan does seem to have an enviable, if somewhat disturbing, ability to compartmentalize. (to Caroline) Hey. How- how's that for fully grown-up vocab? CAM: Clean and detached, people. Just the way Dr. Brennan likes it. ZACK: I have no problem. HODGINS: I'll ask Dr. Brennan directly. If she says okay, then I'm onboard. CAROLINE: See you all in court. BOOTH: Listen, Caroline. You know, when I'm actually testifying the jury's not gonna see my belt buckle cause it's below... CAROLINE: This briefing is over, Cherie. BOOTH: Yeah, ya see, when I stand the tie kind of covers... (Cut to: United States Court House.) JUDGE HADDOES: I am Judge Marcus Haddoes. This is my court. When you swear to God to tell the truth, you look at my face, because in this courtroom I may not actually be God, but I sure as hell am the next best thing. You people watching: At heart, I am a shy man so I would be perfectly happy to kick all of you out given the slightest excuse. Ms. Julian, opening statement. CAROLINE: I'm the prosecutor in this trial and it's my job to prove to you that Max Keenan m*rder FBI Deputy Director Robert Kirby. BARRON: My Client had motive to k*ll the victim. Motive, means and opportunity like many, many others. CAROLINE: Deputy Director Kirby was a bad piece of work. Corrupt. A cold-blooded k*ller. BARRON: He had many, many enemies who wanted him d*ad. CAROLINE: They're gonna say that Kirby intended to m*rder Max Keenan and his family - that's them there - (she points to Russ and Brennan) - that beautiful, young, woman and that fine, young man - putting the concept of self-defense into your head. BARRON: The prosecution will produce no eyewitness and no proof beyond circumstantial conjecture and trace evidence. CAROLINE: Dr. Temperance Brennan here is one of the finest forensic anthropologists in the country. She's renowned for her integrity, for her professional reputation. She's also the defendant's daughter. BARRON: Dr. Brennan won't testify on behalf of her father, because you, the jury, simply will not believe that a loving daughter can be objective. That's all. (Cut to: Booth & Brennan who are sitting across the aisle from each other.) BRENNAN: (whispers across the aisle) Booth. BOOTH: (whispers back) What? BRENNAN: (whispers) I could so be objective. BOOTH: (whispers back) I know, Bones. Okay. Just shhhh. (Cut back to Barron and Caroline) BARRON: ..what the prosecution called a 'bad piece of work'. CAROLINE: That charming man, slit Robert Kirby's throat, gutted him and set him on f*re. We'll prove that to you. BARRON: Ms. Julian and I may disagree on many facets of this case but I do agree with her that the accused is a very nice guy. CAROLINE: Point of clarification. I said "charming" not "nice". JUDGE HADDOES: This is exactly the kind of nonsense that I want to avoid (to Booth & Brennan.) And you two, please. Keep to your own sides of the aisle. DEPUTY COURT OFFICER: All rise. JUDGE HADDOES: Get a cup of coffee, people. We hear first prosecution witness in 20 minutes. (Cut to: Hallway outside the courtroom. Brennan is sitting on the bench alone while everyone else is down the hallway. Booth approaches, whistling, with coffee. He hands one to Brennan and sits.) BOOTH: (loudly enough for everyone to hear) It might not be good coffee, but hey at least it's lukewarm. BRENNAN: We're not supposed to talk. BOOTH: (whispering) We can't talk about the case (loudly) but we can talk about crappy coffee. (whispering to Brennan) Put the cup in front of your mouth when you talk. BRENNAN: I didn't see Angela today. BOOTH: Angela refuses to testify. BRENNAN: Why? BOOTH: Probably because she's your best friend... BRENNAN: Well, you're my friend and you don't mind. BOOTH: I mind. We all mind. Except for Zack. BRENNAN: Well, in that case, Zack is the only one thinking clearly. I had to give Hodgins permission. I don't know what's wrong with everyone. BOOTH: It's not what's wrong, Bones. It's what's right. (Hodgins, Zack and Cam wave to Booth & Brennan. Booth & Brennan wave back) CAROLINE: (noticing the interaction) No. No. Ya'll cut that out. DEPUTY COURT OFFICER: Court will reconvene in 30 seconds. BOOTH: Good luck, Bones. (he gets up and throws his coffee away) Oh, and remember I'm the one who gave you this delicious coffee. BRENNAN: Why? BOOTH: Why? Because I'm the first prosecution witness against your father. (Cut to: Courtroom. Booth is on the stand and it flashes back and forth between the others as well. During the testimony, there are flashbacks to the scene in question from the Season 2 episode "Judas on a Pole".) BOOTH: Dr. Brennan and I, entered her apartment and we found a large pool of blood. CAROLINE: You were concerned with Russ Brennan's life at this point. BOOTH: That's correct. CAROLINE: You thought the blood was Russ Brennan's. BOOTH: That's correct. CAROLINE: And who's blood did it prove to be? (Cut to: Cam on the stand.) CAM: DNA analysis proved the blood was Deputy Director Kirby's. A sharp instrument was inserted here puncturing the sternocleidomastoid and cutting the carotid artery. (Cut to: Zack on the stand, holding up a skull.) ZACK: It entered the skull just behind the ear, nicked the mastoid, continued through the oropharynx and terminated at the opposite side of the mandible. (Cut to: Cam on the stand.) CAM: In order to create a blood puddle this large, the body would have to lay there for between three to five minutes. CAROLINE: Three to five minutes? (Cut to: Booth on the stand.) BOOTH: That's about the time it takes to roll the body up in a shower curtain. CAROLINE: How do we know the copper pipe is the m*rder w*apon? (Cut to: Hodgins on the stand.) HODGINS: These are very, very small traces of copper left here in the mylohyoid line of the mandible. CAROLINE: And what is the copper pipe made of? HODGINS: As with most copper pipes, it's made of copper. CAROLINE: Did you discover any evidence tying the defendant to the m*rder scene? HODGINS: I found particles of the same soil at the m*rder scene and at the rooftop where the body was b*rned and at the Our Lady of Angels Seminary. CAROLINE: What did that tell you? HODGINS: That someone transferred those dirt particles from the seminary, to the m*rder scene to the roof top. CAROLINE: Who could have done that?(Cut to: Booth on the stand.) BOOTH: The defendant was at the seminary that day. CAROLINE: Are you certain of that? BOOTH: Yeah. I saw him there myself. CAROLINE: What was he doing there? (Booth pauses and looks to the Judge, then to Brennan. You can see in her eyes that she wants him to tell the truth) BOOTH: He was impersonating a priest. (Jurors start to mutter) CAROLINE: And you're 100% positive this is the m*rder w*apon.\ (Cut to: Zack on the stand.) ZACK: I'm not comfortable with 100%. CAROLINE: You're convinced, beyond a reasonable doubt, that this is the m*rder w*apon. ZACK: Yes. I am. CAROLINE: And is there any evidence at all tying the defendant to this w*apon? (Cut to: Booth on the stand.) BOOTH: In 1966, Max Keenan was sent to Cook County Jail for robbery. He was att*cked. CAROLINE: Did he defend himself? BOOTH: Yes. CAROLINE: Did he defend himself with this? (she shows a w*apon on the screen) BOOTH: Yes. CAROLINE: Successfully? (Cut to: Max.) MAX: (turning to Brennan & Russ, whispering) I never k*lled anyone. I just poked them to keep them away. (Cut to: Booth on the stand.) BOOTH: Yes. CAROLINE: What was the result of the att*ck? BOOTH: Well, no one bothered Max again. CAROLINE: Anything else? BOOTH: He had eight months added to his sentence. CAROLINE: Anything else, Agent Booth? BOOTH: The sharpened pipe kinda became a trademark for him. CAROLINE: Where was this w*apon found? (She brings up a picture of the body found on top of the rooftop on the screen) BOOTH: (he points to the picture) Right here. In this pile of ashes. CAROLINE: What exactly is that pile of ashes? (Cut to: Cam on the stand.) CAM: It turned out to be the victim's intestines. The abdomen had been slashed open. CAROLINE: And with the body so badly b*rned, intestines reduced to ashes, how did you identify the remains as those of Deputy Director Kirby? (Cut to: Angela on the stand.) ANGELA: I've got nothing to say. CAROLINE: You've under oath as a material witness, Ms. Montenegro. ANGELA: I swore to tell the truth and the truth is that I am not saying anything. CAROLINE: Judge Haddoes, could you... JUDGE HADDOES: The witness will answer.. ANGELA: No. The witness will not. BRENNAN: Angela! Answer! JUDGE HADDOES: Silence please. The witness will answer or I will find her in contempt. ANGELA: (to the Judge) Is there any way I could talk you out of that? JUDGE HADDOES: Why would you call a witness you knew wouldn't answer? CAROLINE: I figured that once she got up here and saw your scary face, she'd rethink her options. ANGELA: I'm taking the Fifth. CAROLINE: Cherie, the fifth refers to the Fifth Amendment with protects you from being forced to incriminate yourself. ANGELA: Okay. Alright. Well, the- the First Amendment protects freedom of association, right? Which means that it protects friendship. So, I'm taking the First, which is even better than taking the Fifth. JUDGE HADDOES: There is no friendship in a homicide trial. This is the Federal District Court of Columbia, United States of America. When this asks you a question, you answer, or you pay the ferryman. ANGELA: It ain't gonna happen. HODGINS: Angie, they aren't kidding around. BOOTH: (whispering) Bones, now's the time to speak up. BRENNAN: (whispering) What? BOOTH: He's the ferryman. The judge is the ferryman. BRENNAN: Ange! Just so you know, he's the ferryman! JUDGE HADDOES: I will clear this courtroom if I hear another word. BRENNAN: (to Booth) Thanks a lot. JUDGE HADDOES: (bangs gavel) I find this witness in contempt. She will be incarcerated until she answers the question posed to her by the People. (The Deputy Court Officer places Angela in handcuffs and starts to lead her out) BRENNAN: Angela, please! BOOTH: (whispering to Brennan) Hey, will you sit down! ANGELA: Sweetie. This is one of those times when I know what's right and everybody else is confused. (Angela is taken out of the courtroom) (Cut to: Federal Detention Facility - Visiting Room) MAX: I mean, shouldn't you be objecting a little more, asking for sidebars and more like that? RUSS: The jury looks at Dad kinda mean. BARRON: They're having a horrific crime described to them. They have to blame someone. MAX: Yeah. Me. BRENNAN: No. All they've done so far is establish that a m*rder occurred. RUSS: Everybody knew that before. BARRON: They have to establish that you are responsible. MAX: Well, it sounds like they have. BARRON: We have to discuss putting you on the stand. MAX: Absolutely. Put me on. Didn't that lady say I ooze charm? BARRON: First question you'll be asked is, "Did you m*rder Deputy Director Kirby?" MAX: (pauses, then answers) No, I did not. (Barron looks over at Russ & Brennan and sees their skeptical expressions.) BARRON: I can't put you on. MAX: Well, what? I'm not emotional enough? I would never k*ll another man. BARRON: No! Because it would be obvious to the judge, the jury and blind Martians, that your loving family doesn't believe you. RUSS: We'll wait outside when Dad's on the stand. MAX: Thanks a lot. So I'm on the hot seat and you guys are out getting ice cream? BARRON: Kids don't believe their dad, no way the jury does. Next issue to consider, is Russ. RUSS: Let 'em put me on the stand. BARRON: They think you witnessed a m*rder. RUSS: I didn't. I wasn't there. (Brennan and Barron look at him, skeptically.) I wasn't there! BARRON: As an officer of the court, I cannot put you on the stand if I think you're gonna perjure yourself. BRENNAN: You think Russ is lying? BARRON: I don't know, which worries me. BRENNAN: No, he's not. I've known Russ since he was a child and I can tell when he's lying; he's not lying. RUSS: You can put me on the stand. I didn't witness anything they can use against my father. MAX: Attaboy. BARRON: Listen, take a few family minutes. I'll see you in court. (He leaves) MAX: A country full of unscrupulous lawyers and you find the one guy with scruples? RUSS: Dad, Tempe's pretty sure you k*lled that man and I don't think she can see how you can wear that so lightly. MAX: Tempe. I'm ashamed of a lot of things I did in my life. But in this case, my conscious is clear. BRENNAN: That's not the same as being innocent. (The guard knocks on the door. It's time for Max to head back to his cell.) (Cut to: Holding Cell. Brennan is talking with Angela.) BRENNAN: Angela, please. Just go on the stand and say that you identified the victim. ANGELA: No. BRENNAN: But I - I want you to do that. ANGELA: Do you really think that your father is gonna b*at this rap? BRENNAN: That has nothing to do with it. ANGELA: Yeah, Brennan, it does. I'm not gonna help send your father to his death. BRENNAN: To his death? ANGELA: Look, your old man k*lled a really Big Kahuna at the FBI. You think that those guys aren't g*n for execution? BRENNAN: That's - that's not up to me. That's not up to you. That's up to a jury. ANGELA: That's not the point. BRENNAN: What is the point? ANGELA: Friends don't send friends' fathers to the electric chair. BRENNAN: Maryland uses lethal injection. ANGELA: Well, the principle holds, sweetie. BRENNAN: You think we're going to lose? ANGELA: Yeah. I think you're gonna lose. And I am not gonna help you. BRENNAN: What did I do to deserve a friend like you? (Cut to: Courtroom. Sweets is on the stand starting his testimony.) SWEETS: I obtained my undergraduate psych degree from the University of Toronto, Masters Degree in Abnormal Psychology from Temple University and my Doctorates in Clinical Psychology and Behavioral Analysis at Columbia University. BOOTH: (whispering to Brennan) Doctorates? As in more than one? SWEETS: I won simultaneous Fulbright and Rhodes scholarships to write my book, "The Art of Evolutional Profiling"- BRENANN: (whispering to Booth) More than one scholarship too.SWEETS: Which is what brought me to my current posting at the FBI. BOOTH: (whispering to Brennan) No wonder Dr. Geeks can never hang on to a girlfriend. SWEETS: There I do partners therapy and psychological profiling. BRENNAN: (whispering to Booth) It's Dr. Sweets. BOOTH: (whispering to Brennan) I know, Bones. I was just saying..Dr. Geeks as in geeks. SWEETS: Do you require a list of my scholarly publications? BARRON: The defense stipulates that Dr. Sweets is a qualified expert witness, despite the fact that he looks like a high school volleyball player. BOOTH: (whispering to Brennan) Meet Dr. Geeks. JUDGE HADDOES: Excuse me, Agent Booth? I would like you to switch seats with Dr. Saroyan. You, Dr. Brennan, please switch seats with your brother. BRENNAN: Why? JUDGE HADDOES: You don't whisper as quietly as you think you do. BOOTH: (whispering to Brennan) Yeah, you know, you do whisper a little loud. BRENNAN: You started it. BOOTH: Just a little bit. Little loud. (Booth & Brennan switch their seats) JUDGE HADDOES: Thank you. Please continue, Ms. Julian. CAROLINE: Dr. Sweets, did you compile a psychological profile of the defendant? SWEETS: Yes, over a series of meeting spanning over six months. CAROLINE: Is he capable of m*rder? SWEETS: Like, totally. (Caroline gives him a look) Most definitely. Um, in his own way, Max Keenan is a very impressive man. CAROLINE: What do you mean, "In his own way"? SWEETS: Well, Max Keenan doesn't adhere to an external ethical system. CAROLINE: He does what he wants. SWEETS: No. He does what he thinks is right, whether or not the rest of the world agrees. In another time, he could have been a great leader. CAROLINE: You mean in a time when people conked each other on the head and lit them on f*re as a way of getting what they want. SWEETS: Yes. CAROLINE: Is Max Keenan dangerous? SWEETS: When he feels his loved ones are thr*at? Mega dangerous. CAROLINE: In your opinion, if Max Keenan felt that he was thr*at or his family was thr*at, could he do this? SWEETS: Totally. (he pauses to look at the picture of the victim on the screen) I mean, indubitably. CAROLINE: Without hesitation? SWEETS: Without hesitation, without remorse, without guilt. CAROLINE (addressing the jury): Without hesitation, without remorse, without guilt. (Cut to: Russ on the stand..) CAROLINE: Did you feel thr*at by Deputy Director Kirby, Mr. Brennan? RUSS: No. CAROLINE: A sn*per trained, corrupt FBI Agent hunting you and you weren't scared? RUSS: I knew someone was after me, but not who. CAROLINE: How did you know someone was after you? (Flashback to Judas on a Pole where Russ was sh*t at at the Diner when he was meeting Booth) RUSS: I was sh*t at. I was wounded. CAROLINE: So it's fair to say you feared for you life. RUSS: Yes. CAROLINE: Where were you staying at this time? RUSS: In my sister's apartment. CAROLINE: Which is where Deputy Director Kirby was m*rder. RUSS: Where his blood was found, yeah. CAROLINE: But you weren't there when it happened. RUSS: No. CAROLINE: You knew someone was g*n for you, but you left the safety of your sister's apartment? RUSS: Well, it wasn't all that safe if someone got m*rder there, right? CAROLINE: No, it wasn't, Mr. Brennan. Where were you that day? RUSS: Job interview. CAROLINE: You were being stalked, but it seemed like a good time to wander around looking for a job. RUSS: No, not wander. I went to a specific job interview. (Barron leans back and groans.) BRENNAN: (to Barron) What's wrong? BARRON: I recognize when Caroline's catching a scent. CAROLINE: What job? BARRON: Objection, Your Honor. Relevance? CAROLINE: If the people could have a little latitude, the relevance will become apparent. JUDGE HADDOES: I'm gonna allow it. Answer the question, please. RUSS: A mechanic's job. CAROLINE: And just how did you find out about this job opening? RUSS: What? CAROLINE: A sign in the window, an employment agency, the internet, a newspaper? Where'd you find this job. BARRON: Objection, Your Honor! JUDGE HADDOES: Overruled. RUSS: My dad got me the...the interview. CAROLINE: Almost as though he wanted you out of the apartment. As if he knew that something was gonna happen and he wanted you out of the way. BARRON: Your Honor! JUDGE HADDOES: Out of bounds, Ms. Julian. Jury will disregard. CAROLINE: I'm done with this witness, Your Honor. JUDGE HADDOES: Cross, Mr. Barron? BARRON: Did your father say or do anything that suggested he was trying to get you out of the way? RUSS: No. BARRON: Thank you, Your Honor. JUDGE HADDOES: Ms. Julian? CAROLINE: The People rest, Your Honor. JUDGE HADDOES: Will the defense be ready this afternoon, Mr. Barron? BARRON: The defense requests a summary judgment because the prosecution has absolutely failed to prove their case against my client JUDGE HADDOES: Denied, Mr. Barron. BARRON: Then we'll be ready this afternoon. (Cut to: Medico Legal Lab. Clark is re-examining the evidence to see if anything was missed that he can use.) ZACK: What are you doing? CLARK: Dr. Addy, the prosecution is required to share all information with the defense, not the other way around.ZACK: That better not stain. CLARK: It's not permanent. What are you doing here? ZACK: I heard you were still looking at the victim's skeleton and wondered if you found anything I missed. CLARK: You're not allowed to ask me that. ZACK: You asked me, I answered. CLARK: You're not screwing with me, are you? You're just like this. ZACK: Yes. This is exactly how I am. CLARK: Your work is very, very good, Dr. Addy. Extremely thorough. ZACK: Thank you. I am aware of that. Good luck this afternoon. CLARK: I don't need luck, sport. (Cut to: Outside the Courthouse. Booth is sitting on a bench. Brennan approaches with coffee and sits.) BRENNAN: Psst. (She hands him the coffee and Sweets enters.) SWEETS: I'm writing a book. Taking a clinical approach to efficacy and focused outcomes. You shouldn't work well together, but you do. I'd like to study it further. BOOTH: I don't get it. BRENNAN: He wants to study us. SWEETS: Once a week, nothing changes. BOOTH: Now why would we want to do that? BRENNAN: I can't think of a good reason. SWEETS: Okay, see. That thing you do when you talk to each other while excluding the third party, namely me, its an adaptive mechanism for, uh, disparate entities to bond together against their own individual impetuses to dissociate. (they stare blankly at him) It's, um, it's what- BOOTH: What does that mean for us? BRENNAN: Nothing useful. BOOTH: Tell you what. Why don't we make a deal with him where we allow him to study us. In return, he gives us psychological profiling on demand. SWEETS: Okay. BRENNAN: No, you like that sort of thing but I don't see the point. BOOTH: I just think he doesn't want to admit that he likes us.BRENNAN: Do you like us? SWEETS: What? BOOTH: And he wants to spend time with us. Time with us. BRENNAN: Is that true, Sweets? You like us? SWEETS: No. BOOTH & BRENNAN (in unison, sing songy) He really likes us. SWEETS: Alight, you know what. I'm sorry I made the offer. I take it back. Forget it. (Sweets leaves) BRENNAN: Sweets is pretty good in the interrogation room. BOOTH: Yeah. Profiling on demand, interrogating back up.. BRENNAN: Well, and to be honest, I was impressed with his credentials. BOOTH: I'll tell him okay. (Clark enters) CLARK: Dr. Brennan? (he hold up a CD) I found something. (Cut to: Courtroom. Brennan, Clark and Barron are in a meeting.) CLARK: (whispering) So once we get to...we got him. I think we should go with that. CAROLINE: (to Booth, Cam & Zack) I do not like the look of that. CAM: Why? BOOTH: They look happy. DEPUTY COURT OFFICER: All rise. JUDGE HADDOES: This court is reconvened. CAROLINE: They look smug. I don't like it. BOOTH: (to Zack) Any way Clark found something you missed there, pal? ZACK: I don't miss things. BARRON: The defense calls, Dr. Zack Addy to the stand. Your Honor, I beg the indulgence of the court to allow our expert witness, Dr. Clark Edison, to appear pro hac vice. CAROLINE: Objection, Your Honor. JUDGE HADDOES: What grounds, Ms. Julian? CAROLINE: Well... CAM: (whispering to Booth) What's going on? BOOTH: (whispering to Cam) They want Clark to question Zack, not the lawyer. CAROLINE:...I'm thinking. JUDGE HADDOES: Objection denied. Dr. Edison. CLARK: Good afternoon. Dr. Addy, you identified this (he holds up an evidence bag with a pipe in it) as the m*rder w*apon. ZACK: That's correct. CLARK: Could you refresh the jury's memory, please? ZACK: Yes. Striations found on the bone indicated a sharp-tipped w*apon without a cutting edge. CLARK: Also, the diameter of the pipe fits. ZACK: That's correct, yes. And copper particulates. (Clark brings up the skull, with the wound, on the screen) CLARK: Can you identify this, Dr. Addy? ZACK: It is the entry wound in the mastoid made by the m*rder w*apon. CLARK: And this? (He brings up the same image...only stained red) ZACK: This is the same wound stained red. Is this what you were doing this morning? CLARK: And this. (He brings up the same image again. Only a closer view.) ZACK: It appears to be the same wound blown up to approximately 120 magnification. CLARK: Can you discern any microfractures in that photo? ZACK: Yes. (he had a realization) Oh.... CLARK: You sound surprised, Dr. Addy. ZACK: What did you stain this with? CLARK: Red food dye. Can you answer the question please? ZACK: Oh. These microfractures indicate that the w*apon went in so deep that the hilt h*t the bone, causing microfractures CLARK: The hilt. (He holds up the bag with the pipe in it) Could you please indicate the hilt on this w*apon? ZACK: I cannot. CLARK: And why is that? ZACK: There is no hilt. CLARK: So this is not the m*rder w*apon. ZACK: Obviously not. (The jury and everyone in the courtroom starts to murmur.) CLARK: You made a mistake. ZACK: Yes, I was mistaken. BARRON: Your Honor? The defense requests a dismissal of all charges. The prosecution's entire case was built upon the identification of the m*rder w*apon. CAROLINE: Your Honor, the people will need some time to properly review Dr. Edison's new evidence. JUDGE HADDOES: How much time? CAROLINE: Exactly as much time as it will take Agent Booth to find the actual m*rder w*apon. JUDGE HADDOES: I'll meet with counsel in chambers. But if you don't come up with a terrific argument, Ms. Julian, Mr. Keenan is going home to his family tonight. DEPUTY COURT OFFICER: All rise. (Cut to: Brennan's apartment. There is a knock at the door. Brennan looks through the peep hole and then answers it.) BOOTH: Bones, I have a warrant here to search these premises for any w*apon or implement congruent with the m*rder w*apon. BRENNAN: I could save you some time. BOOTH: No. Zack, is ,uh, gonna be the bone expert on this one. He'll be doing all the looking. ZACK: Where did Clark Edison learn that trick with the food dye? I don't know that trick. BOOTH: Zack. Focus. Okay? (Zack goes off to search while Booth goes over to Brennan) BOOTH: How ya doing there, Bones? BRENNAN: When it looked like my father might go free I got.. (she pauses to take it all in) This is very confusing for me. BOOTH: You liked the idea of him beating the m*rder charge. BRENNAN: Yes. But he did it. We both know my father did it. BOOTH: Bones, wanting your father to come home instead of going to prison, that's- that's okay. BRENNAN: But what I do - what we do is put m*rder like him away. BOOTH: Okay. You're not Dr. Brennan today. You're Temperance. BRENNAN: I don't know what that means. BOOTH: The scientist part of you got sidelined, temporarily. BRENNAN: I still don't know what that means. BOOTH: Bones, just, take the brain, okay, put it in neutral. Alright? Take the heart - pop it into overdrive. (Booth inmates a car engine revving and pretends to drive. Brennan laughs.) BRENNAN: Sometimes I think you're from another planet. (Booth stops 'driving' and sits back up, across from her.) BRENNAN: And sometimes I think you're really very nice. ZACK: I found it. (The get up and head over to where Zack is standing near a Kn*fe type w*apon.) BOOTH: What is that? BRENNAN: It's a misericorde. ZACK: A sharp, unedged, medieval copper dagger used for delivering a final, fatal blow. BRENNAN: Also known as the "coup de grace." BOOTH: I'm sorry, Bones. (Cut to: Courtroom. Russ grabs Brennan's hand. A montage starts showing the squints presenting the new evidence to the jury. Brennan, Clark and Max look like that know that this may be it and you can tell that the squints really don't want to do what they're doing. This could be the evidence that gives the prosecution what they need.) JUDGE HADDOES: As usual, I will ask the jury to refrain from speaking to each other about the case between now and when we reconvene tomorrow morning. At which time you will be prepared to remount your defense. DEPUTY COURT OFFICER: All rise. (Cut to: Federal Detention Facility - Visiting Room. Brennan, Russ, Max, Clark and Barron are sitting and eating Chinese food.) MAX: Hey, kid, you did good. You had 'em on the run there for a while. CLARK: Yeah, well their case is much stronger now, so... BRENNAN: My team, they're really good. RUSS: Maybe you could brag over them another time, Tempe? CLARK: You know, maybe I can discredit the w*apon. BARRON: We're past forensics. Now it's about the story. CLARK: Excuse me? BARRON: Juror's like to think they know what happened. We did a good job in showing that maybe Max didn't commit this m*rder, but we didn't give the jury a satisfying alternative. One they can go home to their families and say 'Here's what really happened.' RUSS: They need a bogeyman. And it's Dad. MAX: Well, at least you guys will always know where to find me. RUSS: What do you mean? On death row? You should have - you know, you should have run, Dad. You should have just taken off. BRENNAN: Dad stayed for me. He knew that if he ran, we'd never see each other again. (to Max) You stayed for me. MAX: I would have stayed here forever. It was worth every second we had together. BRENNAN: If I knew the bogeyman, how much time warning would you need to make it work? BARRON: A good story? About 5 minutes. BRENNAN: (gets up) I have to talk to somebody. (She rushes out of the room) (Cut to: Royal Diner. Booth and Brennan are having breakfast.) BRENNAN: If the truth can't be proven, is it still the truth? BOOTH: You invited me to breakfast to talk philosophy? BRENNAN: A theory isn't even really a theory until it's challenged. It's just simply a hypothesis. I don't believe that a man should die based upon a hypothesis, do you? BOOTH: If you have a question, just ask it. BRENNAN: I have a way to lodge reasonable doubt in the jury. BOOTH: We can't talk about this. BRENNAN: Please? You're the person I talk to about things like this. BOOTH: No perjury involved. Just an interpretation of existing facts. BRENNAN: An alternate story. BOOTH: You don't know that he did it, you know, your old man. BRENNAN: Well, we both know he did it. BOOTH: No, not the way that you define "know". You know, with proof and all that. BRENNAN: It's going to be enough for the jury. BOOTH: Jury's are a human factor in a trial, alright? You never know what they'll do. BRENNAN: You think it's alright for me to take advantage of that? BOOTH: Brain and heart, Bones. Brain and heart. (Cut to: Courtroom. Hodgins is on the stand) BARRON: You found particulates placing the accused at the scene of the m*rder, the seminary, and the rooftop where the victim was immolated? HODGINS: Yes. BARRON: Was anyone else present at all three locations? (Cut to: Booth on the stand) BOOTH: Me. But I didn't k*ll the deputy director of the FBI. BARRON: You had motive. He fired you that day and thr*at Ms. Julian. By the way, was she at all three locations? CAROLINE: Objection! It's just rude to accuse me of m*rder. BARRON: I count three people in this courtroom, besides my client, who had motive to k*ll Kirby. JUDGE HADDOES: I'll allow it. BOOTH: Ms. Julian was never at the crime scene, so you're stuck with me. BARRON: And Dr. Brennan. BOOTH: I see where you're going with this. BARRON: Was Dr. Temperance Brennan at the seminary? (Cut to: Brennan on the stand) BRENNAN: Yes. BARRON: And your apartment the same day? BRENNAN: Yes. BARRON: (holds up the Kn*fe) Do you recognize this? BRENNAN: Yes. It's mine. BARRON: So you are every bit as plausible a suspect as your father. (Cut to: Sweets on the stand) SWEETS: Dr. Brennan is hyper-rational. She's capable of rationalizing almost anything. BARRON: Including m*rder. SWEETS: It is the danger of the totally rational human being. BARRON: But did she have a motive? (Cut to: Booth on the stand) BOOTH: Yes, she had motive. Kirby tried to k*ll her brother. BARRON: Thank you. BOOTH: Bones was with me all day. BARRON: She didn't have time to commit this m*rder? BOOTH: No, she did not. BARRON: How did your son, Parker, get home from school that day? BOOTH: Forty five minutes we were apart, but we talked on the phone. BARRON: Plenty of time, wasn't it Agent Booth? (There are flashes of Kirby's m*rder reenacted, but this time, it's Brennan instead of Max who is doing the k*lling) BARRON: Dr. Brennan could have b*rned the body hours later when you were safe at home. JUDGE HADDOES: The witness will answer the question. BOOTH: (to Brennan) That's a lot of heart, Bones. BARRON: Your Honor- JUDGE HADDOES: Answer the question please, Agent Booth. BOOTH: Could Bones have k*lled Kirby? Temperance Brennan - I've worked with this woman. I've stood over death with her, I've faced down death with her. And Sweets, he's brilliant, he is, but he's wrong. She could not have done this. BARRON: I didn't ask you your opinion of Dr. Brennan's character. I asked you, did she have time? (Booth looks to Brennan and knows that once again, she needs him to tell the truth. This could be what saves her dad.) BOOTH: Yes. She had time. (Cut to: Outside the courtroom. Brennan is standing on the steps by herself) (Cut to: Courtroom. The jury is back and ready to read the verdict.) JUDGE HADDOES: Has the jury reached a verdict? (Booth gets up and leaves before the verdict is read.) JURY FOREPERSON: Yes, your honor. (Cut to: Outside the courtroom. Brennan is still standing on the steps. She turns to see Booth coming out of the courthouse. He walks over to Brennan and embraces her. Angela comes come down the stairs behind them when they're hugging and touches Brennan's back. Brennan turns and touches her elbow - happy to see that she's been released from jail. They turn and see Caroline and Sweets heading out. Shortly thereafter, her father and brother come walking out. Max is free. He's elated and Brennan smiles. He walks over to her and hugs her and holds on. They're finally going to be able to be a family again. Cam, Hodgins and Zack come out a few seconds later. SWEETS: So are you gonna charge her? CAROLINE: You gotta go back to school on this one. That's a fine woman there. (Booth stand off to the side, watching Brennan and her father hugging. Brennan looks up at him over her father's shoulder and they share a moment. Scene fades out with Brennan still hugging her father and everyone standing on the stairs around them.) END.

{"type": "series", "show": "Bones", "episode": "03x13 - The Verdict in the Story"}

foreverdreaming

"The Wannabe in the Weeds" Episode 3x12 Written By: Josh Berman Directed by: Gordon C. Lonsdale Transcribed by: perkyshadowgirl Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: outside of the CHECKER BOX, a karaoke bar. People are entering. Someone inside the bar is singing "Corner of the Sky" from the musical Pippin) Voice: "Gotta find my corner..." (Cut to: inside the bar. It is crowded. We can now see KEVIN singing on stage with someone playing the piano) KEVIN: (con'd) "...of the sky!" (Cut to: crowd applauding the performance. We see JERRY LINCOLN stand up from a table to the side of the bar, and begin to walk towards the stage. We also see a sh*t of MITCH sitting in the back of the bar, with a pad and pen - clearly a talent scout. KEVIN walks offstage as LINCOLN approaches) LINCOLN: Thanks Kevin. Another great performance! But Open Mic Night is just beginning. So let's hear it for the beautiful - and persistent - Emma Von Helberg! (Crowd claps with some amusement. We see a sh*t of TOMMY SOUR, looking amused) (Piano begins playing "sl*ve 4 U" by Britney Spears. EMMA, standing on stage, badly mimics the style of Spears in her rendition of the song) EMMA: (singing badly) "Get it, get it, get it, get it, ohhhhh! I'm a slaaave for you. I cannot hold it, I cannot control it, I'm a...slaaave for you." (We are spared the rest of EMMA's performance as the camera flashes through a series of performers of varying skill and quality) SPRINGSTEEN WANNABE: "But I'll return so don't you worry..." ("Hearts of Stone") DOLLY PARTON WANNABE: "Working 9 to 5, what a way to make a livin'...barely, gettin' by, it's all takin' and no givin'!" ("9 to 5") LOUNGE-LIZARD WANNABE: "If we could talk to the animals, kooky, learn their languages. Maybe take an animal degree!" ("Talk to the Animals" by Leslie Bricusse) (The singing montage stops on TOMMY, now up on stage, performing a rendition of "Far Away" by Nickelback. He is significantly more skilled than the performers that we have seen thus far) TOMMY: "This time, this place, misused, mistakes..." (The camera cuts briefly to CHRIS CALABASA sitting in the audience, looking disgruntled. He appears jealous of TOMMY's skill) TOMMY: (con'd) "...too long, too late, who was I to make you wait?" (We see MITCH, the talent scout again, this time taking notes) TOMMY: (con'd) "...just one chance, just one breath, just in case there's just one left."Cause you know, you know, you know! That I love you..." (The camera cuts to HELEN, sitting in the front row. She giggles, and turns away, flattered and embarrassed that TOMMY seems to be singing to her. DAX, who is sitting beside her, is obviously not as pleased as she is) TOMMY: (con'd) "...I loved you all along. And I miss you. Been far away for far too long..." (We see a sh*t of LINCOLN. He nods, impressed) TOMMY: (con'd) "...I keep dreaming, you'll be with me and you'll never go! Stop breathing if I don't see you anymore!" (The song ends, and the crowd cheers, obviously impressed by the skilled performer. LINCOLN stands and approaches the stage) LINCOLN: Okay up next another Checker Box regular - the smooth and smoky voice of Chris Calabasa! (CHRIS stands and approaches the stage. He passes TOMMY on the way by) CHRIS: (angrily) Could have left that song in the shower. TOMMY: Couldn't listen to you butcher it again. (TOMMY shoulders CHRIS out of the way, and walks to his seat. CHRIS moves up to the stage, to crowd murmurs. Someone calls out, "All right Chris!") CHRIS: (to PIANO PLAYER) Bastard took my tune. Play Piano Man. PIANO PLAYER: (condescendingly) That's original. (The piano starts up ("Piano Man" by Billy Joel). The camera pans the audience. TOMMY smiles at CHRIS's choice of song - it's probably not going to impress anyone. CHRIS seems to know it too) CHRIS: "It's nine o'clock on a Saturday...the regular crowd shuffles in..." (In the audience, TOMMY and MITCH exchange a glance. MITCH puts the cap on his pen - no need to take notes for this song - and gives TOMMY a gesture indicating "Good job". TOMMY grins proudly) CHRIS: "...there's an old man sitting next to me, making love to his tonic and gin..." (HELEN from earlier rolls her eyes at DAX, and goes to depart. She passes by TOMMY's table and they smile at each other. She leans over and whispers something in his ear before leaving) CHRIS: "...sing us a song you're the piano man. Sing us a song tonight. Well we're all in the mood for a melody..." (TOMMY looks anxiously down at his watch. The camera fades from the image of the bar to a new location. Same watch, but now surrounded by sticks and leaves, and on an arm that is clearly d*ad. A flashlight crosses it) BRENNAN: Every bone appears to be broken. (The camera slowly rises, showing farm land. BRENNAN, CAM and BOOTH are standing on a rural road, looking over the body with flashlights. BOOTH sneezes) CAM: Bless you. BOOTH: Ugh. Thank you. BRENNAN: Pelvic fragment suggests it's a male... (BOOTH sneezes again. CAM looks at him) CAM: Are you okay? BOOTH: Thank you, fine. Just... BRENNAN: Particles from the cut grass are causing his mast cells to release inflammatory mediators. BOOTH: It's just allergies Bones. BRENNAN: I know. That's what I said. CAM: (looking at the body) Given the degree of decomp he's been d*ad a couple of weeks. BOOTH: Body dump? CAM: Lividity's indeterminate. BOOTH: Oh. (Sneezes again) BRENNAN: How does a former sn*per have a grass allergy? I mean, wouldn't a sneeze give away your position? BOOTH: Bones, okay, I worked in the desert. Sand, no grass. (A man approaches from his mower. He is clearly the one who found the body) DRIVER: It was the crunching that got my attention. BOOTH: Well, did you see the body before it crunched? DRIVER: It's not my fault! You know, Johnson grass is eight feet high and dense. It's like driving in the dark! BOOTH: Wow, you must have been driving fast. DRIVER: ...Well, I had an internet date. I wanted to get home to shower. (Realizes) She's probably still waiting for me at the Falafel place. (BOOTH sneezes again) DRIVER: You know, Johnson grass lets off a ton of pollen man. Your eyes could swell up. If your throat closes- BOOTH: Allergies. Okay? I'm fine. BRENNAN: (to DRIVER) You didn't by any chance see a head, did you? (DRIVER bites hip lip, looks around uncomfortably) BOOTH: The head's missing? BRENNAN: I don't see it, or any skull fragments. DRIVER: (sheepishly) Sorry. CAM: Well, I've got some brain matter here, so he had to have a head at some point. (BRENNAN moves towards the truck, shines her flashlight under the grill. A skull stares back at her.) BRENNAN: Found it! DRIVER: (chuckling) My date's not gonna believe this. BRENNAN: The blade must have severed just below the C5 vertebra. And the force of the impact propelled the head into the grill. BOOTH: So, presumably, he was k*lled, decapitated, and mulched. (Exhales) Wow. Could it get any worse for this guy? (Ironically, the right eyeball falls out of its socket, still connected to the skull. Small ants can be seen crawling over the surrounding tissue) ACT 1 (Open: Medico-Legal-Lab - Cam's Office. ZACK, CAM and ANGELA are examining the body) ZACK: The bones are dense with a high degree of robusticity. CAM: Well that's consistent with his musculature. The guy was built! (Pause) He was probably an athlete. I bet he was hot. ANGELA: Yeah, well, now he's really not. CAM: I think he had a cold. ANGELA: Looks like it was a pretty bad one. CAM: I found traces of tea and honey in his stomach and the remains of a throat lozenge. (HODGINS enters) HODGINS: (as he sees the body) Oh wow. (He holds up an evidence bag) Victim's watch. Totally cool. Measures heart rate, calories b*rned, speed, distance- CAM: Jock! I rest my case. ANGELA: It's bad enough going to the gym without getting yelled at by a watch. ZACK: My regimen is easily completed in my apartment. Treadmill for thirty minutes, a hundred sit ups, push ups, and leg lifts, and twenty minutes of free weights. (CAM is surprised, but tries to hide it) ZACK: (to CAM) I'm deceptively strong. CAM: (nods) I'm deceived! ANGELA: Hey, odontology got a match. (Camera cuts briefly to computer, where an image of TOMMY appears) ANGELA: Tommy Sour. He was reported missing two weeks ago. (Cut to: Tommy Sour and Adam Matthew's shared apartment. BOOTH and BRENNAN are knocking on one of two doors. BOOTH is growing impatient) BOOTH: (listening at the door) I hear someone in there. BRENNAN: (eagerly) Hey! Break down the door! BOOTH: It hurts my shoulder when I break down the door. (Sounds of an alarm clock going off in the other apartment. BOOTH knocks again) BOOTH: What is that annoying noise? (He goes towards the other door) (BRENNAN turns the knob on the first door and pushes it open) BOOTH: (stopping her) You don't just walk in and- MATTHEWS: (as he approaches the now open door) Sorry, I had my earplugs in. Can I help you with something? BOOTH: (flashing his badge) FBI Special Agent Seeley Booth, this here is Dr. Temperance Brennan from the Jeffersonian. You reported Tommy Sour missing? MATTHEWS: Yeah, couple weeks ago. He lives in the unit next door. BOOTH: Can we come in? (Cut to: inside of apartment. There are many paintings and sculptures strewn around the room. BRENNAN is admiring them) MATTHEWS: Excuse the mess, I've got a show in a month. BRENNAN: (nodding to a painting) You're influenced by the New York Expressionists? (Sounds of alarm clock going off next door) MATTHEWS: Oh, don't even look at that. That is crap. (Listening) There it goes again! I can't focus. That alarm has been beeping every two minutes since Tommy went missing. BOOTH: Yeah, you know what? That is annoying. MATTHEWS: Yeah, that's why I've got the earplugs. When the cops first showed up, I asked them to unplug it. They didn't. Maybe you guys could! BOOTH: Mr. Matthews, Tommy Sour is d*ad. MATTHEWS: ...Oh god. BOOTH: Before he went missing, was there anything unusual about his behaviour? MATTHEWS: Well, I didn't know him all that well. BRENNAN: You reported him missing. MATTHEWS: Yeah well his mail started piling up on his front door and then that damn alarm clock keeps driving me crazy. BRENNAN: (gesturing to another piece of art) This sculpture is very impressive. MATTHEWS: Yeah, it's from my "pre-alarm-clock" period. BOOTH: What about strangers, any new faces around here? MATTHEWS: Oh wait, uh, yeah. Fat Pam? BRENNAN: Excuse me? MATTHEWS: Fat Pam? She was one of Tommy's clients. BOOTH: I thought you didn't know him that well. MATTHEWS: Well, he was my neighbour. We took the garbage out, we saw each other, we talk a little bit, you know what it's like. Anyway, Tommy was Fat Pam's trainer at... Valera Wellness. BRENNAN: Must you call her 'Fat Pam'? MATTHEWS: That's what he called her! Hey, it's not like Tommy was the nicest guy who ever lived. She wasn't really all that fat either. BRENNAN: You mean overweight. Fat is a deposit found underneath the skin. It consists of lipids- MATTHEWS: Okay. Sure. Uh, Pam just wasn't one of those fitness robots that Tommy would spend his time with. She started following Tommy home, from the gym. She'd sit out on the curb and watch his place. And then, about a month ago, she showed up, middle of the night... started banging on his door. BOOTH: Oh, was she angry? MATTHEWS: ...She was wearing a teddy and heels, so I'm thinking anger wasn't her prime emotion. BRENNAN: (triumphantly) You're implying that she was sexually stimulated. (MATTHEWS awkwardly confirms BRENNAN's statement) BOOTH: So were they um... (claps his hands a bit) you know... did they (continues clapping, growing more insistent). BRENNAN: Did they have sexual intercourse? MATTHEWS: Well, if they did, it was through a locked door. BRENNAN: So, no? BOOTH: (claps again) Very good Bones, okay let's go. BRENNAN: Why are you clapping? BOOTH: Because I am. (To Matthews) Thank you for your help. MATTHEWS: (as they leave) Hey, uh, maybe you could turn the alarm off? Or just, sh**t it?! (Cut to: Medico-Legal-Lab - Zack's office. ZACK and CAM are determining cause of death. ZACK is examining a small bone) ZACK: C5, adjacent to the hyoid, seems to be shaved on its front. CAM: Shaved? ZACK: Yes, like with a cheese slicer. CAM: Must mean someone slit his throat. ZACK: This doesn't look like it was caused by a Kn*fe. There are no serrations. Even microscopic. CAM: What then? ZACK: ...A cheese slicer seems illogical under the circumstances. I'll start looking for alternatives. (Cut to: Valera Wellness Gym. We see several people working on various exercise equipment. BOOTH and BRENNAN walk through the gym looking for the manager) BOOTH: Look, these people are just trying to get healthy Bones. That's all. BRENNAN: There is a fine line between 'health' and 'vanity'. (BOOTH's attention is caught by an attractive woman working out on one of the machines. He is distracted.) BOOTH: ...Huh? BRENNAN: Well, this obsession with physical perfection clouds a society's moral vision. (She notices BOOTH's distraction, and swats him teasingly) You are ogling that woman! BOOTH: What? No, I'm not, I'm just- BRENNAN: Yes you are! BOOTH: I, I, I'm just... um, admiring her routine. (DR. JASON BERGMAN - the manager - approaches, cutting off the argument) DR. JASON: I am the Wellness Centre's manager, Dr. Jason. I understand you're with the FBI. BOOTH: I'm Special Agent Seeley Booth, this here's Dr. Temperance Brennan. We're here about Thomas Sour. DR. JASON: He in trouble? BOOTH: He's d*ad. DR. JASON: That explains why he's not returning my calls. BOOTH: You don't seem too upset about that. DR. JASON: Tommy was my most popular trainer. Since he disappeared, I've had to deal with a lot of angry clients. You're with the FBI, that mean Tommy was m*rder? BOOTH: You wouldn't happen to know a woman, a client of his, Pam? (no reaction from Dr. Jason) Some people refer to her as 'Fat Pam'? DR. JASON: (recognition) I know who you mean. Pam Nunan. She booked two hour sessions. Paid cash. Perfect client. Until... BRENNAN: Until? DR. JASON: Until she fell in love with Tommy. Started to freak him out. BRENNAN: How so? DR. JASON: She was too handsy. She'd rub up against him. Even invited him on a Caribbean cruise. BOOTH: Would you happen to have Ms. Nunan's address? DR. JASON: Sure. (DR. JASON walks away - presumably in the direction of his office. As he goes, BOOTH sees the same woman, now stretching after her workout. He becomes distracted again. BRENNAN notices, and swats him again) BRENNAN: Booth! BOOTH: Yeah? BRENNAN: That's not helping the investigation. (BOOTH shrugs) (Cut to: FBI - Booth's office. BRENNAN and BOOTH are meeting with PAM NUNAN. She has brought with her a photo album, full of images of TOMMY) PAM: He's such a cutie, isn't he? Tommy is such a wonderful person. Big heart, and so devoted. BRENNAN: You brought a photo album? PAM: You said you wanted to talk about Tommy. I figured you'd like to see pictures. BOOTH: Those pictures are... (he holds out his hands for the album. PAM passes it to him) They are taken from quite a distance, Pam. PAM: He's so shy. It's one of the things I love about him. BRENNAN: We understand that Tommy was your personal trainer? PAM: Oh, he was so much more than that. Before I met Tommy, I was so down on myself. But Tommy... he's such a sweetheart. BRENNAN: Does Tommy share your affection? PAM: Why do you ask it like that? (to BOOTH) Because I don't look like a scarecrow? Like her? BRENNAN: Hey! What - what are you coming after me for? (to BOOTH) D-do I look like a scarecrow? BOOTH: Well, you... (to PAM) I think you look good. (BRENNAN is put out) PAM: Thank you. Like Tommy, you see me for who I really am. Not... scrawny. (PAM glares pointedly at BRENNAN) BRENNAN: What - I am not scrawny. My body mass index is well within the normal limits- BOOTH: Can we talk about Tommy please? PAM: If he didn't love me, why would he want to marry me? BOOTH: Marry you? He was going to marry you? PAM: Tommy's my life. And I'm his. Whatever you think he's done, I know he didn't do it. BRENNAN: We're not worried about what he did. It's what you might have done. (PAM looks between BRENNAN and BOOTH in confusion) BOOTH: Tommy is d*ad. ACT 2 (Cut to: FBI - Interrogation Room. BRENNAN and SWEETS are standing outside the room, observing PAM through the glass. She is eating a snack inside the interrogation room.) SWEETS: She has body image issues, which are not congruent with her actual appearance. She's someone who's slightly large, who believes she's a very large woman, who can convince people she's only slightly large. And the way people treat her convinces her that she's right. BRENNAN: That's interesting. SWEETS: See, you're only pretending that's interesting. It means very little to you. BRENNAN: That's true. SWEETS: You have an irrational prejudice against psychology, probably because of emotions that are too complicated for you to deal with. And I poke, and I prod at them (he pokes BRENNAN. She pulls away in annoyance) which makes them real. And painful. BRENNAN: And yet I feel no pain. Just a sort of... disinterest. So why don't you take you powers of observation... (she gestures towards PAM) and focus them on her. (SWEETS and BRENNAN exchange a look) SWEETS: All right. (He looks at PAM) She's sorting her trail mix. BRENNAN: That means something? SWEETS: She's nervous. She's trying to control a situation that's out of her control. BRENNAN: Or she's just bored. She's been waiting almost an hour. (Cut to: BOOTH enters the interrogation room. PAM looks up) BOOTH: Sorry to have kept you waiting. PAM: I didn't k*ll Tommy. I loved him. (BOOTH approaches the desk, and looks down at PAM's snack, half sorted into neat little piles) BOOTH: What's this? PAM: I got bored. (Cut briefly to: BRENNAN sh**ting SWEETS a triumphant look, and him looking away resignedly) PAM: I've been waiting here over an hour. BOOTH: I believe that you loved Tommy. PAM: Thank you Agent Booth. I did. BOOTH: But I don't believe that he loved you back. PAM: ...Because I'm not anorexic? BOOTH: Ms. Nunan... PAM: Call me Pam. BOOTH: Pam. You were stalking him. And he was avoiding you. PAM: If he didn't love me, why would he give me this for Christmas? (She pulls up her sleeve and shows BOOTH a bracelet on her wrist. She holds up a few of the charms) P-A-M. You know what that spells? BOOTH: Pam. PAM: That's right. BOOTH: What did you, um, give him, before he gave you that bracelet? (Cut to: SWEETS and BRENNAN observing) SWEETS: Ahh. Excellent question. (BRENNAN looks at him in annoyance) PAM: Why does that matter? BOOTH: Just curious. (Cut to: PAM and BOOTH in the interrogation room) PAM: A one thousand dollar gift certificate to The Music Centre. He loved music. BOOTH: A thousand dollars. Wow. That's generous. (Cut to: SWEETS and BRENNAN observing) SWEETS: A way to obligate him. Try and enforce an emotional connection. It's extremely passive-aggressive. BRENNAN: So do you think she k*lled him? SWEETS: Well, there's no question that she's deluded. I mean, if she truly believed that he was going to marry her, she was setting herself up for a tragic ending. BRENNAN: Tragic? SWEETS: Well, one way to ensure that he didn't leave her... BRENNAN: Would be to k*ll him. (SWEETS confirms BRENNAN's assumption) (Cut to: BOOTH and PAM in the interrogation room) PAM: Tommy had a beautiful voice. He dreamed of being a professional singer and I wanted to support him. I did everything for him. He was mine. Tommy was mine, no matter what anyone thought. When did you find him? BOOTH: Last night. He had been d*ad for two weeks. PAM: I've been in Florida. Left last month. Just got back two days ago. I was with Mommy and Daddy planning the wedding. (Cut briefly to: SWEETS and BRENNAN's nervous reactions) BOOTH: The wedding with Tommy. PAM: Of course silly. (BOOTH nervously pulls a pad of paper and pen out of his jacket pocket) BOOTH: I'm just going to need you to write down your parents' number in Florida so I can confirm your whereabouts. (PAM writes down the number, and passes BOOTH the pad. BOOTH takes it, and stands up to leave) BOOTH: Thanks. PAM: (tearing up) Who's going to love me now? BOOTH: I'm sorry. (BOOTH slowly reaches out a hand to PAM, placing it carefully on her shoulder) (Cut to: SWEETS and BRENNAN observing) SWEET: No no no don't touch her- BRENNAN: Why? (Cut to: PAM, smiling in an entirely disconcerting way in the direction of the mirror as BOOTH removes his hand from her shoulder) PAM: Thank you Agent Booth. (Cut to: SWEETS and BRENNAN observing. SWEETS gestures in PAM's direction, indicating that whatever he was trying to prevent from happening has happened) (Cut to: FBI - Booth's office. BOOTH is sitting behind his desk speaking to someone on the phone. BRENNAN and SWEETS enter] SWEETS: The pathology is clear. She's possessive and amoral. (BOOTH makes a sound and gesture to indicate that SWEETS should not speak so loudly) SWEETS: (quieter) Her emotional connections are forged through manipulation and delusion. Once a connection that tenuous breaks- BRENNAN: So she k*lled Tommy Sour? SWEETS: I can't say that, of course, but she is a dangerous person. BOOTH: (still on phone) Thank you. (He hangs up) Well, her story checks out. She was in Florida when he was k*lled. Her parents are devastated that their future son-in-law - who they never met - will no longer be her love-monkey. BRENNAN: Well, Dr. Sweets still thinks that she's the k*ller. SWEETS: Dangerous. I think she's dangerous. BOOTH: I agree. SWEETS: Thank you Agent Booth. (BOOTH stands up from his desk and begins to walk around it towards SWEETS) BOOTH: All those gifts, and taking pictures from a distance, and showing up in the middle of the night in a nighty, it's all very "dangerous". SWEETS: (clueing in) Mocking will not change my opinion. I've been mocked many many times before... (BOOTH and BRENNAN exchange a glance) SWEETS: That... came out wrong. (BOOTH begins to push SWEETS towards the door) BOOTH: Yeah, that's great Sweets, appreciate your help, but you know what? She has an alibi. See ya. (SWEETS reaches out to stop the door before it closes behind him) SWEETS: Well, just be cautious of her. Okay? She's not s*ab. BOOTH: Great, thank you. (BOOTH tries to push the door closed - SWEETS stops it again) SWEETS: Oh, and remember. Our session on Tuesday's at 4? Trust exercises? Be there? (He departs) BOOTH: Ha-ha. See ya. (Cut to: Medico Legal Lab - Cam's office. CAM is dumping some questionable substances into a container. BRENNAN walks in) BRENNAN: I got your page. CAM: Vic's tox report just came back. There were trace amounts of THC in his bloodstream. (CAM walks from behind the desk, over to a large view screen) BRENNAN: ...That's why you paged me? Because our victim smoked marijuana? CAM: No. Check out the monitor. BRENNAN: His blood was infected with a bacterium. CAM: E. coli. And given the concentration in his blood, I'd say the infection occurred within hours of his death. BRENNAN: Well what was the source? CAM: I'm getting there. The CDC tracks all E. coli outbreaks. And apparently the last E. coli ground zero was in Virginia at the Checker Box restaurant in Alexandria. The culprit? Tainted raw honey. The same kind I found in Tommy Sour's stomach. (Cut to: Checker Box restaurant. KEVIN from the first night is singing again - the same song: "Corner of the Sky" from the musical Pippin) KEVIN: "So many men seem destined to settle for something small..." (Cut to: BOOTH, sitting in the audience, clearly suffering. BRENNAN enters from a door behind him and begins walking towards his table) KEVIN: (con'd) "...But I won't rest until I know I'll have it all!" BOOTH: (over KEVIN's singing, as BRENNAN approaches) Finally. I mean, one more show tune and I was going to start sh**ting. BRENNAN: (about KEVIN) He has excellent projection. I heard him while I was parking. BOOTH: Yeah, okay, I talked to some of the patrons here. Open Mic Night is every Monday and Tuesday. (Cut to: HELEN and DAX, sitting in the front row again. They turn around in their seats and signal BOOTH to be quiet.) (Cut back to: BOOTH, chuckling) BOOTH: Actually, some of these people think that this stuff is good. BRENNAN: What's Open Mic Night? BOOTH: It's, uh, you know, Cabaret meets Karaoke. Oh, singers, that want to get discovered. (Cut to: HELEN) HELEN: Will you please be quiet? (Cut back to: BRENNAN and BOOTH) BRENNAN: Based on the E. coli in Tommy's blood, he definitely was here shortly before he was k*lled. BOOTH: Pammy said he was musical. (Cut briefly to: KEVIN, who is still on stage singing) KEVIN: (con'd) "...find my cornerrrrr!" BRENNAN: This guy is not bad! BOOTH: You're kidding me. BRENNAN: No, I love his enthusiasm. (Cut to: DAX, still annoyed) DAX: Dude, do I need to get the manager? BOOTH: Dude, actually, you know what? That would be great. Why don't you... (he pulls his badge out of his pocket) point him out to us? (DAX glares briefly, and then points.) (Cut to: LINCOLN sitting at his usual table, looking uncomfortable) (KEVIN finishes his song. The crowd applauds appreciatively, including BRENNAN. BOOTH remains annoyed) (Cut to: LINCOLN, onstage) LINCOLN: Up next, the smooth and smoky, Chris Calabasa! (Cut to: CHRIS, who comes up from behind BRENNAN and BOOTH moving towards the stage. The piano begins playing "Far Away" by Nickelback. BOOTH leans over in his seat to get LINCOLN's attention) BOOTH: Excuse me. (LINCOLN walks over, looking uncomfortable) BOOTH: (showing his badge) Agent Booth, FBI- LINCOLN: Oh come on. I told you guys everything I know. I bought the raw honey from a company out of Maryland, I gave the CDC guy the Bill of Sale and the remaining honey. What else you want from me? BRENNAN: No, we're not here about the E. coli. We need to speak with you about Tommy Sour. BOOTH: We believe he was m*rder. LINCOLN: m*rder? BRENNAN: Were you friends? LINCOLN: Well he, he was good for business. Talented. Showed up at every Open Mic Night since day one. When I didn't see him around I figured he got a... paying gig, you know? BOOTH: Anything unusual about his final performance? LINCOLN: No, everybody loved him, like always. BOOTH: Everybody thinks they're the next Kelly Clarkson. (BRENNAN, who has been watching CHRIS, turns back to the conversation at this comment) LINCOLN: Yeah, you got that right. BRENNAN: Who's Kelly Clarkson? BOOTH: American Idol..."Because of You"... BRENNAN: Because of me? BOOTH: Never mind. Just... stay here, okay? Not up there (he gestures to the stage before turning back to LINCOLN). So, did he have any enemies? LINCOLN: Yeah. You're listening to him right now. (Cut briefly to: CHRIS onstage, singing) LINCOLN: (con'd) There was a talent scout here that night. Tommy stole his song. Chris had to default to "Piano Man". BOOTH: Oooh. That hurts. LINCOLN: When Chris finished singing, he pulled Tommy aside and they started shoving each other. I told them to take it outside. They disappeared into the parking lot. BOOTH: Then what? LINCOLN: I don't know. I never saw Tommy again. (CHRIS finishes his song to audience applause.) (Cut to: BOOTH and BRENNAN in the audience, listening to the LOUNGE-LIZARD WANNABE and talking to CHRIS) CHRIS: Tommy Sour was a jerk. He'd fill the joint with his Fitness groupies, who'd hoot and holler even when he sang off-key, and then they'd talk through the other acts. You know what that does to a singer's self-esteem? BRENNAN: I would imagine it would be quite disheartening, given your need for acclaim. (CHRIS is taken off guard. He doesn't understand what BRENNAN is saying) BOOTH: Bones... BRENNAN: What? It's a primal human need. The foundation for royalty... BOOTH: Okay, you know what? You're just going to confuse him. (to CHRIS) Go on. CHRIS: Tommy thought he was going to make it big. He showed me a cheque he wrote to himself for a million bucks - said he'd be cashing it by Christmas. BOOTH: Well, was he any good? CHRIS: (laughs) Last week, he had some dude videotape his set. It's up on his MySpace, you can check it out for yourself. (BRENNAN is watching the LOUNGE-LIZARD WANNABE's act. She smiles) BRENNAN: This guy is good! Ha-ha. BOOTH: Ha-ha. Thank you Paula. Can you just focus here? (to CHRIS) So the night Tommy was k*lled, the two of you got into an argument over a song? CHRIS: Not just "a" song - MY song. Far Away by Nickelback. Tommy knew that I was saving that for Scout Night. BOOTH: Did it make you a little angry? CHRIS: I didn't k*ll the guy. We went outside, I vented, and he took off. BOOTH: That was it. You just said, 'Goodbye, see you later'? CHRIS: I came back inside. I wanted to introduce myself to the Talent Scout. (He gestures over to the side of the room) He's back again, you can ask him yourself. (Cut briefly to: MITCH from earlier, writing in his notebook) BOOTH: Hey, I think I will. (BOOTH gets up from the table) BOOTH: (to BRENNAN) Stay here. (BOOTH walks over across the room to MITCH's table. He looks up, and covers his book at BOOTH's approach) BOOTH: (referring to the man onstage) Ha-ha, this guy a star, or what? MITCH: You his agent? BOOTH: No, I'm just a fan, you know, fan of the music. (Cut briefly to: LINCOLN, sitting over at his usual table, eying BOOTH warily) BOOTH: (in a whisper to MITCH) So, what label are you with? MITCH: I'm an independent. BOOTH: Ohhh! You know, me and my roommate, we had a band in college. Weren't half bad. I mean, all the A&R guys, they'd sit in the front there. What are you doing all the way in the back? (Cut briefly to: LINCOLN, standing from his table and making his way over to where BOOTH and MITCH are) MITCH: What's it to you? BOOTH: Hey, what're you drinking? (MITCH turns to look at his drink. BOOTH snatches his notepad away from him) MITCH: Excuse me! Hey! (BOOTH flips through the notebook. There is nothing but doodles inside) BOOTH: Whoo. What the hell is this, doodles? (LINCOLN approaches) LINCOLN: Everything okay here? BOOTH: What'dya say we step outside there? Come on. (Cut to: outside the Checker Box. BOOTH and BRENNAN are questioning LINCOLN and MITCH) BOOTH: I want to know why you're impersonating a talent scout. MITCH: I don't know what you're talking about. BOOTH: Answer the question, or I'll arrest you right now for fraud. (MITCH sh**t a panicked glance to LINCOLN) MITCH: ...But I didn't... BOOTH: Wait a second, I get it. You two are working together. You knew that if there was a talent scout in the audience, more singers would show up at Open Mic Night, sell more booze, make more money... LINCOLN: I just started the rumour. I asked Mitch to wear a suit, take some notes... MITCH: I didn't do anything wrong. It was just a job. BOOTH: Just a job, right. Give Tommy the idea that he was going to get his own contract... MITCH: I didn't hurt anybody. BRENNAN: You lied to them. You exploited their need for attention. That's cruel! MITCH: (to LINCOLN) I'm not going down for your crap. BOOTH: I get it. Tommy figures it all out, there's an argument, it escalates. (to LINCOLN) He confronts you. LINCOLN: No! No, I swear it. Tommy knew nothing about Mitch - no one did. BOOTH: You pull this scam again and I swear I'll arrest both of you for conspiracy, fraud and misrepresentation, you got me? MITCH: Yes. (BOOTH leans in menacingly) Sir! (LINCOLN gulps) BOOTH: (to BRENNAN) Come on. (They turn to leave, BOOTH stops and turns back) And don't even think about leaving town, because both of you are under investigation for m*rder. (BOOTH and BRENNAN walk away) BRENNAN: They are? BOOTH: No, I just don't like them. (Cut to: PAM sitting in a BMW outside the Checker Box, with a camera. She holds it up) (Cut to: PAM's view through the camera lens. She is taking pictures of BOOTH) ACT 3 [Open: Medico Legal Lab - Zack's office. HODGINS enters] HODGINS: How's it coming Zack? ZACK: I'm still looking. The shaving was wafer thin and conformed to the curvature - HODGINS: I need the bones, man. ZACK: (confused) as do I Hodgins. HODGINS: I need to swab the ligature furrows for elemental analysis... ZACK: Did you know that I sang too? HODGINS: ...What? ZACK: As a child. HODGINS: You? ZACK: My parents felt that singing lessons would help integrate me socially. HODGINS: Really. ZACK: Yes. I was quite good. I received acclaim and a new stature amongst the parents of my peers. HODGINS: What about your actual peers? ZACK: My mother said they were jealous, and not to worry about it. HODGINS: Jealous... of your singing. (ZACK nods, HODGINS laughs) Yeah, I'm trying Zack, but I just, I can't see it. ZACK: (bursts into a rendition of "Love is a Many Splendored Thing" by Frank Sinatra) "Love is a many splendored thing! It's the April rose that only grows in the early spring..." (cut briefly to: the hall outside Zack's office. Passersby have stopped outside the door to hear who is singing so nicely. ANGELA and CAM are among them, beginning to come inside the room) ZACK: (con'd) "...when your fingers touched my silent heart and taught it how to sing! Yes true love's, a many splendored thing!" (cut to: the crowd outside, all cheering and clapping wildly. ANGELA makes faux wolf whistling noises) (cut to: ZACK, looking modest) ANGELA: Wow. That was great! That was great! ZACK: Thank you. I should get back to work now. HODGINS: Listen Pavarotti, I need the C5 vertebra, the hyoid and the temporal bone. ZACK: We need a w*apon! HODGINS: And by IDing the particulates in the wounds, I can give you more to go on. (They exchange a look - ZACK seems to concede, and HODGINS takes the bones) HODGINS: Thanks for the concert. (HODGINS exits, drawing ZACK's attention back to the door) ZACK: Is there something you need? (cut to: door, where HODGINS is exiting, and ANGELA and CAM are still standing, stunned) CAM: No! ANGELA: Oh, no, I'm just doing my... my... CAM: Thanks... (They exit. On her way out, ANGELA looks at ZACK, mouths 'wow' and gives him two thumbs up) (Cut to: The Royal Diner. BOOTH AND BRENNAN are sitting at the bar) BOOTH: I get it when a college kid wants to be a rock star, but half of those singers were over 30! Do they really think they're going to be famous? BRENNAN: The need to stand out from the crowd is innate. BOOTH: (scoffs) It's obnoxious! BRENNAN: You were the best sn*per when you were in the army! BOOTH: I was just doing my job, okay? Well. BRENNAN: And that set you apart from the others. BOOTH: Bones, we're talking about singing some nightmarish Broadway songs. BRENNAN: Booth, It doesn't matter. Whoever is best has the status and power... and becomes the superior mate. BOOTH: Yeah, well I tell you that some of those people are not going to be mating, that's for sure. BRENNAN: But they will have the power and prestige. You enjoy it because you are a superb agent. BOOTH: You think? BRENNAN: Yes, of course. Since I am the best in my field, it would be self destructive for me to work with someone who's beneath me. BOOTH: Oh. Okay. Well that's good. 'Cause, um, you know, I have to be honest here. Sometimes I think that you think you're better than me. BRENNAN: Well, objectively, I am more intelligent... BOOTH: There you go... BRENNAN: In certain areas, and in others... I understand my limitations, and I... admire your expertise. BOOTH: Huh. You admire me? BRENNAN: ...In certain areas of expertise. BOOTH: Well, I admire your expertise. You have a whole... science thing. BRENNAN: Thank you. I'm an author, too. BOOTH: I know BRENNAN: Best selling, and that also gives me elevated status. BOOTH: Here comes the ego BRENNAN: No, I'm not saying that society is correct to elevate me. I'm not saying that I deserve the elevation... I'm just saying... that it occurs. Society should elevate scholars and teachers not actors and athletes. (BOOTH's cell phone rings) BOOTH: Yeah, what about cops? BRENNAN: They're very important. (BOOTH answers his phone) BOOTH: Yeah, it's Agent Booth (cut to: PAM NUNAN, sitting in her car) PAM: It's Pam. Pam Nunan. (cut back to BOOTH) BOOTH: How can I help you, Miss Nunan? (the camera proceeds to cut back and forth between PAM and BOOTH, depending on who is speaking) PAM: Are you available to meet? BOOTH: I'm sorry, uh... how did you get my number? PAM: Your office patched me through. I said I was your mother. BOOTH: (stunned, then recovers) Yeah, Dr. Brennan and I can meet with you. PAM: No. Just you. BOOTH: Well if it's relevant to the case, Ms. Nunan, I think it would be important that Dr. Brennan- PAM: I can be at your office in a half hour, but you have to meet me alone. BOOTH: I... I'm sorry, is this about Tommy? (the camera cuts to an image of the outside of the Royal Diner. We can see the top of a car at the bottom of the screen. The camera moves lower and lower, until we see that it is PAM, sitting in her car, watching BOOTH and BRENNAN, sitting inside the restaurant) PAM: What else would it be about Agent Booth? (cut back to: BOOTH) BOOTH: ...Okay. A half hour. (He hangs up the phone) BRENNAN: What'd she want? BOOTH: She wants to see me. Without you. BRENNAN: Did she say why? BOOTH: Probably because you make her feel uncomfortable. BRENNAN: How so? BOOTH: Well because... You're you. You're a well adjusted woman. BRENNAN: And a bestselling author. I was on the New York Times list for 18 weeks and I won the Ed.... (They exchange a look. BRENNAN sees BOOTH's point) (cut to: FBI - Booth's office. BOOTH and PAM are entering) BOOTH: Right this way PAM: I really appreciate you seeing me BOOTH: Well, it's my job. PAM: That's precious, it's your job BOOTH: You said you had information about the- PAM: Hockey fan! (she gestures to one of his posters) I have that same print at my office. And it's Pam. I have season tickets to the Capitals, we should go sometime. BOOTH: ...Ms. Nunan, about the case... PAM: Seeley, please. Pam. I need to ask you something. BOOTH: Okay, well usually I ask the questions- PAM: Are you dating Dr. Brennan? BOOTH: No! She's my partner. PAM: I see. (cut briefly to: image of PARKER on BOOTH's desk) PAM: Your nephew? BOOTH: It's my son. PAM: You're married? BOOTH: I'm not. Listen, I'm, I'm kind of busy here Ms. Nunan PAM: I brought you something. (PAM brings out a small wrapped bag from her purse and hands it to BOOTH, who begins to unwrap it. He pulls out a pair of green socks) BOOTH: Okay... PAM: I know you've got a thing for socks. BOOTH: How did you, uh... PAM: I noticed them last time. On the outside, you're this big tough FBI guy... but really you're just like me. Unpredictable. Like Tommy was. BOOTH: ...Please... PAM: I know. We shouldn't talk about our old flames. Especially when we're just getting to know each other. BOOTH: Ms Nunan, (he puts the socks down on his desk) you said you had information about Tommy Sour's m*rder. PAM: Really? I have faith you'll find out who k*lled him. And Tommy wouldn't want me to grieve forever. (her eyes wander) Look at all these commendations... You're really great at your job, aren't you? (she bends down t pick up the socks, and hand them to Booth, moving closer) It's one of the reasons I'm drawn to you. BOOTH: (backing off) Ma'am, this is way inappropriate. PAM: (laughing) Ma'am! That is so cute! I can't wait to tell my mom you just said that. Well. Bye for now. (She exits. BOOTH stares after her warily) (cut to: Medico Legal Lab - Brennan's office. BRENNAN and SWEETS are watching a video of TOMMY SOUR on a computer. TOMMY's MySpace page is visible on the screen behind the video. He is singing "The Biggest Part of Me" by Ambrosia) TOMMY (on screen): "Sunrise! There's a new sun rising..." (cut to: BOOTH entering BRENNAN's office) BOOTH: What are you watching? BRENNAN: Oh, Dr. Sweets found Tommy Sour's MySpace video. BOOTH: He's got an okay voice. But he's trying a bit hard, don't you think? S: Yeah, there are two types of performers. Presentational singers crave attention, it's ego- driven. The representational singer wants the audience to feel. It's about invoking a cathartic experience. BOOTH: He's showing off SWEETS: Presentational. Easy on the eyes, easy to forget. One h*t wonder at best. Like Chumbawamba. BRENNAN: Chumba-whata? (BOOTH and SWEETS exchange a look) SWEETS: Tubthumping? Oh come on, are you serious? It's a great song! It's anthemic! BRENNAN: So this is all simple psychology to you? SWEETS: People's actions are motivated by their need. When we discover our needs, we discover who we are. So yes. BRENNAN: No, society makes us who we are, not psychology. Society shapes our actions. Culture compels us, not some toilet training mishap. (BOOTH pulls SWEETS's chair to one side and places a chair in the middle of them, which he sits in) BOOTH: Okay, look, I'm just going to break you two up, you're giving me a headache. If you keep this fighting up, no one's getting dessert. SWEETS: Aw, we're not fighting. It's just a collegial debate, right? BRENNAN: (surprised, and undecided) Right. (to BOOTH) How'd it go with Pam? (BOOTH isn't sure how to answer) SWEETS: Wait, you saw her again? BOOTH: What's the big deal Sweets? She just gave me a pair of socks! (BRENNAN laughs) BOOTH: What? It's not funny. SWEETS: It's not funny. BRENNAN: Why did I laugh? SWEETS: Pam Nunan controls your emotional agenda through seeming vulnerability followed by generosity. It's classic manipulation. BOOTH: Then I'll just mail the socks back. (BRENNAN points to the computer) BRENNAN: Look! Tommy was about to release a CD. (cut to: close up of a line at bottom of video reading "DEBUT CD; "I CAN'T DO BETTER THAN YOU", COMING SOON!") BOOTH: "I Can't Do Better Than You"? BRENNAN: Wonder if Pam thought that was meant for her. SWEETS: Yeah, she probably saw secret messages in all of his songs. BRENNAN: Until I was thirteen, I wanted to be the next Cindy Lauper. BOOTH: I'd say you're kidding, but I don't think you know how to kid. BRENNAN: The other girls and I referred to her as 'rad'. (Cut to: SWEETS, hiding a small smile) BRENNAN: My mother said that I sang just as well. BOOTH: Well as Cindy Lauper? BRENNAN: Yes. SWEETS: Mother's do that. It's healthy. BRENNAN: No, this wasn't just flattery. My mother told me that I sang 'Girls Just Wanna Have Fun' better than she did. (BOOTH laughs) SWEETS: It was an expression of affection, Dr. Brennan. Not an objective evaluation of your abilities. BRENNAN: Well, I think you're wrong. BOOTH: Okay then. Go ahead. Belt it out. BRENNAN: No! SWEETS: Yeah! Come on, give us a few bars. BRENNAN: Absolutely not! BOOTH: Yeah, come on! BRENNAN: I can't just burst into song! I have to have music, and... an appropriate atmosphere... of frivolity. B: Diva! Forensic genius, bestselling author, better than Cindy Lauper... (Cut to: SWEETS notices the screen. TOMMY is singing to HELEN again) SWEETS: Wait, look. Freeze the video. (BRENNAN does. SWEETS points to DAX) SWEETS: Look at him. BRENNAN: Tommy is singing to the woman next to him. The one who shushed us. SWEETS: His corrugator muscles are furrowed... his lips are tight... (BOOTH, unsure of what this means, is attempting to use SWEETS analysis as direction to imitate the face DAX is making and understand) SWEETS: ...teeth clenched... his mentalis is crinkled... (SWEETS notices BOOTH's attempt at imitating the face. He begins to backtrack, explaining again) SWEETS: The corrugator muscles are... BRENNAN: We know. BOOTH: I don't know. I don't know that. SWEETS: He appears to be very angry. Like, 'get out of my way!' angry. BRENNAN: He plays the guitar. BOOTH: Yeah? BRENNAN: (triumphantly) That's how Tommy died. (cut to: Medico Legal Lab - Forensics Platform. BRENNAN, BOOTH, CAM, ANGELA, ZACK and HODGINS are standing in a circle at one end of the platform. BRENNAN is doing a demonstration with a block of cheese. She pulls a piece of wire through it, cutting it almost effortlessly) BRENNAN: The guitar string could definitely be the m*rder w*apon. BOOTH: Because it cut the cheese? (everyone except BRENNAN has a quiet chuckle) BRENNAN: Because the exemplar wound approximates the tool marks on the victim's C5. CAM: Yeah, he knew that. He just wanted to say 'cut the cheese'. (SWEETS chuckles loudly. BOOTH joins him. BRENNAN rolls her eyes) BRENNAN: Okay Hodgins, you are the guitar player. (HODGINS moves into place) BRENNAN: Zack, you are Tommy. (ZACK appears to have anticipated this and has already g*n to move into place) SWEETS: Re-enactment. Fascinating. ZACK: Not for me. I'm always the one that gets k*lled. HODGINS: Dude, you're the singer. Singer was the vic here. (ZACK accepts this, turns around) BRENNAN: Tommy was strangled from behind with a wire, or guitar string... (HODGINS demonstrates on ZACK) BOOTH: Guitar string was pulled tight... CAM: Slicing his throat and trachea... ANGELA: Of course! CAM: As he lost consciousness, he fell forward... (ZACK demonstrates) BRENNAN: Fracturing his chin... BOOTH: Wait a second, he was a big guy, but according to your scenario, he was passive. CAM: Nothing in the data suggests that he fought back. BOOTH: Wait a second, Tommy was, he was high, he was toasted. That could have dulled his reflexes. BRENNAN: This also explains the shaving of the vertebra. A guitar string would slice a wafer thin sliver of bone as he dropped to the ground. (SWEETS is astounded. He throws his arms up and lets them drop) SWEETS: Amazing. (Cut to: FBI - Interrogation Room. BOOTH is interrogating DAX) BOOTH: Tommy Sour was strangled, Dax. Possibly with a guitar string. Now I know that, uh, you didn't like him singing to your girl. DAX: The hell are you talking about? My girl's in Texas. BOOTH: Oh. (BOOTH pulls out a screen sh*t taken from TOMMY's video showing DAX looking angry) That. DAX: That's Helen. We perform together. You know she's married, right? To someone else. BOOTH: Well, why d'you look so angry? DAX: Because Tommy was a son of a bitch. Look, I... I'm feelin' a little paranoid in here. Like I'm being persecuted. BOOTH: Persecuted, really? Maybe because you're... feeling a little guilty? DAX: ...A couple of years ago, I introduced Tommy to my trainer, Jason. Jason runs a Wellness centre. He needed personal trainers and Tommy was a trainer. BOOTH: Jason? As in Jason Bergman? DAX: Yeah! that's right man, you know him? BOOTH: Yeah we've met! DAX: Tommy and Jason wanted to open up a place together. One they owned. So they went out and got a loan. Tommy... stole the money! It was 50 grand man. Tommy used the money to produce his own CD. High end musicians, arrangements, publicity, the works. So that's why I'm harbouring the negative vibes, dude. BOOTH: Yeah, I can only imagine how Jason feels. (cut to: Valera Wellness gym. BOOTH and BRENNAN are walking rapidly down the hall towards DR. JASON's office) BOOTH: So I contacted the bank, Dr. Jason is on the hook for the full amount of the loan. BRENNAN: Which he conveniently forget when we spoke to him before. (They knock repetitively on the office door) BOOTH: All right, Bones... (A TRAINER approaches BOOTH and BRENNAN) TRAINER: If you're looking for Dr. Jason, he didn't come in today. I've been calling him, but his cell isn't on. BRENNAN: Is that unusual? TRAINER: This place is his whole life. You could call him day or night, he'd always answer. (BOOTH pulls out his cell) BOOTH: (To TRAINER) Great, thanks. (into phone) Yeah, hi, it's Agent Booth. I need a BOLO for a Dr. Jason Bergman. Wanted for first degree m*rder. (cut to: Medico Legal Lab. BRENNAN is in ZACK's office as HODGINS is walking past. BRENNAN moves quickly to follow him) BRENNAN: Oh! Dr. Hodgins! HODGINS: Dr. B, what's up? BRENNAN: Did you swab the C5 vertebra for elemental trace? HODGINS: I swabbed the C5 vertebra, the hyoid and the temporal bone. Analyzing the particulates now. BRENNAN: Well, I'll need your results as soon as possible. HODGINS: Okay. I'm on it. Hey, how'd it go with guitar guy? BRENNAN: Booth doesn't think it's him! No motive! HODGINS: But... the wound... BRENNAN: No, it's definitely a wire or a metal string of some kind but not from him. Booth suspects the manager of the wellness center. HODGINS: So you're using from some wire used it a gym or by a physical therapist. BRENNAN: Yes. Assuming that it was a crime of passion, the k*ller would have used something handy. (her phone rings, she answers) Brennan. Okay, I'll meet you there. (she hangs up, and says to HODGINS) I need those results. HODGINS: Right away. (BRENNAN leaves) (cut to: FBI - Interrogation Room. BRENNAN and BOOTH are interrogating DR. JASON) DR. JASON: I quit my job, decided to move out of town. So what? BOOTH: Officer pulled you over on the 0-5-0. You've been travelling non-stop since... yesterday morning? DR. JASON: Is that a crime? BRENNAN: Maybe. (DR. JASON looks at her) We know about the small business loan. DR. JASON: Then you also know that I'm the last person in the world that would want Tommy d*ad. With him out of the picture, I'm responsible for the whole nut. (BRENNAN doesn't understand. She looks to BOOTH for clarification) DR. JASON: 50 grand! (he lowers his head) I couldn't see another way out. BOOTH: So you thought you could hide from the bank. DR. JASON: I'm not married. I've got no coast family. So yeah, I thought I could disappear. Just fall off the grid. You hear about it all the time. BOOTH: I think you were pissed and you just... snapped. Hm? That place, was everything to you. Tommy ruined it for you, so you ruined him. (JASON laughs) DR. JASON: You know what I think, Agent Booth? I think motive, without evidence, is like riding a stationary bike. You get nowhere, fast. BOOTH: (smugly) Like right now? BRENNAN: Dr. Bergman, did you use any wires, or wire like instruments at the gym or in your chiropractic practice? (JASON looks at BOOTH and BRENNAN warily, then makes a decision) DR. JASON: Any further questions will have to go through a lawyer. (The interrogation room door bursts open. HODGINS enters) BOOTH: Yep, well... whoa. BRENNAN: Hodgins. HODGINS: Sorry to barge in. BOOTH: Whoooooa! no! you can't just barge in here! HODGINS: (to BRENNAN) there was elemental evidence on the vertebra! You wanted to know ASAP. BRENNAN: What's the evidence? HODGINS: It's phyllosilicate minerals and aluminum oxides. BRENNAN: Oh. HODGINS: Yeah. BOOTH: What? English! DR. JASON: It's clay. HODGINS: Hey, very good. DR. JASON: I have nothing to do with clay. HODGINS: I know, you're totally going to be cleared. BOOTH: Hey, you can't say that! This is my place! HODGINS: And there was silver conticulates embedded in the deposit. BRENNAN: On his vertebra? HODGINS: Yeah. There's a company called 'clay global' which infuses sculpting clay with silver power. They sell direct via the internet. And, get this - they recently shipped a package of the clay to the other unit of our victim's duplex. ACT 4 (Cut to: Tommy Sour and Adam Matthew's shared apartment. BRENNAN and BOOTH hand ADAM MATTHEWS a warrant. The alarm clock begins going off in the background) MATTHEWS: A warrant? To search my place? BOOTH: Ah. He can read. MATTHEWS: (as BRENNAN searches) I'm the one who reported Tommy missing. Why would I be hiding anything? BOOTH: Because you k*lled Tommy and then reported him missing to cover your own ass. (MATTHEWS looks over his shoulders. He sees BRENNAN rifling through his things) MATTHEWS: Hey, excuse me? What are you doing? BRENNAN: Oh. Are you asking because you have an interest in forensics, Mr. Matthews? MATTHEWS: What? (BRENNAN holds up a wire) BRENNAN: This clay cutting wire is consistent with the object used to k*ll Tommy Sour. I'm testing it for blood. MATTHEWS: Just look at it. There's no blood on it. (BRENNAN wipes a swab over the wire) BRENNAN: If the liquid turns blue, it means this wire came in contact with human blood. (She places the swab in a test tube filled with liquid. It turns blue) MATTHEWS: Wait - BOOTH: Adam Matthews, you are under arrest for the m*rder of Tommy Sour. MATTHEWS: Wait wait wait you don't understand okay? I didn't want to! The noise was- BRENNAN: The noise? MATTHEWS: Yeah, you hear over there? The alarm clock. These walls are so thin and I needed to - to work, to concentrate for my show. And Tommy, he'd just sing at the top of his lungs, day and night, he'd never ever shut up. I begged him to lower his voice, just sing quietly, but he didn't care. BRENNAN: And that gives you the right to strangle him into silence? MATTHEWS: No I... I was just trying to scare him. He was taking his trash to the alley and singing at the top of his lungs, so I went after him! But he's bigger than me, I never thought I could k*ll him! BOOTH: He was stoned. Couldn't fight back. MATTHEWS: I just... I pulled on the wire, and he fell down. And he was d*ad. And it was quiet. It was finally quiet. (BOOTH and BRENNAN exchange a look) (Cut to: Checker Box restaurant. BRENNAN enters. ANGELA, CAM, ZACK, HODGINS, BOOTH and SWEETS are already there at various tables, having conversations with each other and the other patrons. BOOTH stands as BRENNAN enters) BRENNAN: What's going on? Why did you call me here, Booth? BOOTH: Your need to sing in front of a live audience, it's innate Bones. BRENNAN: No way... BOOTH: Hey, I've got the music, the frivolity. What else do you need? (The others start clapping and cheering her on) HODGINS: Come on Dr. Brennan, you can do it! We're here for you, we're here for you! (Piano starts playing "Girls Just Wanna Have Fun" by Cindy Lauper) SWEETS: (pushing her in the direction of the stage) We're very controlled Dr. Brennan, I think it would be a good idea for you to let yourself go. BRENNAN: Really? What about you. SWEETS: Hey, I will be singing 'Lime in Da Coconut' after you. You will be extremely impressed. As was my Abnormal Psychology class in college. This opportunity is a gift from Agent Booth. Trust yourself, trust your friends. Let 'er rip, let's hear it! (Everyone cheers. BRENNAN allows herself to be pushed onto the stage, where she grins bemusedly at the crowd. After a moment's pause, she removes her jacket to wild applause, grabs the microphone and begins to sing) BRENNAN: "Come home, in the morning light, my mother says 'when you gonna live your life right?'..." (Cut to: the entrance to the Checker Box. PAM NUNAN enters.) BRENNAN: (con'd) "Oh mama dear we're not the fortunate ones, and girls they wanna have fun..." (BOOTH playfully pulls out his lighter, swaying it to the music. The others laugh, some doing the same) BRENNAN: (con'd) "Oh girls just wanna have fun!" (Everyone cheers as the instrumental begins and Brennan begins dancing on stage. The camera cuts to Pam again, who is now standing at the bar, looking depressed and nervous) BRENNAN: (con'd) "The phone rings, in the middle of the night my father yells 'what you gonna do with your life?'...Oh daddy dear you know you're still number one, but girls they wanna have fun..." (Camera cuts to the crowd, having a blasts, laughing at BRENNAN's energy and enthusiasm. BOOTH in particular, is practically jumping in his seat.) (Camera cuts to PAM, staring at BOOTH in disgust) PAM: (to BOOTH) Look at me. Not her. BRENNAN: (con'd) "Oh girls just want to have... that's all they really want, ohh-ohhh-ohhha!... (PAM reaches over into her purse and pulls out a g*n) PAM: Seeley! (No one hears her over BRENNAN's singing) SEELEY! (BOOTH looks over) PAM: I'm doing this for us. (BRENNAN is still singing, dancing on stage. PAM cocks her g*n and aims it directly at BRENNAN. BOOTH draws his w*apon, but it's too late to sh**t, so he instead leaps from his seat to get in the way of PAM's g*n. PAM fires the b*llet, piercing his chest. BOOTH stumbles backwards. The music stops, people start screaming. PAM stares, shocked and horrified at what just happened. BOOTH falls backwards, BRENNAN jumps off the stage to his side. PAM is still horrified, but becomes angry when she sees BRENNAN rushing to BOOTH's aid. She aims her g*n again. BRENNAN grabs BOOTH's abandoned w*apon and fires it at PAM, sh**ting her in the throat before turning her attention back to BOOTH. The others exchange horrified and confused looks, before settling in and beginning to make decisions) HODGINS: Zack! Call 911! (We see BRENNAN, kneeling over BOOTH, who is blinking up at the ceiling with a dazed expression, clearly not seeing much of anything. She is applying pressure to the wound. BRENNAN is calling out to him, her cries getting more and more desperate) BRENNAN: Booth, you're going to be fine. I'm right here. God. You're gonna do this. You're gonna be fine. You're going to make this. (SWEETS moves to the presumed d*ad body of PAM, retrieves the g*n she fired at BOOTH) BRENNAN: Come on! Come on! Booth! You're gonna make it! COME ON! COME ON! BOOTH COME ON! Come on come on come on. You're gonna make this, come on. Oh god. (CAM and ANGELA stand in a petrified shock. They don't know what to do. They don't know how to handle this.) BRENNAN: You're gonna do this. Come on! COME ON! Come on Booth! It's gonna be fine, come on Booth. (The camera switches angles to what we assume is from BOOTH's vision. It's slowly fading to black on BRENNAN's petrified expression) BRENNAN: Come on Booth no. No, come on Booth... COME ON BOOTH! END.

{"type": "series", "show": "Bones", "episode": "03x14 - The Wannabe in the Weeds"}

foreverdreaming

"The Pain in the Heart" Episode 3x14 Written By: Hart Hason and Stephen Nathan Directed by: Allan Kroker Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Flash back to final scene of previous episode "The Wannabe in the Weeds". Booth has just been sh*t by Pam Nunan and Brennan is leaning over him telling him he's going to be fine - as if she's reliving the moment.) BRENNAN: Booth, you're gonna be fine. Really. Come on. Come on, Booth. It's gonna be fine. Come on, Booth. Come on, Booth. No! Oh, come on... (Fade into: Medico Legal Lab - Forensic Platform. Brennan and Zack are going over remains from Limbo) BRENNAN: The carbon isotopic composition of the collagen, shows a value of minus 16%.ZACK: Supporting the theory that the deceased was born in Provence, France. (Hodgins, Angela, Cam and Sweets join them on the platform, all dressed in dark colors) BRENNAN: In the 16th century... HODGINS: It's time, Dr. Brennan. BRENNAN: (ignoring Hodgins) The metacarpal phalangeal joints are smooth, showing dexterity. Perhaps a musician.. CAM: That's enough. We're going. Now. BRENNAN: I have remains to identify. He could have a family. ANGELA: He's 500 years old. They've probably adjusted by now. BRENNAN: I'm not going. I've already made that clear. SWEETS: It's Agent Booth's funeral, Dr. Brennan. Losing a loved one is - BRENNAN: A partner, Sweets. I lost a partner. SWEETS: Someone close to you. The funeral allows you to grieve so you can come to terms with his death. BRENNAN: The Arunta Aboriginal tribe in Australia grieve by burning down their village and - and moving to a new one. That seems no crazier to me than gathering around a hole in the ground. SWEETS: Being hostile won't - ANGELA: Brennan...a word. SWEETS: Excuse me? Professional psychologist. (Angela pulls Brennan aside and holds up a finger to Sweets - indicating to give her a minute) ANGELA: Look. I know how you see things, and I respect that, but I need to ask you a favor. (She holds up Booth's funeral card) ANGELA: I have to go to the funeral. I'm not going to be able to get through this alone. I've been crying for, like, days. I really need your shoulder here. I need my best friend. (Cut to: Arlington National Cemetery. Everyone is gathered around a casket and Caroline is giving the eulogy. It's Booth's funeral.) CAROLINE: I knew Seeley Booth. He was a good man who earned my respect and affection. And I don't like many people. Booth had a selfless commitment to his work, first in the military and then the FBI. Two weeks ago, he made the ultimate sacrifice - giving his life to save his partner. And in the brave act, he showed us what greatness we are all capable of. BRENNAN: (loudly, to Angela) That woman was aiming at me and I would have happily taken that b*llet. ANGELA: I know. CAROLINE: May God's mercy and love shine on Seeley Booth as he takes his place beside the Lord. BRENNAN: (loudly, to Angela) If there were a merciful God, why wouldn't he have saved Booth. (Drums start playing as the officers prepare to f*re their w*apon) OFFICER: Standby. (Camera pans to one of the officers and it's revealed that it's Booth.) OFFICER: At ease. (A man starts to walk towards the coffin, as the rest of the officers continue to follow commands) OFFICER: Aim. (Booth pushes through Zack and Sweets and punches the man, knocking him to the ground) ANGELA: What the hell is going on? (The casket is pushed to the ground and it opens up, revealing a dummy body inside.) ZACK: They appear to be fighting. (The man and Booth fight on the ground and Brennan watches. The man punches Booth and Brennan runs over to the casket to grab the dummy's arm and uses it to knock out the man. She immediately starts to move towards Booth - looking extremely angry) BOOTH: Bones! Nice sh*t. (He notices her anger) What? (Brennan punches Booth in the jaw and then stops off. Booth groans) (Cut to: Medico Legal Lab - Booth and Brennan are walking out of Brennan's office.) BOOTH: After I got sh*t, the Bureau faked my death so I could finally get that guy. BRENNAN: I don't care. BOOTH: Look, I drove him underground. He said the only way that we would ever see him again would be at my funeral, so... BRENNAN: I don't care. HODGINS: Who is he? BOOTH: What part of "National Security" don't you understand, Hodgins? HODGINS: "National Security": catch-all phrase for "we can do anything we want" BRENNAN: I knew I shouldn't have gone to that funeral. It was a complete waste of time, just like I said. BOOTH: Wait a second, you thought that my funeral was a waste of time? CAM: I thought it was a lovely service, Booth. BOOTH: Thank you. You know, I expected to see more people though. HODGINS: I always imagined a lot of ex-girlfriends crying. BOOTH: Yeah, me too. ANGELA: You guys are pathetic. BRENNAN: Just know I won't be attending your next funeral. BOOTH: Bones, I'm telling you. You were supposed to know that I wasn't really d*ad. I swear! That's why I thought you weren't crying! CAM: Informed by who, exactly? BOOTH: I gave a list of people to the bureau to inform that I was not really d*ad. You know what? They didn't tell you, it's not my fault. SWEETS: Dr. Brennan's actually upset because she had to face strong emotions that she'd rather deny. Striking Agent Booth, indicated the depth of your feelings for him. It was a very passionate act. BOOTH: (to Sweets) Thank you! (to Brennan) Did you hear that? Passion! BRENNAN: Yes, passion, because anger is a passion! Anger at being manipulated! ZACK: Dr. Brennan? BRENNAN: Pretend to be d*ad- BOOTH: Aw forget it. I'm outta- ZACK: Someone left a package for you. (He hands her a package wrapped in plain brown paper - with "Dr. Temperance Brennan" written on it in marker. She opens it to find a box. Inside that box contains a mandible and 2 silver screws) BOOTH: Oh! BRENNAN: It's a mandible. BOOTH: Look at that, huh. Two silver screws. HODGINS: Silver screws as in... ANGELA: Silver skeleton? HODGINS: As in.. CAM: Gormogon? BRENNAN: That's speculation. (She examines the mandible closer.) ZACK: Tooth marks. BOOTH: Someone's been snacking on that. CAM: Snacking? As in cannibalism? BRENNAN: Evidence of cannibalism does not necessarily mean- BOOTH: Bones, it's Gormogon. Has to be. CAM: Oh, god. Who has he eaten this time. (Opening Credits) (Cut to: Medico Legal Lab - Platform. The team is gathered around a television watching Sweets on TV) SWEETS: (On TV) This is the fifth known victim in the Gormogon m*rder, all of which have been subjected to ritualized cannibalism. FEMALE REPORTER: He has apprentices? SWEETS: Yes. One at all time to help perform the m*rder, dispose of the bodies, eradicate evidence. His mission, it seems, is to construct a complete skeleton out of the bones of his victims. CAM: I've seen enough. (She turns off the TV) BRENNAN: (turning to the platform) Booth? BOOTH: Bones, I'm thinking here. BRENNAN: Thinking about what exactly? CAM: Well, it's a pickle. The platform's a crime scene but we need to access it to investigate the crime. ANGELA: A "cake and eat it too" situation. ZACK: Is it a cake or a pickle? HODGINS: It's Schrodinger's Cat. ZACK: That I understand. Cakes and pickles mean nothing to me. BRENNAN: Are you paralyzed by the paradox, Booth? CAM: I'll make this easy. What do you need first? BOOTH: Identity. CAM: Let's go people. (The rush up the stairs, past Booth, and start getting to work on the platform) BOOTH: Whoa. Hey, easy! Alright, you can't...alright. There ya go. (The team huddles around he mandible.) CAM: Okay, the tooth sockets may contain enough tissue to check DNA. BRENNAN: Zack, there are markings on this bone that need to be checked out. ZACK: It appears to have been boiled. HODGINS: I'll see if I can pull any mineral traces that can help us determine the water he used. (The disperse and go about their tasks) BOOTH: Okay. I, uh, give you all permission to do whatever it is that you squints do. I'll, uh, just... (he brakes the crime scene tape on the stairs and starts backing down) Call me. (to the FBI agents at the bottom of the stairs) Let's go. (Cut to: Booth's Bathroom. Booth is lounging in the tub, sipping beer from his beer helmet when Brennan barges in.) BRENNAN: I need to talk to you! BOOTH: What the hell, Bones! I'm in my house, in my bathroom, in my bathtub! (Brennan walks over to the record player and turns it off) How the hell did ya get in here anyway? BRENNAN: Well, that fake rock by your front door wouldn't fool anybody. Why are you wearing a hat that dispenses beer? BOOTH: Hot tub, plus cold beer equals warm beer. Hat? Equals solution. So why are you - BRENNAN: And that cigar? Very unhealthy. BOOTH: Okay, what the hell do ya want now, Bones? Okay? Cause I'm not really feeling too relaxed. BRENNAN: You should have told me that you weren't d*ad. BOOTH: I already explained this to you. The bureau has to vet everyone when there is a security issue. I was just following protocol. BRENNAN: Protocol!? BOOTH: Yes! BRENNAN: We've been partners for three years, Booth, and you've broken protocol before - sometimes putting my life in danger. Which makes sense because you clearly don't have any real concern for me. BOOTH: (standing up) I took a b*llet for you! BRENNAN: Once! That only goes so far (realizing that Booth is standing there, naked) Would you like a towel? (He sinks back into the tub) BOOTH: Fine. What is it that I should have done, Bones? Wha- what did you want me to do? BRENNAN: Well, you could have called me. Did you really think I needed to be vetted by your boss? I mean, don't you trust me? BOOTH: Of course I do. BRENNAN: Then why wasn't I told. It must have been something that you said. BOOTH: No. I don't know why you weren't told. BRENNAN: But you - you said that I should be. I mean, aren't you curious why I wasn't? BOOTH: Yes! Do you want me to find out why you weren't told? BRENNAN: If it's important to you. BOOTH: Fine. I will. The next time I die, I promise that I will tell you. BRENNAN: I'll look forward to that. BOOTH: Me too. (He opens up a "Green Lantern" comic book and starts reading) BRENNAN: What are you reading? BOOTH: A novel. (She looks at him) It's a graphic novel. BRENNAN: Just so you know, I find your lack of Puritan modesty very refreshing. (Booth lowers the comic book to cover himself and Brennan leaves the room, turning the music back on as she walks out the door.) (Cut to: Medico Legal Lab - platform) ZACK: The marks on the mandible definitely indicate that the bones have been gnawed on. HODGINS: But, but not with teeth. ZACK: The markings were made by someone wearing dentures. CAM: Well, a toothless cannibal just can't cut it in todays competitive serial k*ller climate. How do you know he wore dentures. HODGINS: Zack found traces of polymethylmethacrylate monomer tetrasalisic floramicha on the mandible. (9:41) CAM: I'm gonna go out on a limb here and assume that's what dentures are made of. (Cam picks up her phone and dials)ZACK: But not normal commercial dentures you get from the dentist. HODGINS: Main ingrediant is polymethyl methacrylic. ZACK: These dentures were homemade. CAM: (into phone) I got our victims DNA results back. (During the conversation, camera cuts between Booth - in the bathtub and Cam - in the lab) BOOTH: Is it the Lobbyist? CAM: Yup. Gormogon's last victim. BOOTH: I was wondering when some part of him would show up. CAM: (hears the water going down the drain) What's that sucking sound? BOOTH: You know what? This is MY house. Okay? You come into my house there's not telling what you're gonna hear. (he hangs up abruptly. Cam wonders what that was all about.) ZACK: Dr. Saroyan. (Cam hangs up her phone) Regarding the denture medium, if we recreate the process- HODGINS: Could tell us a lot about Gormogon's resources. CAM: If you want to do one of your experiments, just say it. HODGINS & ZACK: (in unison) We want to do one of our experiments. CAM: Go! (she points towards towards the door, smiling.) Make plastic, cannibal dentures. (Cut to: Basement of the Jeffersonian - Sweets, Brennan and Booth are there) SWEETS: You should place the jawbone in the skeleton. BRENNAN: Why? SWEETS: Cause it keeps alive an interactive relationship with the k*ller. That's why he provided the screws. You know, we give him something, he reciprocates. Did you see me on TV? No one has mentioned that I was on TV. BOOTH: Alright, look. How would he know if we added the jawbone to the skeleton? SWEETS: Well, it's his obsession. He has some way of finding out, which is another reason to do it. Okay. Both of you are purposely not mentioning my appearance. BRENNAN: Well, for all we know, Gormogon is d*ad and we're not on the list of people who get to find that out. (Brennan heads for the stairs, the guys follow) SWEETS: There's s cry for attention. BOOTH: Bones broke into my house last night, all angry- BRENNAN: (talking over Booth) There was a key! BOOTH: because no one told her that I was d*ad. And I was just following protocol. SWEETS: Broke into your house? BRENNAN: There was a key. BOOTH: And barged into my bathroom. SWEEETS: (laughs) What were you doing? BRENNAN: He was drinking beer and reading a comic book. BOOTH: I was taking a bath. SWEETS: You read comics and drink beer naked?BOOTH: Wait a second. Bones bursts into MY bathroom, alright, and I'm weird for being naked? (Cut to: Medico-Legal Lab - Hodgins and Zack are preparing for the experiment) ZACK: This thermoplastic has a melting point of approximately 1800 degrees Fahrenheit. This would work better if we created a paste from the monomer and polymethylmethacrylate powder HODGINS: That would entail the complicated use of cosolvents to allow copolymerization without substantial phase separation. Monomers melting point is far below the polymethylmethacrylate. (Cut to: Medico-Legal Lab - Booth, Brennan and Sweets are walking near the Forensics Platform) SWEETS: So you didn't tell her to leave? You just sat there, naked? BOOTH: It was my own bathroom, okay? What do you wear in the tub? Floaties? (Cut to: Medico-Legal Lab - Hodgins and Zack are still preparing for the experiment) HODGINS: Ready for the monomer? ZACK: Yes. I believe so. The mold is over there on the side table. HODGINS: Why don't you get the mold and I'll mix in the monomer? ZACK: No. I'll mix it in. Please hand me the monomer, then the mold. (He goes to hand Zack the monomer, but then pulls it back) HODGINS: Since when did I become the assistant? ZACK: Since I became the uncontested "King of the Lab". (Hodgins hands Zack the monomer and then walks away. Zack puts the monomer into the pot - which causes an expl*si*n. The alarms sound and Booth, Brennan and Sweets run toward its source.) SECURITY GUARD: Move to the exits, now!(They see Hodgins on the floor) BRENNAN: Hodgins! HODGINS: I'm alright. I'm alright. I'm okay. (They see Zack, his hands are still through the Plexiglas and badly b*rned. He's breathing heavily. Booth tries to move the debris away from him.) BRENNAN: Oh my god. Zack? CAM: Okay, a medical teams on it's way. Oh my - I'll get the burn kit. BRENNAN: Is he okay? BOOTH: He's in shock, Bones. Look at his hands. BRENNAN: Zack? (cut to sh*ts of them all looking at Zack, in shock) Zack. (Cut to: Regional Medical Center - ICU- Brennan is sitting in a chair next to Zack's bed while Booth is standing behind her.) ZACK: Is Hodgins okay? BRENNAN: He's fine. Just a few minor cuts. BOOTH: Yeah. Don't worry about it, Zack. Alright? We're gonna fix ya up. You're gonna be as good as new. ZACK: That would be impossible, Agent Booth. The damage is- BOOTH: We'll make sure we get you the best doctors. BRENNAN: The cartilage is destroyed, Booth. ZACK: In addition, the trapezoid and hamate on my left hand are- BOOTH: Hey. Hey, how about a little optimism here, huh? ZACK: I know that I can still be quite useful. ment*lly, I"m still exceptional and with prosthesis- (Hodgins enters the room, followed by Angela and Cam.) HODGINS: Hey. How are ya, Zack? ZACK: Quite severely injured. Are you alright? HODGINS: I'm okay, man. ANGELA: Hey, anything you need, Zack. Just ask. CAM: Do you know how this happened? ZACK: I just added the 3 grams of monomer. HODGINS: But that doesn't make sense. There are no dipoles like amide or carbonyl in the monomer. Were there? ZACK: No. Just simple phenylethene. HODGIND: That's what I thought. And the PMMA was just- BOOTH: Hodgins. He has third degree burns. BRENNAN: The doctor said you should rest, Zack. HODGINS: She's right. Hey. We're gonna figure this out, okay? CAM: And you won't be alone, Zack. One of us will be here all the time. ZACK: Well, that's not necessary. ANGELA: Yes it is. Because we - love you. (Hodgins puts his hand on Zack's forehead) I'll take the first shift. CAM: And I'll write us a schedule. BRENNAN: I'll get you whatever you need to keep your job. We'll get through this. ZACK: Thank you, Dr. Brennan. (Brennan gets up and kisses him on the forehead, then leaves - leaving Angela and Zack alone) (Cut to: Medico-Legal Lab. Hodgins and Sweets are by his desk) HODGINS: A simple monomer wouldn't explode. It just wouldn't happen. SWEETS: Isn't the FBI handling the analysis of the expl*sive residue? HODGINS: Excuse me if my faith in the bureau isn't absolute. SWEETS: So you don't trust Agent Madison? HODGINS: I'm just getting my own results to double check. I'm sure he's - fine - but I'm independent. SWEETS: You suspect that there could be a conspiracy within the bureau? HODGINS: Do I hear a little 'tude, young man? SWEETS: No, no, no. Why would there be a conspiracy in this case? Totally 'tudeless question.HODGINS: Prominent public figures being m*rder and eaten. Evidence that secret societies are being targeted - societies that have great influence in the halls of power - like the bureau. SWEETS: You don't think that's a bit extreme. HODGINS: You went on Larry King to talk about this case. And TMZ because you know how big it is and to get your piece of it. SWEETS: I'm a doctor. I'm merely studying the case like you. HODGINS: Right. (he brings up results on the computer screen) Oh, man. I should have known. AGENT MADISON: What? HODGINS: You expect me to tell you the answer, Agent Madison? AGENT MADISON: It's tricyclic acetone peroxide. HODGINS: He's not bad. AGENT MADISON: It reacted with the molten thermal plastic and - (he makes an exploding noise) Boom. HODGINS: The containers must have been switched. Zack thought he was adding a monomer he had made himself but it was actually a volatile expl*sive. (Cut to Medico-Legal Lab. Sweets is on the phone in the hallway near Brennan's office.) SWEETS: (into phone) Yes. I'm busy. Cancel all my patients. You don't have to tell them anything- (Booth comes up behind Sweets and starts dragging him towards Brennan's office.) SWEETS: What are you doing? BOOTH: A word? SWEETS: I'm on the phone. BOOTH: Well, hang up. SWEETS: (into phone) Okay, I'll talk to you later. (he hangs up and puts the phone in his pocket. Then to Booth.) Ah, tight grip you got there.. BOOTH: And it could get tighter. So go ahead. Tell her. SWEETS: Tell her what? BRENNAN: Tell me what? BOOTH: Tell her now. SWEETS: What? BOOTH: Fine. I'll tell her. Okay? I sent my list to the bureau. They sent it to Sweets. You were the one who decided not to tell Dr. Brennan that I was still alive. He's the one that you should have slugged, so do it. Go ahead and do it now. BRENNAN: What? You choose not to tell me? SWEETS: Yes, it's true. Technically. BOOTH: Technically? SWEETS: Okay, I reviewed the list and decided, knowing Dr. Brennan as I do, that she was in fact able to handle your death. BOOTH: (to Brennan) Slug 'em. SWEETS: It was a National Security issue. The fewer people that knew Agent Booth was alive, the safer he would be. BRENNAN: I think that was a good choice. SWEETS: Awesome. BOOTH: You do?! BRENNAN: Yes. You knew that Booth's death was something that I could deal with because I can compartmentalize. BOOTH: Woah. Wait a minute. Now why are you mad at me then? BRENNAN: Because you should have told me, personally. BOOTH: Oh, I should have just ignored National Security concerns, broken the law and told you. BRENNAN: Yes. You know I'm very trustworthy. BOOTH: Yeah, but Sweets... BRENNAN: Sweets made a professional decision. He knew I could process your death and move on - which is precisely what I did. SWEETS: That's right. BOOTH: There's gotta be other stuff going on here, right? SWEETS: What? BOOTH: Transference. Uh, paranoia. Come on! I mean, when I offer her a piece of pie you say it has deeper meaning. BRENNAN: I don't like pie, Booth. BOOTH: Well, apple pie. She doesn't like baked pie. BRENNAN: I don't like my fruit cooked. SWEETS: Okay, changing the subject is a way to avoid your feelings. BOOTH: My feelings. Okay, now you're attacking my feelings? (Cam appears in the doorway) CAM: Hey. There's something in the Gormogon vault I think you should see. BOOTH: (moves past Sweets to the door - but to Brennan) Slug 'em. SWEETS: You know, I think it's interesting, psychologically how Agent Booth's constant efforts to persuade you to enjoy fruit pie could be interpreted as a kind of seduction. BOOTH: Whatever you two are talking about? Just stop it. Zip it. Let's go. (Cut to: Stairs leading down to the Gormogon Vault. Brennan stops Sweets on the stairs when Booth and Cam are out of earshot.) BRENNAN: You think I don't recognize an experiment when I see one? You experimented on us. SWEETS: Beg your pardon. BRENNAN: Not telling me Booth was alive? You wanted to quantify our reactions for your own research? You took advantage of us. Booth and I agreed to let you observe us. We did not agree to be used as lab rats, so you better cut it out. SWEETS: Dr. Brennan, why are you talking so fast? BRENNAN: Because if Booth hears why you did what you did? He'd b*at ya up. SWEETS: Don't you think that'd be an overly aggressive act? BRENNAN: Not at all. So you better not do it again. (They start to head down the stairs) BOOTH: (O.S) Let's go, Bones. Where are you? SWEETS: On our way. (The four of them enter the vault) CAM: Security had the entrance to this wing locked and the vault, itself, was secured. BRENNAN: The skeleton. BOOTH: Where'd it go? HODGINS: We don't know. I came down to see if the screws matched the silver in the skeleton and the skeleton was gone. SWEETS: But there are security cameras and sensors covering every inch of this place. CAM: They all failed. BOOTH: All of them? CAM: When Zack's expl*si*n set off all the alarms, every security camera in the building failed. HODGINS: The door to the loading dock was unlocked. BRENNAN: Someone stole the skeleton! (Cam walks over to the computer to bring up the security footage) CAM: Ten minutes before the expl*si*n - HODGINS: Everything is working perfectly. CAM: Fast forward; Hodgins passes Zack the container of tricyclic acetone proxide.. HODGINS: I thought it was the monomer. CAM: The expl*si*n occurred at 12:03 and 22 seconds. At 12:03 and 22 seconds - (the screens on the computers are nothing but snow) BOOTH: Aren't there any backup systems? CAM: All d*ad too. BRENNAN: Where were the guards? CAM: There was a chemical accident. That takes precedence over any other security issue. All personnel went to secure the lab or went to secure any point that went to the museum proper so there'd be no loss of life. BRENNAN: During that time, the vault and the skeleton would be unsecured. CAM: Yes, until the security system was brought back up at 12:18 and 41 seconds. The expl*si*n was a diversion set up by Gormogon. BOOTH: He's here in the lab. It's an inside job. Gormogon works at the Jeffersonian. BRENNAN: Either Gormogon or his new apprentice. (Booth dials a number) SWEETS: It is a totally freaky thought. BOOTH: (into phone) Yeah, it's Booth. Listen, I need a full forensic team sent to the Jeffersonian. Mobile labs, computers, analysis - the works. No. Their equipment could be compromised. (Cut to: Basement of the Jeffersonian - 2 hours later. Cam is walking into a room that is filled with FBI Agents. One is using body recognition software to see if anyone is out of the ordinary.) CAM: Hair? Prints? Anything? FBI FORENSIC TECH MARCUS GEIER: Not since you asked five minutes ago. No. CAROLINE: Dr. Saroyan. Please don't bother the techs. You have a problem? You see me. CAM: It's my people you suspect here. I wanna make sure your doing your job. After all, you're a prosecutor, not a forensic- CAROLINE: You have been breathing down our necks for two hours, Cherie. Why don't you go get a latte or something. You should be here anyway. CAM: This is my department! CAROLINE: I know. And you have full security clearance and complete access to the lab and the vault. CAM: Are you saying I'm a suspect now? CAROLINE: I'm saying someones gonna put your name on the list. You were a cop. Wouldn't you? CAM: You've got over thirty agents here. Find something. (Cam storms off.) (Cut to: Royal Diner. Booth and Brennan are having coffee.) BRENNAN: The Medico-Legal lab has over 100 employees. BOOTH: Yeah, and all their records are being looked at - including yours and mine. BRENNAN: What, you're just having coffee? Don't you want pie? BOOTH: I'm fine. BRENNAN: But you always have pie. BOOTH: Can we stop talking about pie? BRENNAN: Is it because of what Sweets said? (Sweets enters and walks over toward their table) BOOTH: I'm just going pie-less. Okay? SWEETS: Can we talk for a minute? I have a profile of someone I feel could be Gormogon. (he notices Booth is only having coffee.) No pie? You always eat pie. BOOTH: Enough with the pie, will you just sit down? SWEETS: Alright. BRENNAN: Whoa! You've been spying on us? More experiments? BOOTH: What experiments? SWEETS: I'm just being thorough. The dynamics of our work environment play a role in how I treat you and Agent Booth. BOOTH: Okay, Sweets. Will you just get on with it? Who is it? SWEETS: I believe it's Dr. Hodgins. BRENNAN: What is Dr. Hodgins? BOOTH: Gormogon. He thinks Hodgins is Gormogon. (Brennan makes a face like she is about to protest.) SWEETS: Hodgins exhibits clinical paranoia as well as a rationalized feeling of superiority. BRENNAN: Paranoia. SWEETS: Yeah. He's consumed by numerous conspiracy theories. My observations today? He's even suspect of the FBI, with whom he works closely. BRENNAN: That's all supposition. There's not concrete evidence. BOOTH: (to Brennan)No, no, no. (to Sweets) Go on. BRENNAN: Booth! BOOTH: What? Hodgins knew all about the secret societies. I mean, he figured out the patterns Gormogon used that led us to the vault. BRENNAN: Yes. He was doing his job. SWEETS: Or justifying himself. He had access to all the chemicals Zack was using. He could have changed the labels. BOOTH: He and Zack are friends... BRENNAN: I also had access to the chemicals Zack made. Why am I not a suspect? SWEETS: Well, you have a reverence for life that belies the cold, calculations of a k*ller. And the emotional connection you share with Agent Booth... BRENNAN: No. That..I - (she starts getting up) I don't have time for this. No. (she leaves) BOOTH: (to Sweets) Don't you know by now you can't rush her? (Booth gets up to go after her) SWEETS: We're trying to catch a k*ller. I thought it best not to waste time. (Cut to: Medico Legal Lab. Booth and Brennan are walking into Brennan's office.) BOOTH: Look, he's just trying to help, Bones. BRENNAN: Well, his opinions won't get you a conviction. He doesn't have any evidence. BOOTH: Yeah, but he's a profiler with a great track record. (Cam enters behind them) CAM: Who? BOOTH: Sweets. BRENNAN: Sweets says that Hodgins is the k*ller. CAM: Well, it makes sense. BRENNAN: What? CAM: What? Throw suspicion off him. BOOTH: Who? CAM: Sweets. BOOTH: You think that Sweets is the k*ller? CAM: Well, he shows up right after you find the Gormogon vault, when Gormogon's at his most vulnerable. And in therapy, he plays you two like a cheap piano until you ask for his help with the case. BOOTH: Wait a second. Nobody plays me like a cheap piano. CAM: No, hey! We all trusted the brilliant, young, profiler. I got him security clearance because he was gonna help us. BRENNAN: He was here. He had the opportunity to switch Zack's chemicals. BOOTH: Wait. Except he's not a chemist. CAM: He's the only one we can't account for after the expl*si*n. BRENNAN: What? Great. Now we sound like Sweets. We have no evidence. CAM: I was a cop for ten years, Dr. Brennan. I can smell it on him. BRENNAN: I- I'm sorry, but we need more than your gut feeling. CAM: Well, then find it. Cause trust me, Sweets is your boy. (Cam leaves) (Cut to: Medico Legal Lab- Cam's office. She's checking out something on her computer screen when Hodgins walks in. She notices him and jumps.) CAM: Dr. Hodgins, knocking would be appreciated. HODGINS: Right. Sorry. So rumor is one of us is a suspect. Who is it? CAM: I can't say. You know that. HODGINS: Of course not. And since it's rumor, it might not even be true. Right? CAM: Do you have a legitimate reason to see me or are you just here to squeeze me for information? HODGINS: I found something. ( Hodgins walks over to Cam's and starts bringing up something on her computer screen) HODGINS: Zack said he thought the mandible had been boiled. CAM: To remove tissue. HODGINS: I pulled trace elements from the mandible and ran them through the mass spectrometer to see what the bone was boiled in. It was tap water. But see this spike here? (he points to the screen) CAM: Lead? HODGINS: Yes. CAM: I thought the city had to replace all their lead pipes. HODGINS: They did, but individual homeowners didn't. I focused on neighborhoods with the highest lead levels. Older homes were the worst offenders (He brings up a map. Part of it is shaded in blue) This neighborhood matches the level of lead found on the victims bone. CAM: Isn't that your house? HODGINS: Yes. It is. But there are other people that live in the area too. CAM: Yes, of course. I'll pass this along to the investigators. HODGINS: Good. CAM: Is there anything else? HODGINS: I could have fudged the facts. Could have left my neighborhood out. CAM: Yes, but that would have raised suspicion if someone had double checked your results. HODGINS: If you need me, I'll be at my station. Helping. (Hodgins leaves) (Cut to Royal Diner. Sweets is sitting at the counter when Booth and Brennan enter.) SWEETS: Hey. This is a surprise. ( Booth and Brennan take a seat on either side of him) BOOTH: Yeah. Hey, Sweets, uh, where were you after the expl*si*n? SWEETS: I was with you. BRENNAN: No. You were with us when the expl*si*n occurred. BOOTH: I mean after. SWEETS: Uh, let's see. I ran to call 911. BRENNAN: Where? SWEETS: In your office. Why? BOOTH: Then what?SWEETS: Then I went to the door to show the EMT's where to go. BRENNAN: Hmm, you didn't come in with them. SWEETS: No. I find it's best to stay out of the way of the professionals in those situations. Oh, I'm sorry. I forgot one thing. BOOTH: What's that? SWEETS: I went down to the vault and I stole the silver skeleton because, um, I'm Gormogon's apprentice. BOOTH: That's a confession. You know, I can lock him up for 72 hours. SWEETS: You'd lock me up for sarcasm? BRENNAN: I - I think you should. SWEETS: Wait. You guys actually think that I'm Gormogon's apprentice? BOOTH: Well, somebody is. That way I can lock you up, check out your story and not worry about you running off to Bolivia. SWEETS: This is fierce wretched. BRENNAN: Better safe than sorry. BOOTH: Yeah. SWEETS: No. You're projecting, Agent Booth. You have a reasonable hostility toward Gormogon but you have no outlet for those feelings so you're using me - BOOTH: Am I gonna have to break out my cuffs? SWEETS: You know what? Yeah. You are gonna need your cuffs cause I'm not about to make this easy for you. (Cut to: Regional Medical Center - ICU. Zack is asleep and Angela is sleeping in a chair next to his bed. Hodgins leans over and kisses her on the cheek - waking her up.) ANGELA: Hi. (He kisses her again.) HODGINS: How is Zack? ANGELA: Oh, he's in a lot of pain but he won't let me push the pain k*ller button. HODGINS: He's scared of polka dots but screaming agony is just an interesting phenomenon. (Angela nods in agreement) ZACK: Drugs give me bad dreams. HODGINS: Oh, hey there, Zack. ZACK: I'm walking somewhere and suddenly someone takes me by the hand and I look and it's the skeleton. And the skeleton's on f*re and my hands hurt. ANGELA: Take the pain K*llers, sweetie. ZACK: I've been thinking about the expl*si*n, Hodgins. No one could have switched the chemicals. I locked up the container when I left the room. (Hodgins presses the button on the pain K*llers) I had the only - key. (Hodgins presses it again) You - would know but you - I'm afraid the pain K*llers work pleasant on my intellect. HODGINS: Sometimes your friends gotta step in - (he presses the button one last time) Dumb it up for you. (Cut to: Medico Legal Lab. Brennan is sitting in her office working at her computer when Cam appears in the doorway.) CAM: Don't you think it's time to go home? BRENNAN: (surprised) Oh! Ah. Sorry, Cam. I seem to be a bit anxious. CAM: Don't worry about it. It's going around. Hodgins came to talk to me and I almost jumped out of my skin. What's keeping you so late? BRENNAN: Looking at the tissue we used for the DNA test? The victims DNA alleles and the roots were destroyed. And the mer alleles - were altered. Then, I remember, when I first looked at the jaw bone, it seemed lighter in color than I expected. CAM: It was treated with ultraviolet light? BRENNAN: (nodding in agreement) I think so. CAM: Who would do that? BRENNAN: We would. Standard procedure for skeletal remains when we put them away for storage. We have over 10,000 sets of remains waiting to be identified. What better place to hide a skeleton? CAM: How do we sift through 10,000 sets of remains? (Neither of them have any idea...) (Cut to Medico Legal Lab - Modular Skeletal Storage (AKA Limbo). Brennan, Caroline and Angela are standing in front of a group of Brennan's grad students.) ANGELA: I'd like to welcome, all of Dr. Brennan's grad students, to Limbo. BRENNAN: Uh, it's Modular Skeletal Storage. I don't like the term "Limbo". ANGELA: (to Brennan) Over 10,000 lost souls remain here, Sweetie. Unidentified. Waiting. It's a good name. Let's just go with it. (to the grad students) Each of these boxes contains the skeletal remains of one person. BRENNAN: In this case: a skull, 2 femurs, 5 vertebrae, miscellaneous phalanges and 3 molars. ANGELA: What we want you to do is conduct an inventory - making sure that what's in the box corresponds, not only to the card in the box but also to the computer record. GRAD STUDENT #1: Does this count toward our final grade? CAROLINE: Listen, Brennan's grad students. What we're trying to do here is catch a serial k*ller. Not get a gold star from Teach. ANGELA: We think that he's hidden the remains of one or more of his victims here. BRENNAN: Bones, tucked into boxes, where they don't belong. ANGELA: But I think it's fair to say that if you help us catch a serial k*ller, that you'll pass your precious course. BRENNAN: That - that's not necessarily true. If anyone else shows up down here indicating an interest in what you're doing - either tell Miss Montenegro or shout for security. GRAD STUDENT #2: Why? CAROLINE: Because serial K*llers get mean when you get close to catchin 'em. (Time lapse: The grad students are working on sorting the remains that are in the boxes) CAROLINE: This is just creepy. BRENNAN: Well, it's the natural order of things. We all end up this way.CAROLINE: Thank you, Cherie. Now you've made it creepy and depressing. GRAD STUDENT #1: I've found an extra femur in one of the boxes and an extra fibula in another. BRENNAN: You sure? GRAD STUDENT #1: The remains in the box were of a 4 year old child. The femur was from a man in his mid 40's to early 50's. BRENNAN: And the fibula? GRAD STUDENT #1: Also from a middle aged man. It had recently been boiled. Three other people found extra bones as well. (A female grad student walks up behind Brennan and clears her throat slightly to make her presence known.) GRAD STUDENT #3: I found an extra manubrium, male ulna and a humerus in a box of female remains. BRENNAN: Okay, lay out all of the extra bones anatomically. GRAD STUDENT #3: It's already done. Over here. (They walk to the table where all the bones are laid out.) BRENNAN: Nice job. GRAD STUDENT #3: I'm third in my class. BRENNAN: I'd like the names of the two students in front of you. (looking at the bones) 45 to 50 years old. Fibula and femur show a height of approximately 180cm. CAROLINE: How tall is that in English? BRENNAN: Approximately 5'8". (to the grad student) Have Dr. Saroyan take DNA samples and compare them to all of Gormogon's known victims. (The grad student nods in agreement) CAROLINE: You suspect something, don't you? BRENNAN: I have no facts yet. My opinions are not relevant. CAROLINE: Let me make the call, Cherie. Give me some of that big brain of yours. BRENNAN: (pointing to the skull) Someone removed the mandible from the skull. CAROLINE: It's the one that was sent to you. BRENNAN: I can't say that with certainty. Dr. Saroyan should see if the DNA matches. CAROLINE: (to the grad student) Didn't you hear her? Get this up to Dr. Saroyan. Now! GRAD STUDENT #2: Dr. Brennan? I think you should take a look at this. (Brennan and Caroline walk over to where the male grad student has many skulls lined up on a table. Brennan immediately notices something similar about all of them.) BRENNAN: All of the canines have been removed from these skulls. Just he canines. CAROLINE: I want the security tapes from this room for the last 6 months. BRENNAN: This room isn't covered. CAROLINE: Why not? BRENNAN: It's Limbo. I - I need to re-examine the mandible Zack was working on before the expl*si*n. (Brennan runs out) CAROLINE: Of course you do. (Cut to: Medico Legal Lab - Autopsy Bay/ Cam's Office. Caroline and Cam are looking at a picture of the lobbyist on the computer screen.) CAM: It's the Lobbyist that disappeared. DNA's a match and so are the dentals. Dr. Brennan's gonna want to take a look at the markings on these. CAROLINE: What's that? More cannibal teeth marks on the bone? CAM: Gormogon went after this like Henry the 8th after a chicken leg. (Cut to: Medico Legal Lab - Forensic Platform. Brennan is re-examining the mandible that was sent to her by Gormogon.) CAM: These appear to have been gnawed on too. They'll probably match the denture markings Zack found. BRENNAN: They won't. CAM: You haven't looked at them yet. BRENNAN: Zack said these markings on the mandible were made by artificial dentures made from polymethylmethacrylate and other polymers. CAM: And? BRENNAN: They were not made by artificial dentures. Zack should have known that. CAROLINE: He made a mistake. It happens. CAM: Not often. (Brennan walks away. Caroline and Cam just look at each other, puzzled.) (Cut to: Medico Legal Lab - Brennan's office. She's on her computer when Booth walks in.) BOOTH: Hey. I heard Zack was wrong about the dentures. BRENNAN: No. BOOTH: What do you mean? Cam and Caroline said.. BRENNAN: He knew they weren't artificial. Any first year student would know that. (she brings up a model of the dentures with the canines in them on the screen) The dentures were made from real teeth. All canines. BOOTH: Ugh. Woah. BRENNAN: Canines are a symbol of the wolf which appears on the Gormogon tapestry in the vault. And certain ancient sects revere the wolf as a symbol of freedom. As a representative of the forces that will deliver us from persecution. BOOTH: Okay, Bones. Enough about the wolf. What's going on? BRENNAN: Zack lied. BOOTH: Why? BRENNAN: He - he took the teeth from bone storage and he made Gormogon's dentures. BOOTH: Zack has complete access to the lab. He arranged for the expl*si*n himself. BRENNAN: It's Zack. He's the k*ller, Booth. It's Zack. (Cut to: Regional Medical Center - ICU- Cam is sitting in a chair reading to Zack.) CAM: (reading) The theory of conditional expressions is a non-profound generalization of propositional calculus. ZACK: What's it say after "boolean forms"? CAM: (she laughs) Well, there's a little thing that looks like a Japanese stool then a B with a tail and a fat fish. Does this makes sense to you? ZACK: It doesn't to you? (Cam laughs) BOOTH: Cam. I'm gonna need the room. (Cam turns to see Booth and Brennan in the doorway. Her face falls when she realizes why they're there. She looks back at Zack and then gets out of the chair and starts to head to the door.) CAM: (to Booth and Brennan) I'm sorry, but I have to ask. Are you absolutely certain because- (Booth and Brennan nod their heads, solemnly, in confirmation.) CAM: (sighs) I did not see that coming. (Cam leaves the room) ZACK: You looked at the mandible. BRENNAN: You had to know I'd see it eventually. ZACK: I didn't foresee the extent of my injuries. I was going to sneak out of here but - BRENNAN: Your friends never left your side. BOOTH: And you intended to steal the jaw bone and add it to the silver skeleton. BRENNAN: But you designed the expl*si*n. You must have known exactly how big it would be. ZACK: Hodgins argued with me. He stood too close. The delay allowed the thermoplastic to reach the boiling point and as a result, the expl*si*n was three times more powerful than I calculated. BRENNAN: You must have known how badly you'd be injured. ZACK: Yes. BOOTH: Who's Gormogon, Zack? ZACK: That's not what he's called. BOOTH: Then what is he called. ZACK: The Master. BRENNAN: And you're his apprentice? BOOTH: I need a name. ZACK: I can't tell you. The apprentice is expendable. I'm expendable. BOOTH: Who is he? BRENNAN: Zack responds to logic, Booth. BOOTH: Really? Cause I'd love to hear the logic of k*lling and eating people to change the world. ZACK: The Master's logic is irrefutable. BOOTH: Irrefutable?! I saw him choking a child at the bottom of a pool. ZACK: If you knew what I know, you'd understand. You'd be proud of me. BRENNAN: I've always been proud of you, Zack. I've never met anyone more rational or intelligent. But there's a fault in your logic. ZACK: With all due respect, you aren't cognizant of his logic. BRENNAN: Assumption #1: Secret societies exist. ZACK: Accepted. Hodgins has been explaining this to me for years. BRENNAN: Assumption #2: The human experience is adversely affected by secret societies. ZACK: Accepted. BRENNAN: Assumption #3: Attacking and k*lling members of secret societies will have an ameliorating effect on the human experience. ZACK: Accepted. BRENNAN: All of your assumptions are built upon a first principle, Zack. To wit: The historical human experience, as a whole, is more important than a single person's life. ZACK: Yes. BRENNAN: Yet, you risked it all so you wouldn't hurt Hodgins. (Zack lets this sink in and realizes that she is right, his logic was flawed. Brennan puts her forehead against his, as a single tear rolls down his cheek.) ZACK: There's - You are correct. There is an inconsistency in my reasoning. BOOTH: Bones, I need a name. BRENNAN: We know. ZACK: He first approached me three months ago at a symposium on burning plasma diagnostics. BOOTH: Zack, I need to know who this guy is. I need to go get him. Now. ZACK: I don't know his name. I've never known his name but I've been to his house. I was blind folded when he first took me there. (As Zack narrates the directions, Booth and a team of FBI members are seen following them.) ZACK: But I remember every turn he took and I was able to estimate his speed. So when he brought me home, I found it on a map. It's in Bedding Ridge on a street called Savoy Crescent. It's a big place, almost as big as Hodgins' house but run down. There's a flight of stairs at the back - outside. There's a blue door. It'll be locked but there's a key hidden in the crevice to the left of the door just above eye level. You will see a hallway. If he's found someone, you will smell meat cooking and that's how you'll know you're getting close. (We see a room. Lit candles are everywhere. Gormogon is in the middle of the room, sitting at a table, cutting a piece of "meat" on his plate.) One last door, and you'll have to be fast. He'll be at the bottom of an incline in the floor. (Booth and the Agents arrive in the room and see Gormogon.) He'll have a Kn*fe. He's very fast. And he's very strong. (Gormogon bears his teeth and throws the Kn*fe at one of the FBI Agents. Booth immediately sh**t him square in the chest and it sends him flying into the table. Gormogon is d*ad.) (Cut to: Regional Medical Center - ICU- Caroline and other people are talking to Zack while the rest of the group stands outside the window watching.) CAM: (she sees Booth arrive) Did you get him? BOOTH: Got him. BRENNAN: Who was he, Booth? SWEETS: Nobody. Am I right? He was nobody. An invisible man, angry at history for not seeing him. ANGELA: Yeah, for a nobody, he sure wrecked a lot of lives. (Caroline and the others come out of Zack's room) CAROLINE: Zack confessed to k*lling the Lobbyist - s*ab him in the heart. ANGELA: He never ate anybody? CAROLINE: No. ANGELA: So how did this happen? BRENNAN: Logic. CAROLINE: No. I'm sorry, Cherie. That might cut it with you eggheads, but this happened the way this always happens: a strong personality finds a weak personality and takes advantage. I hope we fry the guy. BOOTH: That's not gonna be necessary. CAM: Good riddance, I say. HODGINS: What'll happen to Zack? CAROLINE: I cut a deal. He pleads guilty, cooperates, and we find him non compos mentis. That way, Zack is moved to a secure psychiatric facility instead of going to prison. SWEETS: No, that won't stand up. Zack isn't actually insane. (Booth grabs Sweets arm and pulls him away from the group) SWEETS: What? BOOTH: Sweets? You're gonna give this one to Bones. You understand? SWEETS: I understand. BOOTH: Good. (He pats him on the shoulder and they head back to join the group. Brennan places her hand and head against the window as the rest of the group is with her, looking in on Zack.) (Cut to: Medico Legal Lab - Lounge Area. Everyone is sitting around the table. Hodgins places a box on it.) BOOTH: Probably could have spent more time with Zack. You know, get him to see the world a bit more. HODGINS: All those things I say about secret societies and conspiracy's, I never knew he was listening. ANGELA: I should have gotten him a girlfriend. CAM: Ugh. You know what? The hell with Zack. He's an adult, he made his choices. People are who they are. There is nothing any of us could have done for the guy. BRENNAN: We love Zack, Cam. CAM: Yeah, well he k*lled someone. He deserves to be locked up for the rest of his life. SWEETS: I feel I must point out that what Dr. Saroyan just said is obviously her way of handling grief. She doesn't mean it. Quite the opposite, in fact. CAM: I knew the day I met Zack, he'd cause me pain. (After a few moments of silence, Booth gets up to try to break the ice.) BOOTH: So, what do ya got there, Hodgins? HODGINS: (looking into the box) This is, uh, Zack's favorite stuff. ANGELA: Well, what are we gonna do with it. CAM: Where he's going, they might actually let him have it. (As items are pulled out and commented on, Brennan is watching but something is obviously bothering her. Booth pulls out a harmonica then Cam pulls out a trophy that says, "Zack Addy - King of the Lab") CAM: Oh, I got him that. HODGINS: Yeah, thanks. He waved that in my face every day. (taking a book out of the box) Pocket Kama Sutra. I gave him this so he'd stop asking Booth sex questions. (Booth plays the harmonica.) BOOTH: Got Zack this before he went to Iraq. ANGELA: (pulling out a piece of paper) Hey, I drew this for him. (It's a place mat with a caricature of Zack. It says "ZACK "King of the Lab") (Booth pulls a letter out of the box) SWEETS: It's interesting that all of his favorite things are objects you people gave to him. BRENNAN: I never gave him anything. ANGELA: Brennan, he totally loved you. I mean, as much as he was capable. BRENNAN: (getting up) But I never gave him anything. (She leaves and Angela starts after her until...) BOOTH: Angela. (Booth then follows after Brennan who is sitting on the stairs, head in her hands, when he finally catches up to her. He sits down next to her and starts reading the letter that he had pulled out of the box earlier.) BOOTH: (reading from the letter) "Dear Mr. Addy. It is my pleasure to offer you the post of my intern in Forensic Anthropology. I choose you from hundreds of applicants because of your knowledge, your desire to learn and because I feel you will find a home here." (he sets the letter in the envelope) I think you gave him something great, Bones. (Booth hands her the letter. She takes it and then places her head on his shoulder. He places his head against hers as the screen fades to black.) END.

{"type": "series", "show": "Bones", "episode": "03x15 - The Pain in the Heart"}

foreverdreaming

"Yanks in the U.K. Part I" Episode 4x01 / Production 3x19 Airdate: September 3, 2008 Written By: Hart Hanson & Karine Rosenthal Directed by: Ian Toynton Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Oxford University - Lecture Hall. Brennan is speaking in front of a class while Booth is in the audience, sleeping.) BRENNAN: In closing my lecture on interstitial lammellae remodeling, I'd like to address some issues that are not strictly confined to forensic anthropology. (cut to Booth in the crowd, asleep with his head on his hand) If it's alright with my host, Dr. Wexler. IAN WEXLER: Well, yes, I should think that all the most joyless wonks, and yes I do refer to you, Cyril Bibby - would, uh, embrace the diversion from haversian systems. BRENNAN: My partner, FBI Special Agent Seeley Booth, gave his lecture at Scotland Yard last night. Agent Booth, could you please stand up? (There is no response, Booth is still sleeping) BRENNAN: Hey, Booth! BOOTH: (waking) Yeah, I'm here. What's up? BRENNAN: Agent Booth is the intuitive humanist while I am the logical empiricist although recently I have seen how destructive pure logic can be. My own assistant, the most brilliant young man I've ever met- BOOTH: ...ended up, uh, a side-kick to a cannibalistic serial k*ller. BRENNAN: I - I haven't invited you to join me, Booth, so you can take your seat. (Booth sits down) What I've learned from Agent Booth is that we scientists must arm ourselves with something other than pure logic. WEXLER: Quality which deflects us from an irrational enamoration for the rational. BRENNAN: Exactly. (Cut to: Outside Oxford University - Outside.) BOOTH: How old is that guy? BRENNAN: What, Ian? He's a year younger than I am and almost as brilliant. What do you think of my speech? BOOTH: Well, it got, ya know, better towards the end. BRENNAN: You mean after you interrupted me. BOOTH: I'm sorry. Look, It wasn't that I was bored, mostly it was just that I was tired, okay? The boobies took me out for a beer last night... BRENNAN: Bobbies, they're called Bobbies. BOOTH: I'm pretty sure that Sara, Pauline and Jacqueline are, ya know, Boobies. WEXLER: Dr. Brennan! Dr. Brennan. What a wonder lecture: Fantastic. Sublime. Great! BRENNAN: Thank you, Dr. Wexler. WEXLER: Who knew a shapeless robe could be so evocative - of academia I mean, of course. (to Booth) Just one moment with my colleague, please, Agent Booth. (Brennan and Wexler walk a bit away as Booth leans on the wall, watching them.) BRENNAN: Um, over the last few days, I have been warned - many times - to watch out for you. WEXLER: Warned? That sounds dangerous. (his phone starts ringing) Was it something along the lines of "Oh, look out for Ian Wexler. He's a young genius on the rise?" BRENNAN: How can you flirt with me while ignoring your phone? WEXLER: Well, I am a man of perspective. Besides, I find if one ignores the thing long enough, generally it stops ringing. And then later, at my leisure, it will tell me what it wanted. WEXLER: (answering his phone) Dr. Ian Wexler. (to Brennan) Oh, don't leave, this is nothing. (into phone) m*rder? What kind of m*rder? Well, is it a boring one or is it a violent one? (to Brennan) Is your interest piqued? BRENNAN: Wha- are you being serious? WEXLER: I'm going to pass you over to a colleague of mine. I'd simply like you to state the origin of this call. Thank you. (He puts the phone to Brennan's ear) BRENNAN: Scotland Yard? Homicide. WEXLER: (taking the phone back) Cheers. (to Brennan) Well, would you like to tag along? It is m*rder. Can't promise anything but it is possible a famous heiress is involved. BRENNAN: I'm keen as ketchup. WEXLER: Mustard. Keen as mustard. Excellent effort at the colloquialism, though. Very impressive. Does your cowboy want to tag along? BRENNAN: Oh, please, don't call him that. WEXLER: He'd find it insulting? BRENNAN: No. He'd love it. (Cut to: Thames River. A car is being pulled out of the river) OFFICER: Stand back please. (A car pulls up and parks. Booth, Brennan and Wexler get out to meet Pritchard) WEXLER: Inspector Cate Pritchard of Scotland Yard, I'd like you to meet- PRITCHARD: Ah, Agent Booth. BOOTH: Yes, yes. PRITCHARD: Hello! I very much enjoyed your presentation last night. He's very active: sound effects, visual aids, all sorts of props. Although he complained at great length about how he had to check his g*n with us. BOOTH: Well, ya know without a g*n, I'm practically naked. Isn't that right, Bones? WEXLER: Inspector Pritchard, meet Dr. Brennan. PRITCHARD: Charming WEXLER: She's exactly like me. PRITCHARD: Charming, tenacious, salacious, h*m*, euphoric, noble, ignoble, fatuous, horrid, morbid, torpid and tedious. WEXLER: Flattery will get you absolutely nowhere, Cate. So you found Portia Frampton? PRITCHARD: Well, the way we usually work, Ian, is I drag the bodies out of the Thames and you use your extraordinary capabilities to identify them. BOOTH: Bones! They're like the English version of me and you. WEXLER: But do you think it might be her? PRITCHARD: Well, this certainly is her car. Portia Frampton, she's an American, as is her father. (to Booth and Brennan) Do you know him? WEXLER: Not all Americans know each other, Cate. There are quite a lot of them. PRITCHARD: Roger Frampton: airlines, internet ventures, luxury construction. WEXLER: Full disclosure, Cate. I'm currently analyzing one of his construction sites. Frampton wishes to build skyscrapers over what may prove to be a Bronze Age treasure trove or maybe just a rubbish tip. BRENNAN: Well, they aren't mutually exclusive. WEXLER: Exactly. (Brennan and Wexler laugh.) PRITCHARD: (to Booth) This vehicle's number plate matches Miss Frampton's. Obviously, this vehicle entered the Thames at some distance upstream before coming to ground here. WEXLER: What do you think, Dr. Brennan? Female or tr*nsv*stite? BRENNAN: Female. WEXLER: Mhm. BRENNAN: Late teens, early 20's. WEXLER: Penetrating trauma to the parietal bone. BRENNAN: (to Booth & Pritchard) Someone h*t her on the head with a sharp object. WEXLER: You have to do that as well, do you? Translate for them? BRENNAN: Mhm. BOOTH: You have to deal with that, too? PRITCHARD: (to Brennan & Wexler) Is it m*rder? BRENNAN & WEXLER: (in unison) Yes. PRITCHARD: If this is Portia Frampton then her father will no doubt demand FBI involvement. BRENNAN: Why? PRITCHARD: They're American. Well, you won't have any real jurisdiction, you understand. Well, not beyond what I grant you out of courtesy. BOOTH: Well, that whole "no jurisdiction" thing - that really doesn't fly in the FBI. BRENNAN: Just tell him he can have a g*n. PRITCHARD: But he can't. BOOTH: Well, as they say in America, "Hasta la vista, baby" PRITCHARD: Agent Booth. I will - I will do my utmost to get you a g*n. BOOTH: In that case.. excuse me - (he brushes past Pritchard to go stand next to Brennan) Bones and I are the best crime-solving team in America. BRENNAN: Well, we're in England. WEXLER: Let's all just try and pull together, shall we? One nice little happy transnational unit of inquiry. BRENNAN: Well, we should have these remains set back to the Jeffersonian as well as any silt samples and parts of the vehicle that may contain trace evidence. PRITCHARD: How do you feel about that, Dr. Wexler? WEXLER: Oh, I'm looking forward to completely surrendering myself to Dr. Brennan. BOOTH: You heard her: Back to the Jeffersonian, all of it. Put it in the overhead. (Opening Credits) (Cut to: Medico Legal Lab - Forensics Platform. The remains and other items arrive at the Jeffersonian.) ANGELA: Uh, Brennan sent all this evidence from England? CLARK: Not just evidence, but actual human remains. CAM: The Brits used dental records - no jokes, please - to identify the daughter of a wealthy ex-pat. HODGINS: Typical American billionaire. He thinks we can do it better. CLARK: Because we can do it better. CAM: X-rays for you, Clark. CLARK: Thank you. CAM: I'll take the body, see if there's any soft tissue worth looking at. ANGELA: And these crime scene photos are mine. HODGINS: Check it out. British slime. So much more proper than American slime. CAM: Some kind of paper... ANGELA: I'll see if there's anything on it. CAM: Okay, as usual, I'll need constant progress reports. (Cut to: Medico Legal Lab - Angela walks into her office and stops to look at the picture. Behind her a man, Grayson Barasa, appears.) GRAYSON: Angela. ANGELA: Oh, my...Oh, my God! (Angela laughs and walks quickly towards Grayson. She jumps up, wraps her legs around him and kisses him.) ANGELA: (sighing) Grayson... GRAYSON: Angela. ANGELA: That's the last bit of sugar you're ever gonna get from me. I want my divorce. (Grayson just laughs - thinking she's kidding - but stops when he realizes that she's serious.) (Cut to: London, England - Crime Scene.) WEXLER: Portia Frampton, only daughter of Roger Frampton, 47, formerly of Ringwood, New Jersey and Sarah Frampton nee Burroughs, deceased 1994 of Cheltenham, England. BOOTH: God, you wouldn't believe what my hotel gave me for breakfast. It was like this brown goo and some kind of meat. I think it was a sausage about the size of my finger. BRENNAN: I had an entire buffet. BOOTH: Well, you're staying at the Duke of something, alright? I'm at the Beefeater Hotel Motel. PRITCHARD: Ate at a Beefeater? That's brave. BOOTH: Yeah, brave is right. (takes a sip of his drink) This is the weakest coffee I've ever had. BRENNAN: Booth, that's tea. (He takes the cup and empties it into the river) PRITCHARD: Okay, two weeks ago, Miss Frampton was last seen leaving her home the morning after her 21st birthday party. BOOTH: That's quite a coincidence that Dr. Wexler is working for the victim's father. WEXLER: Well, not working for him, actually, working for the city but I shall check my diary to see if I k*lled her. PRITCHARD: Portia's party broke up around 2am and she was reported missing the following afternoon. BOOTH: Hmm. The question is - why? WEXLER: She was probably reported missing because nobody could find her. PRITCHARD: Ian... WEXLER: And I suspect the reason why nobody could find her was because Portia was in a car on the bottom of the River Thames. Just a theory, mind you. BOOTH: Right, it's a great theory. (he hands Wexler his cup) Can you hold onto that for one second? Thanks. Me and uh, Dr. Brennan will go talk to the family. PRITCHARD: Together? BOOTH & BRENNAN: (in unison) That's what we do. WEXLER: You, an inspector? That's extraordinary. PRITCHARD: Sweet. (Cut to: Medico Legal Lab. Forensics Platform.) CLARK: Portia Frampton was struck from behind. Trauma to the zygomata suggests that she fell to the ground and then was struck again at least two more times. CAM: w*apon? CLARK: The Brits weren't able to recover all the skull fragments so it's nearly impossible to tell. (Angela enters) ANGELA: Excuse me. I'd like you to meet my husband. My soon-to-be ex-husband. GRAYSON: We must talk. CAM: This is Birimbau? GRAYSON: I prefer my real name: Grayson Barasa. Very nice to meet you. ANGELA: Listen, uh, I realize that Grayson is very lovely. CAM: He certainly is. GRAYSON: Thank you. CLARK: He's a big dude. ANGELA: But until Grayson hands over signed divorce papers, I don't really need Hodgins seeing everybody gawking at him like he's some kinda god. CAM: Yeah, but he is some kinda god. The best kind. ANGELA: Cam. A little help here. CAM: Yeah. (Sweets enters and sees Grayson.) SWEETS: Oh, my God. Poor Hodgins. Wow. (he laughs and continues laughing) Look at that guy. He's just... Look at him! I'm sorry. (continues laughing) (Cut to: Medico Legal Lab - Hodgins Desk) ANGELA: Hodgins? HODGINS: Hey, Angie. ANGELA: This is Grayson Barasa. Birimbau. HODGINS: Please tell me you are here to sign the divorce papers. GRAYSON: I can't do that. I am still in love with Angela. HODGINS: Of course you are. Uh, I understand, but Angela is in love with me. ANGELA: I told you, Grayson. GRAYSON: Angela, do you remember the night we met? ANGELA: Vaguely. GRAYSON: Ah, the waves were phosphorescent, like the world was upside down and we were swimming naked through the Milky Way. HODGINS: Bioluminescent phytoplankton. Nothing mystic. GRAYSON: We talked about how the universe speaks to us. And when our lips met (to Hodgins) I apologize. HODGINS: Hm? No worries. Our lips meet all the time. ANGELA: Bells. HODGINS: What? ANGELA: No, Hodgins. Literally, bells started ringing. It was nothing cosmic. GRAYSON: Every bell on the island rang out. ANGELA: It was during the Shark Festival of Bells. What did you expect to happen? A 21-g*n salute? HODGINS: So-so-so... what about the divorce papers? GRAYSON: You need time to talk. (Grayson leaves Angela and Hodgins by themselves - they start to laugh) ANGELA: Yuck it up, laughing boy. Wait until one of your ex-girlfriends comes to visit. HODGINS: Mhm. Yup. (He kisses Angela) ANGELA: Back to work. HODGINS: Yeah. (Cut to: Frampton's House - UK. Pritchard, Booth & Brennan are speaking with Mr. Frampton.) ROGER FRAMPTON: One of the reasons we moved away from the States was to get away. Now look what happened. BOOTH: All right, Mr. Frampton, look, we're very sorry for the loss of your daughter. ROGER FRAMPTON: What was it? Was it a robbery? BRENNAN: We don't know yet. BOOTH: I'm gonna need a list of your enemies. ROGER FRAMPTON: What enemies? BOOTH: Well, you're a very aggressive American businessman living here in England; you must have enemies. ROGER FRAMPTON: My daughter was a very sweet, innocent girl. BRENNAN: Not always, Mr. Frampton. (Brennan holds up a tabloid with a picture of Portia, topless, on the cover with the headline "Heiress Loses Her Shirt") ROGER FRAMPTON: What the hell are you asking for anyway? HEATHER MILLER: If you can put that picture away, Dr. Brennan. BOOTH: Miss Miller, how close were you with your stepdaughter? ROGER FRAMPTON: Heather and I are not married yet. HEATHER MILLER: Portia was like a younger sister to me. We talked about everything: clothes, school, Harry... BOOTH: Harry? Who's - who's Harry? ROGER FRAMPTON: Lord Henry Albert Bonham. BOOTH: Right. Is that some kind of a crusty old politician or something? PRITCHARD: Lord Bonham is a very un-crusty young man, heir to the Duke of Innesford. BOOTH: Right. Harry, Henry, Bonham, whatever. I read the tabloids. There was no mention of Portia dating any kind of royalty. ROGER FRAMPTON: The duke wanted it kept a secret. BRENNAN: The duke would be the lord's father. BOOTH: I got it, Bones. I understand, okay? BRENNAN: I'm just trying to help. BOOTH: I... All right, so the duke says something and all of a sudden, magically, it happens? HEATHER MILLER: Welcome to England. ROGER FRAMPTON: A m*rder is a m*rder, no matter how close he is to the throne. Please, help me find out who did this to my daughter. (Cut to: London Street. Booth and Brennan are driving in a red Austin) BRENNAN: Why did you rent this? BOOTH: I didn't rent this, okay? They screwed up at the rent-a-car place. I ordered an Aston. You know, James Bond? But they gave me - PRITCHARD: Yeah, they gave you an Austin. It could happen to anyone. Um...we drive on the left here, as you may recall. BRENNAN: Driving here requires a different skill set. I - I could take the wheel, if you like. I'm an excellent driver. BOOTH: Thank you, Rain Man. No, I'm fine. Tell you what, back home, we'd drag the whole Royal Family into interrogation, separately, let 'em stew, catch 'em in a lie. PRITCHARD: We'll we could do that, if you like, but it'll give them time to close up. Do stay to the left here, please. BRENNAN: Close up? PRITCHARD: Tighten ranks. Nothing is as impenetrable as the aristocracy freezing out hoi polloi interlopers. I must say, I'm rather looking forward to two Americans beating the lion in his den. Oh, the light is red. BOOTH: It's okay. I'm turning right. BRENNAN: No, no, turning right on a red here is the equivalent of turning left into the wrong lane on a red at home. BOOTH: That makes no sense. BRENNAN: Ut oh. PRITCHARD: No, the point is it's against the law to turn on a red! PRITCHARD: Brake! Brake! BRENNAN: Ahhhh! PRITCHARD: Brake! RANDOM MAN: Get out of the way, w*nk*r! BRENNAN: Okay, I think we should wait here until the traffic thins out. (Booth gets out of the car and starts to yell) BOOTH: God, I hate London! I hate England! I'm glad we had a revolution! Ah! BRENNAN: (answering her phone) Brennan. (Booth continues to rant outside the car while Brennan talks to Cam) BOOTH: And the weather it changes, it's cloudy... CAM: The fatty acid composition of the victim's cervical fluid caught my attention, so I ran some more tests. Turns out Portia Frampton was pregnant. BRENNAN: Pregnant? How far along? BOOTH: And coffee! What is so hard about making a cup of black coffee... CAM: About two months. BRENNAN: Okay. Thanks, Cam. (Booth gets back into the car) BOOTH: Okay, I feel much better. What'd I miss? PRITCHARD: Lord Henry Bonham, heir to the Duke of Innesford, knocked up the victim. BOOTH: Right. The Royals hate bastards. BRENNAN: Only the ones that don't make king. BOOTH: Okay, hang on, girls. Let me get out of this toilet swirl. (Cut to: Bonham Estate. Booth, Brennan and Pritchard arrive) BOOTH: Woah, nice castle! BRENNAN: No. Castles were originally designed for military purposes to withstand att*ck. (Brennan and Pritchard get out of the car) This, is more properly called a palace. BOOTH: Bones, a little help getting out, Bones? BOOTH; Geez, oh, God. Geez. Heads up. Getting out of this thing is like being born. (The butler appears at the door) BOOTH: Ooh. That the duke? PRITCHARD: It's his gentleman's gentleman. BRENNAN: It's a butler. BOOTH: How you doing there, sport? (Pritchard flashes her badge) BOOTH: Right. (flashes his badge) FBI. JAMISON: You might as well put this one away; it's worthless. BOOTH: And yet here I am. (to Pritchard) You mind waiting outside? BRENNAN: Why? PRITCHARD: It's because Agent Booth not only wants the Aristocrats off balance, he wants them upside down. BRENNAN: Well, he'll annoy them, you mean. PRITCHARD: Let's say the Duke and Duchess won't be used to your approach. Word of advice: when they start commenting on you to each other, you've got them on the run. BOOTH: Right. (Cut to: Medico Legal Lab - Cam and Angela are walking toward Hodgins desk) ANGELA: I noticed in the crime scene photos that the backseats of which started me thinking that maybe the victim was transporting something, worth stealing. HODGINS: So Brennan had strips of material sent from the vehicle, which I analyzed: ST-90 transmission oils, made with poly-alpha-olefin, leaded, acidic H2O residue, and plenty of polycyclic aromatic hydrocarbons. ANGELA: Don't make her ask. CAM: Thank you, Angela. HODGINS: A motorcycle was transported in the back of the SUV. ANGELA: More likely a scooter, given the size. CAM: The k*ller kills, loads the body and his scooter. HODGINS: Or moped. CAM: Drives to the Thames- HODGINS: Dumps the car, body and all, in the river, and rides his scooter home. ANGELA: Through the teeming streets of London. (Cut to: Bonham Estate. Booth & Brennan are inside being led by Jamison) BOOTH: So you're an honest-to-God real butler? JAMISON: My family has served His Grace's family for eight generations. BOOTH: Yeah, well, a real butler would offer to take my hat. JAMISON: A real gentleman would be wearing a hat. BOOTH: Whoa, look at this guy. (Booth stops to look at body armor and goes to touch it) JAMISON: Uh, yes, sir. It dates to - Please don't touch that, Agent Booth. BRENNAN: Late 1490s or early 1500s. German design? JAMISON: His Grace's ancestors fought for Henry VIII in France. BOOTH: Oh, geez, look at the size of this. That's one large cup. Probably to scare the sissy French. BRENNAN: Well, actually, Henry VIII started the trend of large codpieces because he had syphilis so his penis was extremely sensitive to anything touching it. JAMISON: His Grace favors the "intimidate the enemy" version, should the topic arise. His Grace, Her Ladyship, and Lord Henry will meet you in the morning room. (Cut to: Bonham Estates. Morning Room) HARRY: Two weeks and I'd heard nothing from Portia. I knew it'd turn out to be something terrible. BRENNAN: You kept your relationship with Portia Frampton a secret. HARRY: It didn't mean I didn't love her. BOOTH: Well, where we come from, that's exactly what it means. DUKE GERARD BONHAM: You're quite certain this American has the right to pose these questions? BOOTH: Tell you what, you call Scotland Yard and the answer is always gonna be yes. So, Portia ever come to visit this, uh, palace? DUKE BONHAM: This house? No. BOOTH: Why? I mean, you were in love with her. Right, lord? BRENNAN: (to Booth) Well, it's my understanding that the class system in England, though very much relaxed since the Second World w*r, still exists at the highest levels of society. (to Anne Bonham) That's you, right? ANNE BONHAM: One prefers not to make such an assertion. BRENNAN: How long did you and Portia Frampton carry on a sexual relationship? HARRY: Did I ever say I was sleeping with her? (Paige Bonham, Harry's grandmother, enters the room) PAIGE BONHAM: Of course you had sex with her, Harry, and I'm sure she rather enjoyed it. You're a well-formed, athletic boy. Did you offer refreshments? DUKE BONHAM: I had no intention of encouraging them to stay longer, Mother. PAIGE BONHAM: Tea, please. Harry kept his relationship with the Frampton girl secret because her father is a rapacious crook who uses intimidation and bribery to get what he wants. BRENNAN: So, it had nothing to do with this? (she holds up the tabloid) ANNE BONHAM: Oh, they brought that wretched rag into the house. HARRY: I was there. It was the afternoon before Portia's birthday party. BOOTH: So you saw the photographer? HARRY: Of course not. I'd have thrashed him. BOOTH: Ha! The lord was gonna go all medieval. (Jamison enters with tea) HARRY: Portia's party was lovely. She left before I awoke the next morning. That's the last time I saw her. BRENNAN: But you did hear from her. BOOTH: Right, because, uh, cell phone records indicate that you talked that morning. HARRY: It was a very personal conversation. BRENNAN: Did you discuss her pregnancy? BOOTH: I got it. I'll tell you what. There was an argument, Portia wanted to keep the baby - you didn't... HARRY: I-I assure you I had absolutely no idea that... PAIGE BONHAM: Could he possibly be suggesting that pregnancy is a motive for m*rder? LORD BONHAM: Nonsense. Arrangements would have been made. BOOTH: Right, and you're positive that you're the father? (Harry starts toward Booth) LORD BONHAM: Harry. BOOTH: Look at that. I'm being intimidated by royalty. HARRY: If you must know, Portia broke up with me. She said there was to be no discussion. BOOTH: Ah. There ya go. Motive for m*rder, no matter what country we're in, hmm? (he sips the tea) Mmmm. What is this? PAIGE BONHAM: It's Assam black tea. Very strong. Call it the upper class version of a cup o' joe. BOOTH: Wow. Cheers. (Cut to: Oxford Basement. Angela is linked via computer so that Brennan can get her findings. Pritchard and Ian are there too.) ANGELA: Hey, I've been looking at those tabloid photos of the victim. Now, in a telephoto sh*t, most of the frame is blurry. Only the main subject is in focus. BOOTH: What is this place on the weekends? A dungeon? ANGELA: You see here? These pixels look like they've been altered to appear fuzzy. WEXLER: So it wasn't really a telephoto lens? BOOTH: You light it with torches, right? ANGELA: No, it was a telephoto lens but it's been doctored to look as though it's over 500 mm when I put it at more like 80. PRITCHARD: Well, why would anyone do that? ANGELA: You see that white sliver? WEXLER: You mean the white blob? ANGELA: Yeah, it's a reflection of light, almost as though the photographer was behind glass. And... in Portia's eyes do you see that? BRENNAN & PRITCHARD: No. ANGELA: It's a reflection of a house. Do you see where I'm going? BRENNAN & PRITCHARD: No. BOOTH: Someone took the picture inside the house. ANGELA: Right. With an 80-millimeter lens. Sweetie...my ex-husband is here with the divorce papers, so I'll fill you in when you get back. WEXLER: I love the mix of personal and professional you people seem to manage. BRENNAN: Harry could have taken the photograph. PRITCHARD: Yes, that's certainly a possibility, but Harry had no motive to take the photo. We're most likely searching for a disgruntled servant who was looking to cash in. (Cut to: Royal Diner. Grayson is sitting at the counter, drinking coffee. Hodgins enters and taps him on the shoulder.) GRAYSON: I apologize for eating without you, but, apparently, to hold the table, you have to order. HODGINS: Yeah. I'm not here for food. I'm here to get you to sign the divorce papers. GRAYSON: In my place, would you do that? HODGINS: I'm not in your place. GRAYSON: I've been searching for Angela for five years. HODGINS: I know. I know. Our private investigator told us everything. You built Angela a home with your bare hands while simultaneously smuggling medicine to children in Cuba and supporting an orphanage. You're a saint. I get it. GRAYSON: If you believe that to be true, then you should want what is best for Angela. HODGINS: I do. And guess what? It's me. GRAYSON: Why are you better than me? HODGINS: Obviously, I'm not. But I do love her more than you. GRAYSON: Ah, you cannot possibly know that. HODGINS: And yet, I do. GRAYSON: We are at an impasse. (Hodgins gets up and leaves. Grayson follows him outside) GRAYSON: You have no sense of dignity. HODGINS: Yeah. I'd give up my life for Angela, so what's a little dignity? GRAYSON: She kissed me, you know. HODGINS: On the cheek or...? (Angela and Sweets show up) ANGELA: What's going on? SWEETS: Oh, man. HODGINS: He says you kissed him. ANGELA: I did. SWEETS: Whoa. ANGELA: It was a good-bye kiss. GRAYSON: There's nothing you can do. You must accept... (Hodgins punches Grayson in the face) ANGELA: Hodgins! SWEETS: (takes off his jacket and hands it to Angela) Here. Can you take this, please? (Sweets trips and falls on the sidewalk, flat on his face. Grayson picks up Hodgins and throws him in a garbage truck and it drives away.) ANGELA: Nice, Grayson. (She throws down Sweets' jacket and walks away) GRAYSON: Angela... (Cut to: William Curry & Partners - Chambers of Law) BRENNAN: We've been working on identifying the photographer who took the tabloid picture of Portia. HEATHER MILLER: Surely, identifying her m*rder is more important. BOOTH: You see, paparazzi, they follow people so maybe he saw something. I don't know, maybe the actual k*ller. BRENNAN: The photo was taken from a bedroom in Portia's home. HEATHER MILLER: So, you're suggesting the help let a paparazzo into the house. BRENNAN: Actually, the help, told Inspector Pritchard that you were in the room. BOOTH: Look. Maybe you want to tell us why you did it before Roger gets here? HEATHER MILLER: Roger and I have set five wedding dates over the years and each time, Portia found a way to make him postpone. She had her father wrapped around her little finger. BRENNAN: So you k*lled her? HEATHER MILLER: Don't be ridiculous. No, I merely wanted Roger to regard Portia as a sexually mature adult with her own agenda instead of as an innocent child. (William Curry & Roger Frampton enter the room - Curry is dressed in his judges outfit) WILLIAM CURRY: Sorry I'm late. Court went rather longer than expected. Heather, I trust you've said nothing. BOOTH: Too late. ROGER FRAMPTON: Too late why? BRENNAN: Your girlfriend sent the naked picture of your daughter to the tabloids so you'd stop thinking that she was perfect, and finally get married. WILLIAM CURRY: What Americans lack in subtlety, they make up with clarity. HEATHER MILLER: Roger, I'm so sorry. ROGER FRAMPTON: Why the hell would you do that? HEATHER MILLER: Please believe me. I would never do anything to harm Portia. I simply made a terrible mistake. (Roger leaves) Roger! Oh, Roger! (Heather chases after him) WILLIAM CURRY: I trust this interview is over. BOOTH: Actually, I just have one more question. Who the hell would want to wear this? (He points to the wig) (Cut to: Restaurant near the Tower Bridge. Booth and Pritchard are relaxing and having a beer.) PRITCHARD: It's so nice to see you relaxing, enjoying some good British beer, Agent Booth. Cheers. BOOTH: Cheers. Tell you what. I'd like to see that open. (he points to Tower Bridge) PRITCHARD: Really? Why? BOOTH: Luck. PRITCHARD: Well, you'd have to be ridiculously lucky to see something like that,wouldn't you? BOOTH: That's my point. PRITCHARD: (pushes a box towards him) Well, you did get a little lucky today. BOOTH: Yeah. (he opens the box) That's a Walther PPK. It's a James Bond g*n. Booth. Seeley Booth. PRITCHARD: No, that's terrible. BOOTH: Thanks, Pritch. PRITCHARD: But, please, um, just remember, though, that if you do use it, I'm the one they'll hang. BOOTH: Hey, I'm a good sh*t. (his phone rings) Oh. Ahh, it's the American squints. You'll love these people. (turns on speaker phone) Booth. Seeley Booth. ANGELA: (on speaker phone) Hey, uh, the paper you sent me turns out to be a letter to Portia Frampton from her mother. PRITCHARD: A keepsake from her childhood, perhaps? ANGELA: No, it's dated this year. BOOTH:Okay, what does the letter say? ANGELA: Uh, the entire body of the letter is indecipherable. The date and the salutation and the signature are clear, though. BOOTH: Thanks, Ange. PRITCHARD: So, Portia Frampton's mother is still alive? BOOTH: That raises a whole set of questions. (Cut to: Dig Site. Wexler and Brennan work at the dig site where Wexler is tasked with identifying Bronze Age artifacts. His students, Vera and Cyril.) CLARK: Visible on the L2 is an area of radiolucency. WEXLER: Can't see a damn thing. BRENNAN: Give us a moment, Clark. CYRIL: We found a few more bone fragments today, Dr. Wexler. WEXLER: Good. How old? VERA: No more than 100 years. WEXLER: To prevent Frampton from building his beloved skyscrapers on this site we need to find something from the Bronze Age or older. CLARK: There is evidence of reabsorption of the surrounding bone. CYRIL: Ah, here, yes, I see. Very interesting. WEXLER: Cyril, you're being impertinent. Please stop speaking. VERA: Well, could the anomaly be a hemangioblastoma ? WEXLER: Okay, off you go and don't come back until you find at least one Bronze Age ossified funny bone. BRENNAN: Have Cam do a histology, Clark. CLARK: Will do, Dr. Brennan. (She closes the computer screen) BRENNAN: So... what now? WEXLER: Well, I thought quick drink, back to yours for some sex, and then out for a late supper. BRENNAN: I'm inclined to accept. WEXLER: I'm ever so pleased. BRENNAN: But Booth says I shouldn't trust you. WEXLER: And why is that? BRENNAN: Well, he says you like to rack 'em up. WEXLER: Rack 'em up? How vulgar. BRENNAN: Booth is very good at reading people. WEXLER: Hmm. Well, in that case, how about we start with the supper, and then let the chips fall where they may? BRENNAN: That would be an acceptable compromise. (Cut to: Medico Legal Lab - Hodgins Desk.) HODGINS: I checked out the skull fragments for microscopic traces. CAM: (looks at the screen) How shiny and pretty. What is it? HODGINS: Mother-of-pearl. Have you talked to Angela today? CAM: Yes. Are you saying our victim was att*cked by an abalone? HODGINS: How mad is she? CAM: Mad, mad, mad. HODGINS: I thought women secretly liked it when we fought over them. CAM: "Women" is an unacceptable generalization. (Cut to: London Street. Booth is attempting to parallel park and not doing such a good job.) BRENNAN: Well, you should look over your other shoulder. BOOTH: Bones, I've been driving since I was 12, okay? BRENNAN: Would it make you less agitated if I told you that I didn't sleep with Dr. Wexler last night? BOOTH: Okay, look. I'm not agitated, okay? I'm agitated because of driving this little car, that's all. Look, Wexler is just - I'm not agitated because of you and Dr. Wexler. Wexler's just another guy looking for a one-night stand. That's it. Whoa. BRENNAN: So? BOOTH: So, he doesn't take it seriously. BRENNAN: Seriously? What do you mean? You never laugh during sex? Because I do. Whoa, do you see that lorry? BOOTH: I see that lorry. It's a truck, okay? We're an American, and that is a truck. I laugh during sex. It's just, it's not that kind of serious. BRENNAN: Well, I think Dr. Wexler is serious about having sex with me. Very interested. BOOTH: Okay, news bulletin for ya, Bones. There's not a guy in this country who wouldn't want to have sex with you. Probably half the gay men...whoa, easy. BRENNAN: Are you being nice about me or awful about British men? BOOTH: Wexler is not special; you are. (Brennan's phone rings) BRENNAN: (into phone) Brennan. CAM: Am I interrupting anything? BRENNAN: No, I... I'm just helping Booth drive. CAM: Ooh, Booth shouldn't be behind the wheel. He isn't adaptable. BOOTH: I'm Mr. Adaptable, okay? And the mirror is the size of a thumbnail. BRENNAN: Well, what do you expect when you rent a car the size of your thumb? CAM: I don't think there's enough fetal tissue to get a DNA reading, but... BOOTH: Cam, can we just be quiet until we get into the flow of traffic here? RANDOM MAN: Get out of the way, w*nk*r! BRENNAN: You think I'm special? BOOTH: Of course I think that you're special, yes. BRENNAN: Thank you. I will take your romantic advice under advisement. Now you're too far to the left. BOOTH: Ohhh! BRENNAN: You're gonna h*t the curb! BOOTH: We're good. BRENNAN: Yeah, unless we get a flat tire. BOOTH: No, we're good. CAM: If I could speak again? I had better luck with the tumor. Our victim suffered from Von-Hippel Lindau disease. BRENNAN: We got a flat tire. BOOTH: How did that happen? BRENNAN: Uh, it... there wasn't any evidence of VHL in either the mother's medical records or the autopsy report. CAM: But it's hereditary, so her father must have it. BOOTH: Roger Frampton worked for the NHL? BRENNAN: He - he may have VHL disease. BOOTH: What if he doesn't have it? BRENNAN: Then Roger Frampton is not Portia Frampton's biological father. BOOTH: Oh, God. (the horn starts blaring) Great. That's just great. I hate this car. (Cut to: Frampton's House. Pritchard, Booth & Brennan are back at the house. This time, Jamison is there.) ROGER FRAMPTON: My wife is not alive. BOOTH: Your daughter was carrying a letter from her mother. BRENNAN: It was dated Portia's 21st birthday. ROGER FRAMPTON: That's impossible. Tell your lab boys they got it wrong. WILLIAM CURRY: Roger, the lab is, in fact, correct. Portia was indeed carrying a letter from Sarah, dated her 21st birthday. Portia and I met at a cafe in Knightsbridge, the day after her party. I gave her the letter personally. PRITCHARD: I think you'll find Sarah knew she was dying and entrusted Mr. Curry with letters, which he delivered on Portia's important birthdays. BRENNAN: How do you know? PRITCHARD: Well, it's exactly what I'd have done if I were dying and leaving behind a young daughter. BOOTH: That's all very touching and all, but it still makes Wig-wearing Willy here the last person that saw Portia alive. WILLIAM CURRY: For God's sake, now I'm a suspect? ROGER FRAMPTON: You should've told me, William. WILLIAM CURRY: You're not the only person who engages me for my discretion, Roger. BRENNAN: What did the letter say? WILLIAM CURRY: I'm sure I couldn't possibly tell you. BRENNAN: Uh, Mr. Frampton, how is your health? ROGER FRAMPTON: What the hell has that got to do with anything? BRENNAN: Any nerve pain, dizziness, headaches? ROGER FRAMPTON: No, I'm healthy as an ox. BOOTH: Are you aware that Portia is not your biological daughter? PRITCHARD: Perhaps I should conduct the rest of this interview. (Cut to: Medico Legal Lab - Lounge Area. Angela is sitting on the couch when Sweets joins her.) SWEETS: Angela? ANGELA: Here we go. SWEETS: Angela, men are idiots. Seriously. ANGELA: Just to be clear, are you a man or a boy for the purposes of this conversation? SWEETS: When I was ten, the kid next door had a turtle party wagon. It's an accessory for the Teenage Mutant Ninja Turtles action figures. It's a toy. No? Anyway, I loved that party wagon. I wanted that party wagon. So I climbed the tree outside his bedroom window but the tree had a fungus and his dad was too cheap to hire an arborist so unbeknownst to me, some of the branches were d*ad. ANGELA: Lucky for you, I, uh, I enjoy a convoluted story with my hot beverage. SWEETS: I'm in the hospital, broken arm, concussion and the kid with the party wagon comes in. I confess everything. You know what he says? "I would've given it to you." ANGELA: Ah. He had a little gay crush on you. SWEETS: He did? ANGELA: Mhmm. SWEETS: Oh, man, that explains a lot. ANGELA: But I'm guessing that you have a different point to the story, like maybe I'm the party wagon. SWEETS: No, you're the gay neighbor boy. Your love is the party wagon. Grayson is the tree. I'm Hodgins. Think about it. ANGELA: Which brings us back to the point that all men are idiots. SWEETS: See how I worked that? It's because I'm so good. ANGELA: Uh. Uh, huh. (Cut to: Medico Legal Lab - Hodgins Desk) HODGINS: The treads in the victim's tires were mostly full of river silt but I did find a few more materials. Crushed scleractinian coral. Possibly from Australia. CAM: She was k*lled in Australia? HODGINS: It's used as a surface for private roadways in England. CAM: How does that help us? HODGINS: Well, it's been illegal to harvest this stuff for years, so the roadway in question is fairly old. And even when this stuff was available, it was incredibly expensive. CAM: And the organic material? HODGINS: Deciduous pinnate leaflets, medium pink petals. It's a rosa damascena. An antique rose bush. ANGELA: Hey, Hodgins... HODGINS: Yeah. Hey. Hi, Angela. (She reaches out and grabs his hand. He gets up and they walk away) CAM: Fine, I'll just pass this along to Booth and Dr. Brennan in England. You guys go ahead and - Security cameras, people. The building's filled with security cameras. (Cut to: Street near the Royal Diner. Hodgins and Angela are walking) ANGELA: Can't have you punching my ex-husbands. HODGINS: Deal. So long as you don't kiss your ex-husbands. For longer than 3 seconds. On the lips. ANGELA: Deal. Look, it's simple. My heart isn't yours to claim. It's mine to give away. HODGINS: I get that. I mean what you're saying, not your heart. ANGELA: Idiot, you do get my heart. HODGINS: Because you're giving it to me? ANGELA: At last. A glimmer of understanding. HODGINS: Wow, that is so flaky and New Age and wonderful. ANGELA: Yeah. (Hodgins pulls her towards him and kisses her. Grayson is across the street and sees. Just as he is about to go over by them, a bunch of people on bikes ride past - their bells ringing. Grayson starts laughing.) GRAYSON: Okay! Okay! I get it. The universe speaks. I hear it. (Angela and Hodgins continue to kiss. Grayson is gone.) (Cut to: London Street. Booth and Brennan are waiting to get their tire repaired.) BOOTH: Guy said he was going to fix the flat tire. What's it doing up on the truck? BRENNAN: (on phone) Crushed coral and rose petals. Hodgins found coral and roses in Portia Frampton's tires. Who takes a car with a flat tire and puts it up on a truck, all right? You fix it. That's what you do. If there was a spare tire, I'd have fixed it. BRENNAN: (to Booth) Probably you cracked an axle or something. (into phone) Thanks, Cam. That was very useful. (she hangs up) BOOTH: All right, great, now I gotta call Agent Pritchard. I'm gonna have to ask her for a ride. (Brennan is picks something out of the tire and smells it) You know, England is not good for my personal dignity - all because of a flat tire. (he turns and sees her smelling it) Wait. Whoa, whoa, Bones, don't smell that. You don't know where that's been. BRENNAN: Yes, I do. This is crushed coral and it smells like roses. BOOTH: Where did we pick up crushed coral? BRENNAN: The private road and driveway at the Bonham Estate. BOOTH: Portia Frampton drove to the Bonham Estate just before she died. BRENNAN: And the royals said she never came to the house. BOOTH: They lied. (Cut to: Bonham Estate. Wexler, Pritchard, Booth & Brennan arrive) WEXLER: You honestly believe the Duke of Innesford is Portia Frampton's biological father. BRENNAN: Both he and his mother show symptoms of VHL disease. WEXLER: Well, we're standing on coral; those are rose bushes, and that is a scooter that could fit very nicely into the back of an SUV. BOOTH: That's great. Okay, what's taking our backup so long? PRITCHARD: I didn't request backup. BOOTH: Well, great. In that case... (Booth reaches for the g*n in his ankle holster) BRENNAN: I want a g*n. I'm a very good sh*t and I - I've k*lled before. It didn't bother me as much as I thought. BOOTH: Well, it bothered you a little. BRENNAN: Well, yes, but not as much as I thought. WEXLER: If there's gonna be g*n, I think I'll wait in the car. PRITCHARD: Nonsense, Ian, there won't be any g*n. BRENNAN: Why not? PRITCHARD: We won't need g*n because we have the letter from Portia's mother. BRENNAN: We don't know what it says. BOOTH: Ah, but they don't know that. Good one, Pritch. WEXLER: What'd you just call her? PRITCHARD: "Pritch," Ian. He called me, "Pritch." Short for "Pritchard." Will you please put that w*apon away. BOOTH: Fine. It just feels wrong. (Cut to: Living Room. Bonham Estate.) BOOTH: I have a letter addressed to Portia from her mother. HARRY: Portia's mother died 14 years ago. PRITCHARD: She wrote it on her deathbed. WEXLER: On her deathbed? Well, you know what this means. Big doings. BOOTH: Big doings. (he takes a sheet of paper out of his pocket) So, I'm going to have Dr. Brennan read it out loud. (He hands the sheet of paper to Brennan) BRENNAN: What? (she takes it and starts 'reading') "My dearest daughter, Portia..." BOOTH: Did we mention it's dated Portia Frampton's 21st birthday? Start at the beginning, Bones. BRENNAN: "My dearest daughter Portia..." BOOTH: Skip to the part about her father. DUKE GERARD BONHAM: Wait. A moment. Please. Would you leave us, Harry? HARRY: Why? ANNE BONHAM: What's happening, Gerard? DUKE GERARD BONHAM: Please, trust me. This is not the way for Harry to discover certain harsh truths. Please, Harry. A little trust. PAIGE BONHAM: That must be one hell of a letter. DUKE GERARD BONHAM: You must believe me when I tell you that I had no idea of this before Portia read the letter to me. ANNE BONHAM: What? You met with Portia, here? What did it say? BRENNAN: It says that the Duke was Portia's biological father. PAIGE BONHAM: How remarkably unsavory. ANNE BONHAM: You couldn't possibly think that Gerard k*lled Portia to keep it a secret. (Brennan sees something hear the fireplace that could be a possible m*rder w*apon) BOOTH: Why not? DUKE GERARD BONHAM: Portia asked me if I were her father. I admitted that it was more than possible. (Brennan hands it to Wexler) WEXLER: Mother-of-pearl. This is very possibly the m*rder w*apon. PAIGE BONHAM:Isn't this the part where we call for legal counsel? DUKE GERARD BONHAM: I did not k*ll Portia Frampton, Mother. Thank you for your faith. PRITCHARD: I believe I'm going to have to request you to accompany me to Scotland Yard, Your Grace. BOOTH: (to Brennan) They request? BRENNAN: It's a polite country. JAMISON: (clearing his throat and stepping forward) That will not be necessary. It was I. DUKE GERARD BONHAM: Jamison! BOOTH: The butler? BRENNAN: You ordered your butler to k*ll Portia Frampton? JAMISON: The Duke had absolutely nothing to do with it. PAIGE BONHAM: If Jamison confesses, Harry need never know that Portia was his sister. We'll provide you with the finest representation. JAMISON: Thank you, mum. BOOTH: Wow. (Cut to: Restaurant near Tower Bridge. Booth, Brennan and Wexler are sitting at a table having drinks.) BOOTH: Come on, you mean to tell me that neither one of you get the weirdness of this. All right, the butler did it. It was the butler! WEXLER: Inspector Pritchard will be hours in the interrogation room but the fact is we'll never really know for certain. BRENNAN: You mean he might just be protecting the duke? WEXLER: It's utterly conceivable, yes. (Wexler gets up to leave but says to Brennan) Well, I thought I might try and entice you back to Oxford with me tonight. BOOTH: You know I do have a g*n in England, and I really have been dying to use it. BRENNAN: I'll handle this. (She gets up and leads Wexler away from the table) BOOTH: (shouting after them) You know, it's a James Bond g*n. It's a Walther PPK, by the way. BRENNAN: Ian, I think you're a lot of fun. WEXLER: Oh, hell's bells and buckets. I think I know where this is going. BRENNAN: It would upset Booth if I slept with you. WEXLER: You see, rationally speaking, if you were to have someone operate on your brain, for example, you would want a surgeon who's done the procedure many hundreds of times. You know, someone who's absolutely at the top of their game. I don't really see why sex should be any different. BRENNAN: Rationally speaking, you're absolutely right. WEXLER: Good. Then, we're settled. Off we go. (to Booth) Look out for the bridge opening, they say it's good luck. (to Brennan) That should keep him occupied for hours. BRENNAN: Common sense says you don't offend your partner for an hour of fun. WEXLER: An hour. What? One hour? You underestimate me, Dr. Brennan. (she leans over and kisses him on the cheek) This is absolutely the dregs, isn't it? I'll call you again before you leave. Who knows? You could be in a more rational frame of mind. (Ian walks away and Brennan heads back over by Booth and sits down) BOOTH: Why are you looking at me like that? I'm just here to help you pick out a guy, you know. Never mind. I'm just here to bring a little luck. BRENNAN: I don't believe in luck. (The Tower Bridge starts opening behind them, but neither notice.) BOOTH: What do you mean, you don't believe in luck? Okay, well, how do you explain when good things happen out of nowhere? BRENNAN: Define "good things." BOOTH: You know, good things. Money in the bank. Uh, hey, Doris Day parking, a big piece of- BRENNAN: What's Doris Day parking? BOOTH: A big piece of the pie, that's good luck. BRENNAN: I call that a solipsistic perceptual response to the random nature of the Universe. BOOTH: Well, tomato, potato. Call it what you want. You know what? It's still luck. BRENNAN:You are lucky I understand you when you say things that make no sense. BOOTH: See, you just agreed with me that is was luck. You just agreed, right there, so I'll take that. BRENNAN: I did not agree! (Crossfade into Yank in the UK Part II) END.

{"type": "series", "show": "Bones", "episode": "04x01 - Yanks in the U.K. (1)"}

foreverdreaming

"Yanks in the U.K. Part II" Episode 4x02 / Production 3x20 Airdate: September 3, 2008 Written By: Stephen Nathan & Scott Williams Directed by: Ian Toynton Transcribed by: cece2087 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. Continuation of Yanks in the U.K (Fade into: Jeffersonian Institute: Medico-Legal Lab. Forensic Platform) (Hodgins, Angela, Cam and Sweets enter the platform to find Clark working on a skeleton) HODGINS: Clark, some lunch? CLARK: I was told to catalog all unidentified remains while Dr. Brennan was away. CAM: And you were told to do this without eating? CLARK: Dr. Brennan was quite adamant they all be done before her return. ANGELA:Oh come on, Clark. The divorce papers are signed and the wedding is on again and we are all going to celebrate. SWEETS: Um, I'm sure he feels that your invitation is a polite but insincere attempt not to exclude him. HODGINS: Aww, we are just trying to spread the sunshine here, Clark. (Off screen a throat is cleared. They all look toward the platform entrance. It is Grayson. Clark looks annoyed) GRAYSON: I just wanted to say good-bye, Angela. I'm off to the airport. ANGELA:Oh, thanks. That's nice. And thanks for the divorce, I really appreciate it. GRAYSON: You're happiness is all that matters to me. And if in a day, a week, or a year you want me back in your life, I'll be there. HODGINS: Right. Well, we've got your number so have a good trip. GRAYSON: Cherish her. HODGINS: Done. CLARK: Isn't this all extremely awkward? CAM: That's sad. SWEETS: It's actually a display of conflicting emotions what Reich called the "battle for orgastic potency," which- CAM: Maybe later. SWEETS: Sure. CAM: Would you like a ride to the airport? GRAYSON: That would be very kind. ANGELA:Thanks, Cam. CAM: Sure. (Cam and Grayson exit) CLARK: Honestly, guys. I don't have to be included in everything. (Clark leaves) (Angela and Hodgins smile and pick up their coats) (Cut to: London: Outside Brennan's Hotel) (Brennan and Booth are loading all of Brennan's bags into a cab. She has a couple suitcases and tons of present bags) BOOTH: So Wexler still hasn't called you, huh? BRENNAN: Ian is the top forensic anthropologist in England. He's a very busy man, Booth. BOOTH: Busy trying to get you into bed for the past two weeks. The least he can do is call---God, we're gonna need another cab just for all your stuff. BRENNAN: I was given lots of presents by the students at Oxford. (Brennan goes to grab another bag) BOOTH: No, no, no, no, no! Don't touch that one. (Booth instead hands her 4 of her present bags) BRENNAN: Why? What is it? BOOTH: Why? Because your students gave you your gifts, and the cops at Scotland Yard gave me a little something-something for their appreciation. (Booth pulls out a bobby toy) Huh? BRENNAN: What is that? BOOTH: (In a British accent) It's a bobblehead bobby. (Booth begins to shake it and shakes his own head as well) BRENNAN: That's all you got? BOOTH: Well it's a real nice one. Look. (The bellman brings over more of Brennan's bags) Oh. What is this now the queen's jewels? BRENNAN: Well, the bellman will help. BOOTH: No. He's better dressed than I've ever been. He'll get all dirty. I gotta tell you. You know what? There's no rule saying you can't call him. (Booth brings his present and army duffle to the cab) Although I gotta tell you, a guy who doesn't wanna talk to you just because you decide not to have sex with him, he can't be that great. BRENNAN: (Coming out of the car) What? In bed? BOOTH: No. A great guy. BRENNAN: Oh, because I think Ian would be great in bed. BOOTH: Okay, next. (To the bellman) Alright, hey pal, how about a little help? I gotta get to the airport. Come on. (Cut to: Washington D.C. - A hotel room. Soul music is playing in the background. Grayson is naked in bed. Cam arises from the other side of him, also naked.) CAM: (Sighs) I'm sorry they canceled your flight. GRAYSON: I'm not. CAM: Neither am I. I was just trying to be polite. (They kiss. Grayson laughs.) GRAYSON: You know it's getting late. CAM: Mmmm. GRAYSON: Let me order you some breakfast before you go to work. CAM: Earth-shattering sex and breakfast? I can die a happy woman. (They begin to make out and roll over in bed.) GRAYSON: Mmmm. (Cut to: London: Outside Brennan's hotel. Continued.) (A car door slams. Brennan is still placing and organizing bags in the backseat of the cab. Booth is standing next to the door.) BOOTH: You know, I'm glad to be heading home, but I think America dropped too much of the uh, English stuff back in 1776. (Booth hands Brennan more bags) BRENNAN: Like what? BOOTH: You know, like, uh, royalty. BRENNAN: Meaningless title. No real power. BOOTH: What, you never wanted to be a princess when you were a kid? BRENNAN: No. BOOTH: Even now---a castle, the moats, knights in shining armor. (Brennan shakes her head and looks confused.) You know what? I risk my life for the United States government every day. I wonder if I can get Congress to pass something like...(Booth's cell rings.) knighthood. "Sir Seeley Booth." It just sounds right. (He answers his phone.) Booth. BRENNAN: I get my worth from my intelligence and accomplishments. From actual achievements. I don't need a title. (Booth's face drops as he's listening to his phone.) What-What's wrong? (Booth hangs up his phone.) BOOTH: It's Dr. Wexler. (Cut to: Medico-Legal Lab. Forensic Platform) (Clark is still examining the skeleton. He is dictating his findings to Angela and Hodgins.) CLARK: Remodeling and analysis of the marrow indicates the subject lived in or around the coast of North Carolina. ANGELA:(Not really listening to Clark.) We should look in Jamacia CLARK: No evidence suggests the Caribbean. HODGINS: For our wedding. CLARK: Right. What was I thinking? Oh, I was focusing on my work. HODGINS: You'll be in love one day too, Clark. CLARK: Yes, but today I am alone and happily dating multiple women so I can concentrate on my work and not get fired. ANGELA:(Not caring what Clark said.) I also know this little island off the coast of Maine. CLARK: Of course you do. (Cam enters the platform) CAM: Sorry I'm late. What did I miss? CLARK: Ahh, we're deciding between Maine and Jamaica for the wedding. HODGINS: Did Angela's ex get off okay? CAM: Whoa! Sorry? HODGINS: You took him to the airport? CAM: Oh. "Off." Of...of course. Yes, he's off and gone. All gone. ANGELA: Great. Thank you for doing that. CAM: Anytime. Either Maine or Jamaica. You can't really go wrong. (Clark has a look of disbelief on his face) CAM: I should---Bye. (Cam exits. They all turn and look at her with confused faces.) (Cut to: London: Outside a row of apartment buildings. One of the apartments is smoking after getting a f*re put out. A fireman is running down the steps. Firetrucks are outside. Sirens blare. Police radio chatter is going on in the background. Booth and Brennan's cab pulls up. Inspector Pritchard is sitting down and sees them arrive. She stands to meet them as they get out of the car. She looks distraught.) PRITCHARD: Ian said you were the best. BRENNAN: What happened? (Pritchard hangs Booth his g*n back) Why are you giving him the g*n? We're leaving. BOOTH: Inspector Pritchard just asked us to stay, Bones. BRENNAN: You want me to look at some remains? (Pritchard nods.) You think they're Ian's? (She nods again. They look up at the burning building.) MAN: (In background) It's impossible with Scotland Yard all over the place. BOOTH: Are you ready for this? (Brennan nods. She heads towards the apartment. Booth follows. Pritchard pauses, then follows as well.) (Cut to: Inside Ian Wexler's Flat. Continued.) PRITCHARD: (As they enter Ian's apartment. It is completely charred as a firefighter is putting out the last of the flames. A body is on the bed.) This is Ian Wexler's flat. This is Ian Wexler's bed. BOOTH: (Sighs) Wow. (A large piece of the ceiling is crushing the torso of the body as Brennan approaches.) BRENNAN: Markers are consistent with Ian's build and age. Of course I'll need access to a lab to make a definitive conclusion. (Pritchard nods.) BOOTH: I'm sorry, Bones. Pritchard, I can only imagine how difficult this is, losing a partner. PRITCHARD: C.I.D. is saying there appears to have been a gas expl*si*n. BOOTH: (Tapping a bottle on the floor with his foot) Looks like, uh, he was drinking. PRITCHARD: He did enjoy a glass or two. BOOTH: (Pointing to something in Ian's hand.) Bones. Cigarette? BRENNAN: Did Ian smoke? PRITCHARD: Not that I'm aware of. BOOTH: It looks as though he put the kettle on and lit a cigarette. The pilot goes out, there's a gas leak, and whoosh, the place goes up. (He looks inside the kettle.) No water in the kettle. PRITCHARD: Water on the boil does tend to evaporate, Agent Booth. Look, we don't suspect foul play. We just want Dr. Brennan to give us a definitive identification. BOOTH: Water doesn't evaporate if the stove wasn't lit. PRITCHARD: Oh, perhaps even British resolve takes a knock when one loses one's partner. BRENNAN: There's evidence of trauma to the frontal bone. BOOTH: That's gonna happen when the ceiling collapses on you, Bones. BRENNAN: No. This was before the f*re. (Pritchard looks horrified.) This was not an accident, Inspector. (Cut to: Medico-Legal Lab. Autopsy Room. Cam is slicing open a brain. Sweets enters.) SWEETS: You wanted to see me? (Sees the brain.) Oh, man, that is cool. CAM: Not why you're here, Dr. Sweets. SWEETS: Sure. But it's amazing that all of our hopes and desires and fantasies, pain and pleasure all reside in three pounds of tissue. CAM: Yeah, great. Well, some part of this little devil made me sleep with Angela's ex. SWEETS: (Yelling) You slept with Angela's ex? CAM: Shh! A little discretion, please? SWEETS: I might say the same to you. CAM: It just happened. I...His flight was canceled, I was parked at the airport hotel, he checked in and I...figured I'd see what all the fuss was about. SWEETS: And was there fuss? CAM: Yes. Well-deserved fuss. SWEETS: Why exactly? CAM: You're here as a shrink Dr. Sweets. Not as a guest on Loveline. SWEETS: Yes. Fine. Sorry. CAM: Should I tell Angela? I mean, we're friends, and I don't want her to find out some other way cause then it'll seem like I'm hiding it. SWEETS: Which you'd like to do because you're feeling guilty. CAM: Yes. Good. Keep going. SWEETS: But he's gone now. CAM: (Looking down.) Almost. SWEETS: Almost? CAM: Well, there aren't as many flights to Fiji as you'd think. SWEETS: Hmm. So it might come up again. CAM: Oh, yes. I'm seeing him again tonight. SWEETS: (Chuckles) I didn't mean it like that. CAM: Neither did I. SWEETS: Right. Okay. Well, it's understandable for you to feel some guilt and anxiety. (Cam picks up the brain) Which, by the way, is centered here. (He points to the brain) CAM: Dr. Sweets. (Cam moves the brain over to a bowl.) SWEETS: Right. Um, you feel you have no right to pleasure because it comes at the expense of your friends. CAM: Yes. You're good. But he's leaving soon, so I could say nothing and hope it all goes away. SWEETS: (Shakes his head.) But you'd still have to carry that anxiety every time you saw Angela. Angela is open-minded by nature. She's happy with Hodgins. I think clearing the air would be good for both of you. CAM: Right. Of course. Thank you. SWEETS: Hmm. Can I touch the brain, just once, as a reward? CAM: (Rolls her eyes) Just once. SWEETS: (He pokes the brain with his forefinger.) It's squishy. (Angela enters the room) ANGELA: Hey, I just got off the phone with Brennan. Her friend Wexler's been k*lled in a f*re. Scotland Yard wants her to help in the investigation. They're sending the remains to Wexler's lab at Oxford. Brennan's gonna use the video link and the Web to send us crime scene photos and X-rays---whatever we need to help. CAM: I'll tell Hodgins and Clark. ANGELA:Yeah. (She exits. Cam begins to clean up.) SWEETS: Yeah. (He pokes the brain again.) (Cut to: Oxford University Lecture Hall. Pritchard is addressing Wexler's students. Booth and Brennan are standing off to the side.) PRITCHARD: We have not yet confirmed beyond a shadow of a doubt that the human remains found in Dr. Ian Wexler's flat. (Booth whispers something to Brennan. She walks towards Pritchard) But, um, there's always a chance (Pritchard begins to get upset.) You see, in cases like this, the--- (Brennan comes over and takes over) BRENNAN: My preliminary findings are that the remains in question are those of Ian Wexler. (All the students gasp) I'm confident that the suspicion will be confirmed later today. Cause of death has not been determined, but we have not ruled out foul play. PRITCHARD: Uh, many of you were close, very close, to Dr. Wexler. And we'd appreciate any information you could provide. (Some students begins crying) Thank you. (Brennan and Pritchard head back towards Booth.) BOOTH: You know, I think we should talk to Sid and Nancy first. A reminder, Agent Booth. There is a proper chain of command and I'm the lead on this investigation. BRENNAN: Why are you talking to him like that? You asked us to stay. PRITCHARD: Well, I feel it's important to be clear. BRENNAN: You gave him a g*n and everything. BOOTH: Bones, it's okay. I understand Pritch, we're just here to help. Whatever you need. PRITCHARD: (She nods.) Thank you. (She walks away.) (Cut to: Oxford University Lecture Hall. A little time has passed since the last scene. Booth and Pritchard are interviewing Vera and Cyril) CYRIL: We saw Dr. Wexler night before last. He seemed fine. He was going out--- VERA: He was going out for a drink. Frampton was driving him mad. BOOTH: Why? PRITCHARD: He was trying to shut down the dig. VERA:So he could build one of his condo developments on it. CYRIL: (Visibly angry) What's to become of the dig now? VERA: The bloody dig can wait, Cyril. Dr. Wexler is d*ad. CYRIL: Dr. Wexler would want the job finished. You know it's true. BOOTH: Well, we're gonna have to talk to the two of you again after Dr. Brennan confirms the cause of death. (Cyril nods.) (Cut to: Oxford University: Wexler's Lab. Brennan is in a lab coat with Ian's remains laid out on the table. She is talking to the team back at the Jeffersonian via video link.) (Scene cuts between Brennan in Ian's lab in London and Clark, Angela, Hodgins and Cam back at the Jeffersonian.) BRENNAN: Legally, the remains have to stay here, but we've uploaded all the X-Rays. I'll have casts of the bones made and ship them to you as they are finished. CLARK: The f*re substantially occludes what we can gleam from these images. HODGINS: Can you focus on his feet? BRENNAN: Sure. (She moves the camera towards the feet) HODGINS: (Through the video link) I see soil and a singed sock. Can I have any direct access to particulates? BRENNAN: As soon as Inspector Pritchard gets the okay from Scotland Yard. ANGELA:How you doin' sweetie? BRENNAN: I'm focused on finding out what happened to Ian. CLARK: The X-rays are starting to arrive. (Looking at the X-rays on the computer) I can see the depression fracture you mentioned on the frontal bone. Looks like it was made by a small object, like a ball-peen hammer. CAM: Was there enough tissue for a tox screen? BRENNAN: It's being run now. We'll email you the results. CLARK: (In the monitor) What is that on top of his left femur? BRENNAN: (Inspects the leg) Some kind of plastic which may have been in his pocket. ANGELA: Send me some high-res photos. I'll see if I can speed things along. BRENNAN: Thanks. Call if you find anything. ANGELA: Hey, Brennan, wait. Grayson signed the divorce papers, so the wedding is on again. BRENNAN: Congratulations. Oh, is that bad? To congratulate someone on a divorce? Hard to believe it's over right? CAM: Yeah, hard to believe. Well, we'll talk soon. (She ends the video connection) (Cut back to Oxford University: Wexler's Lab. Brennan turns on her recorder and begins to dictate) BRENNAN: Dr. Temperance Brennan resuming analysis. The material fused into the anterior ventral femur appears to be plastic, partially melted. (She picks up the plastic piece. She places the recorder down, takes off one of her gloves and picks up the phone. She speed-dials.) BOOTH: (Through the phone) Booth. BRENNAN: I found something. BOOTH: What is it? BRENNAN: Where would Ian get a poker chip marked H.G.C.? (Cut to: Highgate Gentlemen's Club - London. Pritchard and Booth are talking to a worker at the club) MAN: Oh, my god. Two nights ago, Dr. Wexler was buying drinks for his friends and playing the tables as if he hadn't a care in the world. BOOTH: Was he with a woman? PRITCHARD: No, this is a gentlemen's club Agent Booth. BOOTH: I didn't see a stage or a pole or dancers or anything like that. PRITCHARD: Ah, no. An English gentlemen's' club is for actual English gentlemen. (Back to the Man.) How did Dr. Wexler strike you? MAN: Uh, flush. BOOTH: What's that mean? PRITCHARD: I believe you say "ro..ro...rolling in the dough"? BOOTH: Huh. MAN: That's right. He uh...He paid off his tab. BOOTH: How much did he owe? MAN: We're getting into ticklish areas of confidentiality now. This is a gentlemen's club after all. PRITCHARD: Scotland Yard will guarantee the F.B.I.'s discretion. (to Booth) Isn't that right, Agent Booth? BOOTH: Hmm? Yeah, right. MAN: Over 5,000 pounds. He paid it off in cash. BOOTH: Where'd he get that kind of money? MAN: I'm sure I have no idea. PRITCHARD: Please? MAN: Look, I, um...(reaches into jacket pocket for phone) took this, you might say, as a precaution even though Dr. Wexler told us that he knew the gentlemen and everything was fine. (Plays video on phone. Wexler is playing craps.) This was taken from the security camera. BOOTH: Nice tattoo. (The video shows two men coming up to Wexler and pulling him away from the game in a struggle. They lead him out the door) BOOTH: The guy with the tattoo is taking him away. (Pritchard, shocked, walks away) MAN: If I thought they were going to k*ll him, then I'd have done something. BOOTH: Don't b*at yourself up, pal. You know, I'm sure you did the best you could. (Cut to: Medico-Legal Lab. Forensic Platform. Cam and Angela are walking below the platform) CAM: Tox screen showed he had quite a night with his friends Mr. Scotch and Mr. Merlot. Blood alcohol level was 0.18. No drugs, recreational or otherwise. (They enter the platform) And no evidence of nicotine. ANGELA:So what was the cigarette doing in his hand? CAM: Put there to justify the expl*si*n, I would imagine. (They approach Clark who is looking at the bone casts) What have you found Mr. Edison? CLARK: Well, if the casts are accurate, new bone growth formed a craggy surgact on the scapulas and both the left and right lateral epicondyles. CAM: Meaning? CLARK: The victim had bursitis caused by strenuous repetitive motion. The only time I've seen this was on an autopsy of a sculler. ANGELA:What is that? Like a fish? CAM: A sculler is someone who crews on a rowing team. CLARK: I also examined the fracture to his frontal bone. It was the result of a head butt. ANGELA:Ouch. CAM: I concur. I'll send your findings to Dr. Brennan. CLARK: Thank you. CAM: What are you working on Angela ANGELA:Uh, bl*wing up all the photos of the remains for Clark and Hodgins. Trying not to lost quality. CAM: Excellent. (She begins to walk away) Oh, one other thing. I slept with your husband. Ex-husband. (Clark looks up, annoyed) ANGELA:What? CLARK: Good-bye. (Clark begins to walk away. Cam grabs his arm.) CAM: Don't leave, Mr. Edison. I need a witness. CLARK: I'm sure you can find somebody who's been here longer than I have. CAM: Are you one of us or not? CLARK: Uh, no, I'm not one of us. CAM: Well, you'll do anyway. (She walks towards Angela, dragging Clark along) I just...Angela, I slept with him, and I feel really weird about it. ANGELA: Wai-How? Did-I mean, when? CLARK: (In complete disbelief) Oh, God. CAM: Grayson's flight was cancelled and one thing led to another. He's very attractive, so...we spent the night together. I'm sorry. ANGELA:(Sighs) It's okay. CAM: Really? ANGELA: Of course. Why not? We're divorced, so...I mean, I got what I wanted from him so now I guess you did too. CAM: Well, yeah. CLARK: Can I go now, please? (Clark waits for a response. When Cam continues talking to Angela, he leaves) CAM: Angela, I...You are an amazing person. (Hodgins walks to the table) HODGINS: Why are you amazing now? CAM: I slept with Grayson and Angela's okay with it. HODGINS: Of course. (Angela laughs) ANGELA: Why should I care? I'm gonna marry you. HODGINS: Well I see no holes in your logic. (He kisses Angela) CAM: And he'll be gone in a day. (Hodgins looks at her, confused) HODGINS: He's still here? Wow, that...must've gone well. CAM: (Pointing to the folder Hodgins is carrying) Is that something for me? HODGINS: Uh, yeah. It's preliminary results of particulate and bug analysis. Now, I found microphytobenthos algae, epipsammic and epipelic diatoms as well as a Chironomus riparius, or midge fly, all of which were on the clothing shreds they sent me. ANGELA: Well, you're excited so it must mean something. HODGINS: The levels of sediment on the algae indicate that the victim was near the Henley-on-Thames within 24 hours of his death. CAM: The Henley Royal Regatta takes place there---rowing. (Cut to: Henley-on-Thames: The boathouse and dock. Two rowers carry a boat from the boathouse as Booth and Brennan come around the corner into the open work area) BRENNAN: Why are you doing this with me and not Inspector Pritchard? BOOTH: Oh, come on, Bones. You and me, we're the real deal. Ah, look. She's having a tough time with this. I would, too you know, if you were k*lled. BRENNAN: Oh yeah, you're sentimental that way. (They approach the two rowers we saw take the boat out from the boathouse) BOOTH: Excuse me. The guy at the main boathouse told me that, uh, Dr. Wexler was a teammate of you blokes. (he says "blokes" in an English accent) BRENNAN: (Scoffs) Ha, blokes? BOOTH: Yeah, you know. Kinda feelin' at home. (Booth taps one of the rowers on the shoulder with his badge. The rower turns.) BOOTH: F.B.I. Special Agent Booth. I have a few questions...(The rower turns back to the boat. Booth slaps his badge against the rower's back) Hey, I'm talking here. ROWER #1: (Turning toward Booth) I think you're a bit lost mate. You looking for America? Head for the coast, swim across the big pond. And you'll find a bunch of Yanks you can ask whatever you want. All right? (He tries to walk around the boat. Booth grabs his arm to stop him) BOOTH: Is that right? Excuse me, but--- (The rower head butts Booth. Booth moves back slightly. The rower, not expecting Booth to be so hard, falls to the ground in pain.) Oh! BRENNAN: We're working with Scotland Yard. I'm Dr. Brennan. Ian was a friend of mine. (Rower #1 gets up off the ground shaking his head) ROWER #1: God, the man's got a head like a boulder. ROWER #2: You're the American bird Wexler was talking about, aren't you? ROWER #1: I'm surprised that lady cop of his isn't look out for him. ROWER #2: Yeah, the two of them seemed, uh, more than colleagues. BRENNAN: Uh, Inspector Pritchard and Dr. Wexler had a sexual relationship? ROWER #1: Listen, love, Ian isn't exactly the faithful type, so if he's promised you something--- (Booth stops him) BOOTH: He's d*ad. He was m*rder. ROWER #2: No. ROWER #1: What? We had a race this afternoon. I thought we'd be seeing him. BRENNAN: That's a pretty distinctive tattoo you got there. BOOTH: Any chance you were at the Highgate Club night before last? ROWER #1: (Stammering) Woah, woah, wait. You, you think we k*lled Wex? BRENNAN: Well, you dragged him out of the club didn't you? ROWER #2: This is bollocks! ROWER #1: Look, we had a race. We don't sober Wex up in time, he's no good to us. ROWER #2: His timing is completely discombobulated from the alcohol. BOOTH: So you b*at him up? ROWER #1: No. we dragged him into a bed in the boathouse and poured coffee into him in the morning. BRENNAN: His frontal bone was bruised. (ROWER #1 looks confused) BOOTH: His forehead. Maybe you gave him a good crack like you just gave me? ROWER #2: No! He didn't head-butt Wex. Tell you who did---a coxswain for the Queen's Light Guards. (to ROWER #1) What's his name? ROWER #1: It's Jasper Ferry (Cut to: Outside the Queen's Palace - London. Booth is staring into the face of Jasper Ferry, of the Queen's guards. Brennan stands next to him) BRENNAN: Booth, he's not gonna talk to you. It's a tradition. BOOTH: I know that, Bones. But I think I almost got him. There's a little sweat coming off the side of his face. PRITCHARD: (Approaching) If you interfere with one of the Queen's guards, I'm afraid I shall have to arrest you, Agent Booth. BOOTH: Simmer down. I'm not doing anything wrong here. I'm just waiting for Lieutenant Ferry to go off duty. That's all. PRITCHARD: He did not m*rder Ian. BOOTH: (turning to Pritchard) How do you know that? BRENNAN: My colleagues at the Jeffersonian have discovered some very compelling evidence. PRITCHARD: I imagine that you learned that two of Wexler's teammates from Henley-on-Thames abducted him from the club in order to sober him up before a race. Then they told you about his argument and subsequent fight with Lieutenant Jasper Ferry here which Wexler lost after a well-deserved head-butt. BOOTH: Why is everybody head-butting everybody around here? What's wrong with a good sock to the jaw? BRENNAN: Well-deserved? Why well-deserved? PRITCHARD: (Sighs) Ian was shagging Lieutenant Jasper Ferry's sister. BOOTH: Oh. How'd you figure that out? PRITCHARD: A revolutionary technique which consists of asking a series of questions to a m*rder victim's friends. Nonetheless, I'm terribly impressed that your scientists can deduce almost as much from a few particulates. Almost as much. (Pritchard walks away) BRENNAN: Almost as much? (Booth walks back over to Ferry) BOOTH: Look, I'm sorry about your sister. (Cut to: Medico-Legal Lab. The floor around the platform. Cam and Sweets are walking) CAM: I really have to thank you. That was excellent advice. SWEETS: You're welcome. It's always best to be honest. CAM: Good. Then I can tell you it was touch to take you seriously at first. (They walk onto the platform) I mean, you don't even look old enough to drive, so I thought, "How could you possibly have any valid insights?" SWEETS: I have two doctorates. (Cam places a folder down) CAM: I know, but doctorates don't teach you about sexual matters. And being so young, I--- SWEETS: I get it, Dr. Saroyan. CAM: I'm just--- SWEETS: Being honest, I know. CAM: I'm just very grateful to you, Dr. Sweets. That's all. (They leave the platform and walk to Hodgins' work station where Angela and Hodgins are working together.) Dr. Hodgins, Scotland Yard was interested in those other particulates you'd found that did not indicate Henley. HODGINS: (sounding annoyed) Okay. Just....okay. CAM: Okay. And, Angela, I was wondering when you might finish enhancing those photos. Clark needs 'em. ANGELA:You'll have them when they're done. (stands up) What do you think we're doing? Shirking our responsibility or something? (she walks away) HODGINS: You know, we've been doing an excellent job around here even before you showed up so regulate yourself, okay? (he stands and leaves) (Cam looks very confused) SWEETS: I think maybe there's still a few unresolved issues. (Cut to: An outdoor café next to the Thames - London.) PRITCHARD: We're still questioning the female students. It seems that they're all accusing each other---you know, each one thinking they were special to Ian. BOOTH: Hmm. Is that what you think too? PRITCHARD: You've been asking questions of your own, I see. BRENNAN: Apparently you were sleeping with Dr. Wexler. BOOTH: Don't you think that was something you should have told us, Inspector? PRITCHARD: (scoffs) Oh, please. I'm British first, a cop second and a woman third. It's a miracle it ever came to light. BRENNAN: For how long? PRITCHARD: Irrelevant. What you really want to know is if sharing Ian with other women made me want to k*ll him BRENNAN: Did it? BOOTH: All those pretty, young students? PRITCHARD: The thing that made Ian so very, very good in bed was all that practice. Sorry. Was that indiscreet? I thought Americans were all brash and forthright. (Brennan's cell rings) BOOTH: And here I thought the Brits were frustrated sexually and repressed. BRENNAN: (answering her phone) Brennan. CAM: (on the phone) We found something. You busy? BRENNAN: No, no, this is a fine time. CLARK: (On the phone) Assuming the casts are accurate, I've isolated a s*ab wound that originates between the sixth and seventh thoracic vertebrae. CAM: Which would have pierced the lung and heart. CLARK: (on the phone) Most definitely. BRENNAN: That's a very deep wound. BOOTH: Bones, what is it? BRENNAN: Ian was s*ab to death. (Booth looks towards Pritchard) A-And the w*apon? CLARK: (on the phone) Don't know. Maybe they found something at the scene. BRENNAN: (on the phone) Nice work, Clark. Thanks. (to Pritchard) Did you find any w*apon at Ian's apartment that could have been used to s*ab him? PRITCHARD: (shaking her head) No. And I was there the whole time. (Booth and Brennan look at each other) You're doubting me. BRENNAN: Yes. BOOTH: Wouldn't you? (Pritchard looks offended) (Cut to: A sidewalk in London. Inspector Pritchard is walking back to her car. Brennan is running to catch up to her.) BRENNAN: Inspector Pritchard? I just wanted to--- PRITCHARD: Oh, I am not the jealous sort, and you are painfully na've if you think my sex life was limited to Ian, as I'm sure yours was not. BRENNAN: But I didn't sleep with Ian. PRITCHARD: (stopping) You didn't? BRENNAN: No. PRITCHARD: Why not? You obviously fancied each other. BRENNAN: Yes, I noted several physiological responses to his presence which can only be explained by sexual attraction PRITCHARD: So why didn't you sleep with him then? BRENNAN: Because of Booth. PRITCHARD: Ohhh, you know, I suspected that you two might be more than just partners. BRENNAN: Oh, no. That's incorrect. Booth advised me not to sleep with Ian because Booth didn't want me to be another notch on Ian's bedpost. PRITCHARD: See, I rather saw it as climbing Everest. Of course it's been done before but the experience is still breathtaking. BRENNAN: You have a strong sexual appetite and you're not hamstrung by social moralizing. I can empathize with that. PRITCHARD: Thank you. (they begin to walk down the sidewalk again) BRENNAN: Well, why didn't you tell us you had a relationship with Wexler? PRITCHARD: Because I thought I'd be taken off the case. I mean, if Agent Booth was m*rder, wouldn't you do anything in your powers to make sure that you found the k*ller? BRENNAN: Yes. But I don't sleep with Booth. Have you withheld any other information? PRITCHARD: Why on earth would I do that? BRENNAN: Because you called a meeting to talk to us, then Clark called to give us cause of death, and then we basically accused you of m*rder. So while Booth went to get our car, I followed you to your car, and we began discussing mountain climbing and sex with Ian and--- PRITCHARD: Yes, thank you, Dr. Brennan. I believe I'm up to date now. (Laughs. As she is about to open her car door, she whips back around) Oh! You are absolutely right. I did forget to give you this. (Reaches into purse. Pulls out a letter inside an envelope and gives it to Brennan) BRENNAN: (She opens the envelope) Hmm. It's a writ of release on Frampton's building site. PRITCHARD: The site has been certified as having no historical importance whatsoever. Signed and dates, Dr. Ian Wexler---shortly before his death. BRENNAN: This document would be worth millions of dollars to Frampton. PRITCHARD: I suggest that you and Agent Booth ask Mr. Frampton if he forced Ian to sign that before k*lling him. BRENNAN: Okay. (Brennan turns to walk away) PRITCHARD: Oh. Word to the wise, Dr. Brennan. I'd encourage you not to forego Everest. BRENNAN: (confused) Well, it's too late. Ian's d*ad. PRITCHARD: Oh, yes, of course. To whom else would I be referring other than Ian? (Brennan thinks about it, but no realization comes to her) (Cut to: Frampton's apartment - London) FRAMPTON: Me? k*ll Wexler? According to the papers, the poor bastard died in a f*re. BRENNAN: That wasn't cause of death. He was s*ab. BOOTH: We do know that Dr. Wexler stood in the way of your latest project. FRAMPTON: He was checking the site for historical value. It's the law. BOOTH: Nothing stands in your way. FRAMPTON: Everything stands in my way, Agent Booth. Environmental groups, historical societies...you know, there's even a radical preservationist group. They thr*at me because I want to improve the city. (he hands Brennan a fax) BRENNAN: "Saviours of Antiquity" BOOTH: Hmm. FRAMPTON : I'd like to build a time machine, take all these lunatics and send them back to where there's no air-conditioning or TV. And they can watch their loved ones die from the flu and the plague because there's no medicine. Then see how they like the good old days. BOOTH: Right. Um, Dr. Wexler, uh, signed the writ for you to start building. Correct? (Booth shows him the copy of the writ) FRAMPTON: (laughs) Of course he did. He spent two years rooting around in the dirt, and all he got was dirty. BRENNAN: We couldn't help but notice how recently Dr. Wexler gave his okay for you to build. BOOTH: So I guess the only question is, how forceful did you have to get with him? FRAMPTON: (sighs) I see. Yeah, so, I was so inspired by the sadistic m*rder of my daughter that I thought I would try one myself. If there's nothing further, I'm gonna get blind drunk. (Cut to: Medico Legal Lab. Hodgins' Workstation. Hodgins is walking to his workstation looking at his monitors. He is on the phone with Brennan, who is in Wexler's Lab.) HODGINS: So, I found something very off that was on the victim---mercury fulminate. BRENNAN: (pulling on a lab coat) What? I thought Cam was going to be sending us all the results. (she walks towards Ian's remains. HODGINS: I'm a grown-up. I don't need a middleman. Now, with this amount of mercury, I'd think he'd been poisoned, but tox results say otherwise. BRENNAN: (buttoning her labcoat) And it didn't come from Henley? HODGINS: Nope. HODGINS: And I also found phyllosilicate minerals and carbonic acid. I'm not sure where they came from either. Hey, can you have them send me more samples from the remains and the locations which they came from on the body? BRENNAN: Of course. But Scotland Yard says that all requests have to come through Dr. Saroyan. HODGINS: Right, cause nothing could possibly happen without her. BRENNAN: Is everything okay, Hodgins? HODGINS: Yep, sure, fine. I'll have our all-powerful leader send the request. (He hangs up) (Cut to: FBI Headquarters - Sweet's office. Sweets closes his door and then walks towards his chair around Angela, Hodgins and Cam who are standing in a line) SWEETS: Thank you all for coming. ANGELA: Cam said we had to. HODGINS: Or lose our jobs. CAM: For insubordination SWEETS: Oh, I was kind of hoping that you all came of your own volition with an eye toward ameliorating a tense situation. HODGINS: (impatient) Can't you just tell her not to be so bossy? CAM: I'm your boss. SWEETS: It's very important to realize that Dr. Saroyan has done nothing to merit your anger... CAM: Thank you. SWEETS: ...as a boss. But by sexualizing her relationship with Mr. Barasa CAM: Is there no better way to put that? SWEETS: (shaking his head) Everything else sounds worse. She's made you both confront unresolved feelings about Mr. Barasa's impact on your lives and how he affects your relationship. HODGINS: Angela and I love each other and are getting married. SWEETS: I know. Why did you think I was questioning that? ANGELA: Look, shrinky, don't got making problems where there aren't any, okay? (to Cam) Although, the next time that you drive somebody to the airport, just let them fly the hell out of Dodge, okay? CAM: This all would have been a lot easier if I'd kept my mouth shut. SWEETS: No. Nonsense. You're all friends. I'm sure now that you see the situation for what it is, you'll know how to move through it. Am I right? HODGINS: I think Dad wants us to apologize. (Sweets points at Hodgins. He's correct) CAM: I apologize for...sleeping with people. ANGELA: I apologize for snapping at you after basically giving you permission to sleep with people. HODGINS: (looking between Angela and Cam) Oh, God! So now everything is fine? SWEETS: That is the result of open and honest communication with a highly trained mediator. HODGINS: (sighs) Fine. I am sorry for being so cranky which is my basic personality so it seems stupid to apologize--- ANGELA: Hodgins, would you just... HODGINS: I apologize. (Sweets smiles at them) (Cut to: The Frampton dig site - London. Booth and Brennan are questioning Vera and Cyril again) VERA: Dr. Wexler never said one word about giving Frampton the okay to build condos here. BOOTH: Well, he signed a writ saying this place had no historical value. (he hands Vera the copy of the writ) CYRIL: I'm stunned, I tell you. The writ must be a forgery. BRENNAN: Well, after two years, you hadn't found anything. I think that's a reasonable timeline. VERA: This says we have to vacate the dig in two days. CYRIL: But Dr. Wexler felt certain we were close. There was a previous Bronze Age find about 600 meters south. BOOTH: That's his signature, right? VERA: I don't care. He wouldn't do it. (Pritchard walks up to them) PRITCHARD: Agent Booth, Dr. Brennan. BOOTH: Yeah? PRITCHARD: I got these from our forensic accountant. (hands Booth a folder) BOOTH: Wow, look at that. Some checks made out to Wexler. PRITCHARD: Ten of them from a shell company owned by Frampton. Seems that 25,000 pounds was the going rate for a piss-broke forensic anthropologist. BOOTH: That's how he paid off his debts. BRENNAN: Frampton bribed Ian to vacate the dig. (Cut to: Medico-Legal Lab - Forensic Platform. Hodgins and Clark are going looking over the examining table with the bone casts) HODGINS: They found traces of mercury fulminate in the lower extremities, higher concentration on the patellas and the greatest was where he was s*ab. CLARK: So it was on the m*rder w*apon. HODGINS: Yeah, it looks that way. Any idea what kind of w*apon it was? CLARK: No, not yet. Whatever punctured the bone was rough, like a stick. And I've tried knives, awls, picks, but nothing matches. Who would use mercury fulminate? HODGINS: It's used in neon lights, batteries, by taxidermists and at tanneries, and in the manufacture of expl*sives. CLARK: Frampton has different companies. Maybe one of them uses mercury fulminate. HODGINS: Yeah, I'll see what he owns. CLARK: I'll look for any instruments found in those fields that could be used as a w*apon. (Cut to: A bar in London. Booth and Brennan are drinking beer. Booth is being served a fresh pint) BOOTH: Ah, look at that, Bones, huh? I'm not saying that we should have a king or a queen or beheadings and all that jazz. I'm just saying, you know, calling someone, like uh-hey-Sir Seeley Booth? (Offering his class to cheer with Brennan's) Now, that is civilized. (They cling glasses) BRENNAN: Oh, what makes you think that you would be knighted? BOOTH: Come on. You're serious, right? Please. (Pritchard enters the bar and walks up to Brennan and Booth) PRITCHARD: Well, look at this. You two seem to be relaxing. BOOTH: Yeah, I gotta tell you, I'm getting into it. You know, my head is feeling a little bit clearer, as chaotic as the English can be. So Pritch, tell me. You think I got what it takes to be a knight, right? PRITCHARD: That's not your first pint, is it? BOOTH: No. BRENNAN: Did you bring information on the case? PRITCHARD: (taking out folder) I ran some checks on Saviours of Antiquity. Last year they were suspects in b*mb of a new construction built on the site of a 13th-century church in Bayswater. Burnt it to the ground. BRENNAN: Mercury fulminate. PRITCHARD: I'm sorry? BRENNAN: Used to manufacture expl*sive. The residue would be on the b*mb and could have been transferred to Ian's s*ab wound. BOOTH: Well, only two other members of the group were charged. Others were released. Look who they let go. (He shows her the file) BRENNAN: Cyril. BOOTH: Yeah, who would be very angry that Wexler sold out the dig. (Cut to: Oxford University Campus - London. Vera and Cyril are walking.) CYRIL: I'm telling you Vera, there's nothing more to be done there. It's shut down. A week, maybe 10 days to clean up, and it's over. VERA: So suddenly after two years? (Booth and Pritchard approach) BOOTH: Hey, Vera, Dr. Brennan wants to see you in the lab. CYRIL: What, not me? PRITCHARD: No Cyril, Dr. Brennan wants you to tell us about this. (she shows him his mug sh*t) CYRIL: Saviours of Antiquity? Oh, Please! PRITCHARD: Where were you on the night that Dr. Ian Wexler died? VERA: You can't be serious. BOOTH: Cyril finds out his professor is on the take and kills him. CYRIL: I was in Wales, visiting my parents. VERA: Cyril quit the Saviours years ago. CYRIL: I joined mostly to meet women. I'm not a fanatic. (Booth and Pritchard still look suspicious) Call my mum. Ask her. Uh, we ate eel. It's my favorite dish. (Cut to: Oxford University: Wexler's Lab. Brennan is examining Wexler's skeleton, looking at one specific piece of bone. Booth and Pritchard enter. Booth begins to imitate Frankenstein by grunting and sticking out his arms) BOOTH: You think they ever made a Frankenstein in this place? BRENNAN: No, Frankenstein was the doctor, not the monster. BOOTH: Yeah, cause the other way around, that would make no sense. (Brennan looks up intensely) Bones, I know that look. PRITCHARD: Me too. Whenever Ian had that look, it meant that things had just gotten more complicated. BRENNAN: Clark just got the last of the casts and while he was finishing reconstructing the skeleton, he found an extra bone. BOOTH: Wexler had an extra bone? BRENNAN: No, no. It's a shattered section of a femur from someone else that the interns here didn't identify. PRITCHARD: Well, every piece of bone you have here was found and cataloged at the scene. BOOTH: Well, maybe he held on to it. Bone people like to hold on to bones. BRENNAN: I think it's the m*rder w*apon. PRITCHARD: Seriously? BRENNAN: The entry point of the s*ab wound is between T6 and T7 extending approximately 22 centimeters through the heart and lungs. PRITCHARD: The k*ller used a bone to s*ab Ian. BOOTH: Live by the bone, die by the bone. It's- (Brennan looks at Booth) Sorry. PRITCHARD: It occurs to me that if we find the origin of the bone, then, well, we find the m*rder. BRENNAN: That's where the mercury comes in. This bone displays very high levels of mercury fulminate. BOOTH: What does that mean Bones? BRENNAN: Nothing. PRITCHARD: That's very useful. BRENNAN: I'm more interested in the fact that it's ossified. PRITCHARD: That basically means that it's been turned to stone. BOOTH: No, no. Don't you start explaining things to me now. (He moves around Pritchard and Brennan) Ok, what is the significance of that? BRENNAN: It means it's over 2,000 years old. PRITCHARD: I was already working at the top of my game knowing "ossified." BRENNAN: 2,000 years old puts this bone firmly in the Bronze Age. The site. PRITCHARD: Oh, my God. So this bone alone would have prevented Frampton from building his skyscrapers. BRENNAN: Yes. PRITCHARD: Perhaps the m*rder used it to k*ll Ian as a kind of symbolic revenge for signing the writ. BRENNAN: That makes sense. BOOTH: No, it doesn't make sense. Nobody just kills somebody with a bone symbolically, not even in England. PRITCHARD: So, what then, Agent Booth? BOOTH: Well, you have the f*re, the cigarette. It was all set out of panic. The k*ller didn't act symbolically. He acted out of rage. (Cut to: Royal Diner. Angela and Hodgins are sitting at a table eating) ANGELA: Sweets is actually good at his job. HODGINS: I know, right? I mean, did you understand that you weren't actually mad at Cam? ANGELA: No, actually, I was mad at her. I mean, you don't have sex with someone and then expect everything to be fine. HODGINS: Yeah, not when they're supposed to be gone and out of our lives. That is not fine. ANGELA: No, it definitely is not. HODGINS: Why? You're divorced. Why aren't you fine with Cam sleeping with him? ANGELA: Well, for the same reason you aren't fine with him still being in town. HODGINS: But if everything's over with him, wh-why do you care who he sleeps with? ANGELA: Why do you care that he's still in town? HODGINS: I don't care. ANGELA: Obviously you do. If you were 100% certain of me, you wouldn't care. But you do. HODGINS: If you were 100% certain you didn't want him, you wouldn't care that Cam slept with him. (A long pause) ANGELA: You don't trust me. HODGINS: (pausing) Saying that means you don't trust me. (scoffs) ANGELA: How can two people who don't trust each other get married? HODGINS: I thought we did trust each other. ANGELA: Yeah, I did too. Two people who don't trust each other shouldn't be together at all. HODGINS: You really think that? ANGELA: Don't you? HODGINS: I mean, yeah, I-I do. I mean, I actually do think that, but-(pauses) Oh, my god. ANGELA: Yeah. HODGINS: I don't know what happened. ANGELA:I don't either. But I know it did happen. I'm gonna-I'm gonna go. (she stands to leave) You know, all you had to do was trust me. HODGINS: Hey, you're the one that's leaving. ANGELA: (shaking her head) You're the one that isn't stopping me. (She leaves) (Cut to: Frampton Dig Site - London. Cyril and Vera are leading Booth, Brennan and Pritchard through the dig site to the area Dr. Wexler was working on) CYRIL: Dr. Wexler would have told us about a find this important. BOOTH: Yeah, unless he wanted to keep the money. PRITCHARD: Dr. Brennan, why are we here? BRENNAN: This was farmland, a s*ab for over 200 years. VERA: Oh, in the 18th and 19th centuries. So? BRENNAN: No mercury. But in the 17th century, there was an inn over there (points to another part of the dig site) and a tannery right there. CYRIL: One of the oldest tanneries in Kensington. (Realization hits his face) Oh, my god. VERA: What? BRENNAN: That's right. CYRIL: Mercury fulminate. It's used in tanning. The tannery was here for over a hundred years. Mercury would have seeped into the soil and contaminated whatever it touched. BRENNAN: Why is this area covered? (She heads down to the dig area. Booth follows.) CYRIL: Vera, you supervised that part of the dig. VERA: Uh, nothing was found there. Dr. Wexler told us to move on. (Vera, Cyril and Pritchard follow Booth and Brennan) BRENNAN: Booth, will you help me? (points to the wooden pieces covering the site.) BOOTH: Yeah, I got it. (They lift the wood off the tarps. Brennan throws back the tarp) BRENNAN: The soil should be loose from the excavation. CYRIL: It's been packed down. PRITCHARD: Mmm, covered by wooden palettes. CYRIL: Vera, what's going on? VERA: Nothing, I told you. Dr. Wexler instructed me to move on. BRENNAN: (picking a piece of bone from the dirt) Another ossified bone chip. This is a Bronze Age site. BOOTH: (to Vera) You live for this. Why'd you cover it up? VERA: I didn't do anything. Cyril, tell them. (Cyril stays silent) We've been working together two years trying to make this find. BRENNAN: The bone had no hilt. She would have scraped her palm if she s*ab him. (Vera tries to hide her hand behind her back) PRITCHARD: (scoffs) You two are very, very good. BOOTH: We're the best. (Vera tries to escape. Brennan trips her and she lands face first in the dig site) Good job, Bones. Come on. Up you go, Vera. (Booth picks her up) VERA: You don't understand. BOOTH: Can I have some cuffs please? (Pritchard hands him a pair of handcuffs) VERA: You don't understand what Ian wanted to do. BOOTH: You k*ll Wexler so you could keep the money for yourself? VERA: Ian wanted to give the money back. Don't you understand? BRENNAN: Not at all. PRITCHARD: I'm afraid I do. It was Ian through and through. He happily accepted the bribe money when there was no reason to be bribed. But the minute they found something, he got all noble and principled and-and wanted to return the money. CYRIL: It would have ruined his career. VERA: Yeah, and mine too. Don't you see? He never thought of that. BRENNAN: So, Ian was a good man, really? PRITCHARD: A relatively good man. (sighs) Which was good enough for some of us. (Cut to: Medico-Legal Lab. Angela's Office. The beep of a voice mail is heard. Angela is on the phone) BRENNAN'S VOICEMAIL: Technically, you have not reached Temperance Brennan. But if you leave a message, it will reach her-me-Temperance Brennan. (phone beeps) ANGELA:Hey, sweetie, it's me. Hodgins and I broke up, and, uh, I won't really know why until I speak to you. So, I'm just gonna crawl into bed until you get home, and then we can-(she stops, pauses and hangs up. Grayson enters) GRAYSON: Angela. ANGELA:Oh, God. (laughs) You again. GRAYSON: I heard you broke up with the small angry man. So before I leave, I want to ask you one more time. ANGELA:No. No one gets me. I'm nobody's. GRAYSON: I understand. Perhaps you can drive me to the airport? CAM: (entering) That's some kind of code for you, isn't it? SWEETS: (entering) Maybe I should take him. CLARK: (entering with labcoat, ID and keys in hand) No. I'll take him. (he hands the items to Cam) CAM: What's this? CLARK: Look, it's been very interesting working here. But, I'm a man of science and this place is just- GRAYSON: It's very dramatic. CLARK: Well said. I just want to work in a regular lab, you know? (turning to Grayson) So you want that ride or not? CAM: Yes, he does. (Grayson looks at Angela once more. She sighs. He exits with Clark. Angela sighs again.) (Cut to: Oxford University Dining Hall. Booth and Brennan are sitting at a long table, finishing up their breakfast) BOOTH: You know, Wexler was kind of like a Robin Hood kind of a character-steal from the rich. BRENNAN: I turned down my chance to sleep with Robin Hood? BOOTH: Sometimes you just take the oddest leap. (Pritchard approaches them, carrying something) BOOTH: (in an English accent) Hey, Pritch. Cheerio, mate. (He smiles and turns to Brennan, proud of himself) PRITCHARD: "Hello" is fine. (Picking up a Kn*fe) On behalf of her Majesty the Queen of England (she taps Booth on each shoulder) I dub you Sir Seeley Booth (she puts down the Kn*fe and places a ribbon over Booth's neck) Knight of the Realm. BOOTH: Wow. BRENNAN: (reading the ribbon) "Official Junior Knight" BOOTH: Eh? Look at that. Wait a second. That's from a toy store. PRITCHARD: It doesn't mean you're not Sir Galahad. BOOTH: Thanks. BRENNAN: I'm sorry about Ian. PRITCHARD: (pauses) Me too. It was a real honor working with you both. BOOTH: Same here. (Brennan nods as well) PRITCHARD: If you need a lift to the airport- BOOTH: Bones-She got us a limo. PRITCHARD: Of course. BOOTH: But if you're ever in the colonies. PRITCHARD: It would be lovely. (She exits) BRENNAN: (hitting Booth's leg) She likes you. BOOTH: No. BRENNAN: Yes! And she's very sexual. BOOTH: Enough. It's just-(laughs) Stop. I'm gonna miss this place. (They look around the hall) This is definitely not a diner. BRENNAN: Come on. (they begin to stand) We should go before someone else gets k*lled. BOOTH: Yeah, you're right. (clears throat) Here we go. Oh! (he sticks out his arm for her) My arm? BRENNAN: Thank you. (she takes it) Thank you Sir Seeley. BOOTH: Ah, (in an Australian accent, thinking its English) Pleasure, Lady Temperance. BRENNAN: (laughing) You sound Australian. BOOTH: I don't sound Australian (they walk out bickering about his accent.) END.

{"type": "series", "show": "Bones", "episode": "04x02 - Yanks in the U.K. (2)"}

foreverdreaming

"Man in the Outhouse" Episode 4x03 / Production 3x16 Airdate: September 10, 2008 Written By: Carla Kettner & Mark Lisson Directed by: Steven DePaul Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: A truck driver is pulling into a deserted lot to make a pit stop as his phone rings and he answers it.) DWIGHT: (into phone) Hey, baby. SHIRLEY: (on other end of the phone) Where the hell have you been?! You were supposed to call... DWIGHT: I probably won't be home for another few days. SHIRLEY: Oh, you making another one of your pit stops? What's her name this time, huh? DWIGHT: There's no girl. SHIRLEY: Oh, really? DWIGHT: I got to get this load to Punxsutawney. Look, Shirl, I got to go. SHIRLEY: Why?! DWIGHT: Because I drank a gallon of coffee, and I gotta to go! SHIRLEY: Oh, really? If I find that... (He hangs up the phone, parks the truck and runs over to the outhouse while lighting up a cigarette. A few seconds later, the outhouse explodes - sending him flying through the air. When he lands, his pants are on f*re and he rolls around to put it out) (Cut to: Brennan's Apartment - Hallway. Booth has just arrived, carrying coffee) BOOTH: Bones, wakey-wakey. Bones? (he keeps hitting the buzzer until she opens the door) Wakey-wakey. Eggs and bakey. BRENNAN: Do you have any idea what time it is? BOOTH: 6:30, which is why I brought you this. (he hands her a cup of coffee) Nice, uh, bed head there. (A man walks out of Brennan's bedroom in just a towel) BOOTH: (takes a sip of coffee) Hmm. Whoa! BRENNAN: Um. (Booth whistles) So, uh, Seeley Booth, Mark Gaffney. MARK: Hey. BOOTH: Hey. BRENNAN: What do you want, Booth? BOOTH: My partner. Got some pre-breakfast remains for you. (to Mark) You, uh, getting a little chilly there, Mark? MARK: I think I'll put some clothes on. BOOTH: Excellent choice. (Cut to: Booth's Car. Booth and Brennan are driving to the crime scene) BRENNAN: It would be good if you called first. BOOTH: Well, who knew you were even dating? BRENNAN: Well, I wouldn't call it dating. We occasionally make arrangements to spend time together. BOOTH: I'm just surprised you're not more picky. BRENNAN: My relationship with Mark is purely physical, and I am very satisfied with him in that area. Did you see his chest and his thighs? BOOTH: Bones. What? BRENNAN: Haven't you chosen someone because they were satisfying sexually? BOOTH: There has to be more than sex. BRENNAN: Not really. Our interests and professions do not intersect. BOOTH: Well, what is he? Bricklayer? You know, truck driver? Tango dancer? BRENNAN: He is a deep-sea welder. BOOTH: Wow. I wouldn't even think to put that on the list. BRENNAN: Well, they work on oil derricks, repair boats. After being at sea for months at a time, he seems to enjoy having a sexual relationship, so... BOOTH: I'm sure. I am sure. Deep-sea welder. BRENNAN: He can hold his breath for three minutes down there. BOOTH: Underwater? BRENNAN: Of course. (Cut to: Crime Scene. Booth and Brennan arrive.) BOOTH: Come on, seriously, who thinks it's a good idea to blow up an outhouse? BRENNAN: Probably accidental. Assuming a minimum methane level of five percent, a simple spark could trigger the expl*si*n. Of course, that would depend on the level of fecal deposit in the t*nk. BOOTH: Okay. Just stop. BRENNAN: Your aversion to feces is irrational. It's three-quarters water. BOOTH: Don't mention that to the guy who almost got his ass blown off. BRENNAN: He survived? BOOTH: Well, kind of, but he ain't gonna be making any contributions to the gene pool anytime soon. BRENNAN: If the victim is alive, then why are we here? BOOTH: Take a look. Go ahead. Yeah. (Cut to: Medico Legal Lab - Forensics Platform) BRENNAN: g*n wound to the frontal lobe. Where's my new assistant? CAM: She's at security getting her ID and badge. BRENNAN: There's powder residue on the bone indicating that the victim was sh*t at close range. SWEETS: These suits are so cool. (makes robot sounds) I am a robot. Sorry. CAM: d*ad for about 72 hours. No lividity on the legs. SWEETS: Wait. Poop will do that to you in three days? HODGINS: Actually, it's the fecal coliform bacteria, streptococcus and maggots. SWEETS: Guy you're looking for has major issues. He deposits the object of his rage in a literal pit of poop. Excrement being the symbol for that which we reject and hate about ourselves. Do we need to take lessons in toilet training issues? BRENNAN: Front teeth are shattered. SWEETS: sh*t in the head, punched in the face, and dumped in the poop. Whoever did this did not get enough therapy. BRENNAN: Victim has veneers on the maxillary central and lateral incisors, and there's reshaping of the gum tissue, as well as the underlying bone. (to Cam) Take a look. CAM: Hmm. Looks like there's something in his throat. (she sticks a pair of tweezers down throat and pulls out a wad of paper.) Looks like a photograph after the decomp and stomach acid got to it. BRENNAN: He wasn't punched. The k*ller crammed that down the victim's throat so hard, it broke his teeth. SWEETS: There's a motive in that. You're gonna want to see what's in that picture. CAM: I'll call Angela. (Sweets sneezes, covering the plastic covering of the helmet of the hazmat suit with snot) HODGINS: Bless you. SWEETS: Thank you. (Cut to: Medico Legal Lab - Hodgins and Daisy Wick are sifting through the feces) DAISY: Thank you. This is really a lot of feces. HODGINS: Stop making that face. It's just sewage, Ms. Wick. DAISY: I realize that. HODGINS: Six barrels worth. DAISY: I'm fine. HODGINS: Good. DAISY: I just thought for safety's sake, perhaps a hazmat suit... HODGINS: We got the all clear. No danger, no suit. You got a problem with that? DAISY: No. No. Um, where's Dr. Brennan? I-I thought I'd be working with Dr. Brennan. HODGINS: She's with Agent Booth. She asked me to tell her all about how you're doing. DAISY: Oh. Please tell her that I liked the smell. No pedicle laminae or spinous process means we're not talking vertebral arch, which is cool, 'cause I'm seeing thin lateral borders with small eminences. Makes it one thing and one thing only. A chunk of truck driver coccyx. My work here is done. HODGINS: Hand it over. (she brings him the tray and he starts examining it) What have we here? It's human hair. Distinct color variations. DAISY: I'll turn it over to Hair and Fibers. I know Dr. Brennan is a stickler for protocol. HODGINS: There's no root bulb, which there should be if it was torn out. Cross-section is round, which suggests it's Mongoloid in origin. DAISY: Wait. Dr. Saroyan determined that the victim is Caucasian. He couldn't have hair that's Mongoloid in origin. HODGINS: Yeah. Not bad. But he could if he used this keratin glue to stick a wig on his little bald head. Start sifting through the sewage and isolate the strands of hair. (Cut to: Medico Legal Lab. The group is heading into Angela's Office) ANGELA: I scanned the skull, and I factored in age and build. DAISY: I found the toupee. HODGINS: They know, Ms. Wick. DAISY: I-I wasn't sure if you'd mentioned it. CAM: He didn't have to. You did everything but hire a skywriter. (to Angela) Have you gotten anywhere with the picture we pulled from his throat? ANGELA: No, not yet. I'm, um-how can I put this-depoopifying the fragments now to piece together some kind of image. HODGINS: He looks familiar. ANGELA: Let me add the fatty tissue and his new, expensive teeth. Hmm, he does look familiar. HODGINS: Put on his toupee? DAISY: Which I found. ANGELA: Oh, my God. HODGINS: That's why he looks familiar. CAM: What? (Angela pulls the "Busted By Bill" website on the computer.) VOICEOVER GUY ON SITE: Be careful. If you cheat on your wife, you just might get Busted By Bill. (video plays) WOMAN (on video): Look, I'm gonna go to the bathroom and when I come back... ANGELA: Okay, that girl's the bait they use to lure the cheaters. (On the video, the guys starts taking his pants off as a group of people bust through the door) JOSEPH: (on video) Wait. What is this? (cut back to video) VERONICA: Swing around. Get the wife. WIFE: You son of a bitch! BILL: Joseph Marilla, I'm Bill O'Roarke, and you've been Busted By Bill. JOSEPH: Wait. No! My back hurt. I thought she was a masseuse. WIFE: I'm gonna k*ll you. You are d*ad! d*ad! BILL: (into camera) Next time, ask yourself this: "Am I getting lucky, or have I just been Busted by Bill?" (Cut back to lab) HODGINS: Our victim is Bill O'Roarke. (Cut to: Booth's Car. Booth and Brennan are driving to FBI Headquarters.) BOOTH: (into phone) Okay great, thanks. (to Brennan) O'Roarke and his wife live in Cherry Ridge. Old Bill must have been making a tidy sum. BRENNAN: Well, he shouldn't have been rewarded. He was perpetuating a primitive and prurient morality by parading victims for the purpose of entertainment. BOOTH: Well, you know what? You cheat on your spouse, you get what's coming to you. BRENNAN: Anthropologically, 83 percent of societies are polygamous. BOOTH: Now you sound French, okay? Look, being faithful is what separates us, you know, from the chimps. BRENNAN: No, actually, it's a gene called HAR1F. BOOTH: We're talking about the Ten Commandments here, Bones. "Thou shalt not commit adultery." One down from your personal favorite, "Thou shalt not k*ll." BRENNAN: Oh, so you also believe that Moses wandered the desert for 40 days, climbed Mount Sinai, at which point a supernatural force carved a convenient list of behavioral guidelines on two pieces of rock? BOOTH: Yeah. That's why it's on the Supreme Court. BRENNAN: Fascinating. (Cut to: FBI Headquarters. In Booth's office, Booth and Brennan are talking to Bill's wife, Amanda.) AMANDA: I was supposed to be home this weekend. Bill and my 20th anniversary is in five days. BOOTH: Why weren't you here? AMANDA: Our daughter is away at college in Raleigh. I try to spend as much time with her as I can. She adores her father. I mean, how am I going to tell her this? I told Bill not to do that stupid show. BRENNAN: You were worried about him? AMANDA: Bill was a serious journalist until he met Arthur. Arthur produces the show. And at first Bill said no, but the money was unbelievable. I was just always so worried about him. BOOTH: Bill have any enemies? AMANDA: Have you seen that show? There isn't a man he caught that wouldn't want him d*ad. (Cut to: Stage 8 - Busted by Bill offices. Arthur Lang is walking with Booth & Brennan.) ARTHUR: Amanda always resented the show,but it didn't stop her from spending the money Bill made. I'm telling you, if I thought this show had anything to do with Bill's death, I'd never forgive myself. BOOTH: Well, you know, just getting us the footage that we need should be enough. VERONICA: Well, Pete's pulling the cheaters the moment they were caught. BOOTH: And you are? VERONICA: I'm the producer, Veronica Landau. BOOTH: Agent Booth. This here is, uh,Dr. Brennan. PETE: Hey, is it true? Where they found him? BRENNAN: Uh, upright and inverted in the refuse-filled pit of an outhouse? Yes. VERONICA: Oh, God. BOOTH: I'm sorry but it's very difficult to paint a pleasant picture of his demise right now. Look, who was the last person who saw Mr. O'Roarke alive? ARTHUR: Me. 9:18, Friday night. BRENNAN: That was specific. ARTHUR: We had to sh**t wraparounds. 9:20 would have put us into time-and-a-half, so I pulled the plug. PETE: I was, uh... I was supposed to pick him up on Saturday morning for the promos we were sh**ting; knocked on the door, wasn't there. VERONICA: Pete called me, and I called Arthur, we cancelled the sh**t. BRENNAN: No one was worried that he disappeared? ARTHUR: Bill and I had a small disagreement Friday night. He wanted to go visit his kid at college, but we had a sh**t scheduled. Promos. BOOTH: Anyone else hear this argument? ARTHUR: No. It was personal. We walked away from the crew. PETER: Actually, it was, uh, it was pretty loud, Mr. Lang. Mr. O'Roarke thr*at to quit. ARTHUR: He was just bl*wing off steam. That's why I wasn't worried. Figured he'd just gone off with Amanda to see the kid. BRENNAN: This is a popular show. It's probably worth millions of dollars, am I right? ARTHUR: Why do you ask? BOOTH: Well, money like that, you must insure your star for quite a bit. ARTHUR: Of course, but I think you're taking this all wrong. See, Bill and I were best friends. We played tennis together all the time,we... BRENNAN: If he quit, you'd lose everything. BOOTH: And if he was found d*ad, you'd end up with a nice payout. Wouldn't you? ARTHUR: Why don't you get Agent Booth everything he needs, Pete? I believe I should call my attorney. (Cut to: FBI Headquarters. Booth and Brennan are talking in Booth's office.) BOOTH: Arthur Lang will only talk through his attorney, who says he was in Atlantic City all weekend playing Keno. We're checking out his story. BRENNAN: He could've hired a h*t man. BOOTH: No, this was not a contract job, this was personal and violent. Okay, Sweets is on his way up with the show tapes to profile for a revenge k*ller. BRENNAN: Okay, see you later. (she heads out the door) BOOTH: Whoa, Bones, wait a second. (he follows her) Where you going? I thought maybe we could, you know, help out Sweets. BRENNAN: To a film. BOOTH: Oh, this is much better than a movie. Hours of fascinating video. Hey, great stories for the deep-sea welder. BRENNAN: No, actually, I'm going to the film with a botanist. BOOTH: Oh, I get it. You dumped Mark. It's too bad, I kinda liked the guy. BRENNAN: No, I didn't dump Mark, I'm seeing both of them. BOOTH: At the same time? BRENNAN: Mark and I have a physical connection. The botanist, while brilliant and fascinating, just...just doesn't appeal to me in that way. BOOTH: Okay, so all that stuff you said about monogamy being unnatural, you're just making excuses. BRENNAN: I do not make excuses. Only people who are ashamed make excuses. BOOTH: Bones, two guys at the same time, it's not right. I mean, that's why they invented dueling. (The elevator opens and Sweets steps out) BRENNAN: How can you say... SWEETS: Hey, you guys ready? BRENNAN: I know what I'm doing, Booth. (Brennan steps into the elevator but Booth puts his hand on the door to hold it open.) BOOTH: My gut says you're going with your gut on this one, and we all know how that ends up. Not good. SWEETS: Uh, is there something we need to discuss before getting to work? BRENNAN: No, no. Just call me when you find something of value. (Brennan pounds the buttons, pushes Booth's hand away and the doors close) BOOTH: No, it's nothing. It's just, she's got a date. SWEETS: Oh. And how do you feel about that? BOOTH: It's not about me, okay? Let's go look at those videos. (Cut to: Medico Legal Lab - Autopsy Room. Cam and Daisy are examining remains) DAISY: Do you have any idea how good it smells in here? CAM: It's Eau de Formaldehyde, glad you like it. DAISY: There are hairline fractures at the base of the skull. Probably made when the photo was jammed down his throat. Dr. Hodgins could probably pull some particulates. CAM: Very good. DAISY: My boyfriend thinks it's weird that I love doing this. But I think it's weird that he loves the accordion. CAM: I'm with you there. DAISY: Dr. Brennan is my hero, always has been. I just, I hope she loves-she likes me. Well, bonjour. Ante-mortem fractures to the lumbar vertebrae. Maybe two weeks old. CAM: Try to find what caused it. DAISY: On it. It's just, Dr. Brennan and I are, like, the same, you know? We just, we understand that the d*ad don't talk back or want the window open when it's freezing out or pick at your plate or pee on the toilet seat... CAM: You might want to keep a little mystery about yourself. DAISY: Sure. But you're gonna put in a good word for me, right? I mean, wouldn't it be fun if I were here forever? CAM: Yeah. (Cam goes back to looking at the remains) Brush abrasions. Can you hand me a swab? (Angela enters) ANGELA: I managed to get some usable pieces of that photo. Just fragments, but it's a start. CAM: Okay. ANGELA: I used an infrared camera and I excluded all the visible light. If I had to take a guess, I'd say the mystery couple were knocking boots. CAM: I always love your clinical assessments. (Cut to: FBI Headquarters. Sweets is watching the video tapes.) (on video) TIGHTEY WHITEY GUY: Sorry. I'm so sorry. TIGHTEY WHITEY WIFE: Sorry?! TIGHTEY WHITEY GUY: But nothing was gonna happen. TIGHTEY WHITEY WIFE: Nothing was gonna happen? TIGHTEY WHITEY GUY: Nothing... TIGHTEY WHITEY WIFE: You're in your under... TIGHTEY WHITEY GUY: Don't! Oh, God, please don't cry. TIGHTEY WHITEY WIFE: Don't cry? You're in your underwear. TIGHTEY WHITEY GUY: Don't cry. TIGHTEY WHITEY WIFE: What do you want me to... TIGHTEY WHITEY GUY: Nothing was gonna happen! (Booth enters) BOOTH: What'd I miss? SWEETS: Six men crying, two insisting they'd gotten lost, and four saying they were trying to show the poor, young woman how dangerous the internet could be. BOOTH: Wow, parade of saints, huh? SWEETS: The m*rder was premeditated and filled with rage, not the act of someone apologetic or ashamed. BOOTH: Did you find any rage? SWEETS: Well, I know you don't have the benefit of years of psychological training, but, uh, check out one Jim Dodd. (on video) JIM: Come on, baby, I can't wait. JIM'S WIFE: You bastard! You're never gonna see this child,ever! Do you hear me? Ever! BILL: I'm Bill O'Roarke, and Jim Dodd, you've been Busted By Bill! (Jim punches Bill) JIM'S WIFE: Oh, God! Stop it! Stop! Stop! JIM: I'll k*ll you! JIM'S WIFE: Come on, stop! (tape stopped) BOOTH: Wow. Serious impulse control issues. SWEETS: Very good, Agent Booth. I've marked a few other possible suspects that match the profile, but I think Dodd exhibits the right amount of rage and self-justifying vengeance. BOOTH: So, Dodd's our guy. Let's go tell Bones, huh? Come on. SWEETS: Well... uh, couldn't we just call? BOOTH: No. Let's go. (Cut to: Royal Diner. Brennan is sitting at a table with her date, Jason DeFry.) BRENNAN: Open City might be Rossellini's best film. JASON: Rossellini had nothing, no sets... BRENNAN: 1945, the country had barely started rebuilding after the w*r. JASON: Yes. Of course, I'm also a big fan of Meatballs, Bill Murray's paean to anarchy. (Booth and Sweets enter and take a seat at the counter, facing their table) BOOTH: Hey, Bones. (to Jason) Hi. I'm Special Agent Booth, her partner. JASON: Hi. SWEETS: I'm Dr. Lance Sweets. I'm their therapist. JASON: Jason DeFry. BOOTH: DeFry. JASON: Do you follow them around all the time? SWEETS: No. No, no,n o. I'm also a profiler. I help with the cases. (to Booth) Did you know that she was on a date? BOOTH: Slipped my mind. (to Jason) Spiffy suit, man. JASON: Thanks. Picked it up in Italy. BOOTH: Little tight, huh? JASON: It's the style. BOOTH: You ever been married? JASON: No. BOOTH: Got a kid? JASON: Never been married, remember? BOOTH: I have a kid. SWEETS: He's never been married. BRENNAN: I should get to work, Jason. We've got a m*rder to catch, you understand? JASON: Of course, of course. You know, it's getting late anyway. Listen, I have Coldplay tickets for tomorrow night. Thought maybe we'd grab a bite first. Any interest? BRENNAN: Absolutely. I might have to leave from work. JASON: No problem. I'll meet you at your office at 6:00? BRENNAN: I'll be there. (He gives Brennan a double kiss on the cheeks) JASON: Nice meeting you all. BOOTH: Yeah. (Jason leaves) BOOTH: No wonder you two are platonic. BRENNAN: What is that supposed to mean? BOOTH: Well, look, I'm fine with it, Bones, really. I have zero problems with it, but... that guy is gay. BRENNAN: He is not gay. BOOTH: Please. Double cheek kiss, tight Italian suit... SWEETS: Coldplay. BOOTH: Never married... SWEETS: Coldplay. BRENNAN: Jason is as heterosexual as either of you. BOOTH: Then how is it that he's okay with not having sex? SWEETS: What? BRENNAN: Uh, we share an intellectual bond. I don't have physical feelings for him. He understands that. BOOTH: Not if he's straight. (to Sweets) Right? Am I right? SWEETS: You are hot. BRENNAN: You're here for a reason? SWEETS: Um, we got something off the DVDs... BOOTH: Mint tea, fruit tart...?! BRENNAN: Okay, speak, Sweets, please. SWEETS: Okay, okay. Um, most of the cheaters were essentially cowards, seeking alternate sexual experiences because they're too afraid to confront the problems in their own lives. BRENNAN: Just because someone seeks an alternative sexual outlet doesn't mean that they're a coward. BOOTH: She has issues. BRENNAN: I do not have issues. BOOTH: Case in point: Deep-sea welder and a botanist. SWEETS: What, did they go into a bar? BOOTH: Huh? What? No. Brennan's two boyfriends. Oh. Right. Let me guess, that one's the botanist. BOOTH: Yeah. BRENNAN: So you have nothing. BOOTH: Show her. SWEETS: This is Jim Dodd. (Sweets hands her a phone with the video playing) BOOOTH: The photograph that you pulled out of O'Roarke's throat, turns out that Jim Dodd used to be a mall photographer at Tiny Tots Photography. BOOTH: Motive and means. BOOTH: Yeah, I mean, his landlord said he disappeared five days ago, no forwarding address. BRENNAN: And you think he left because he was planning to k*ll Bill O'Roarke? BOOTH: Yeah, it fits, okay? Landlord also said he has a drinking buddy by the name of Chris Gutman. We're looking for him. (Brennan gives him a look) What? BRENNAN: This couldn't have waited till after I said good night to Jason? BOOTH: I'm just looking out for you, all right? You don't have the, uh, best taste in men. (Cut to: Royal Diner. The next morning. Booth and Brennan enter). BRENNAN: So you're going to hire a stalker to find Dodd? BOOTH: Perfect undercover move. BRENNAN: So you think this is a good idea? BOOTH: Of course I do, it's mine, okay? Gutman was lying through his teeth. There he is right over there. This way, we'll be able to find out what he really knows. NOEL: Yo, namaste, guys BRENNAN: Hi, Noel. NOEL: Think they have mung beans? I'm on an ayurvedic cleanse. BOOTH: What? NOEL: I do mung beans till Sunday, then I start the enemas. BOOTH: Listen, Noel, we'd like to harness you for your natural abilities. NOEL: You want your chart done? BOOTH: No. Stalking. You like to stalk people. NOEL: Observe them. (Noel starts to check out Brennan while Booth is holding up a picture) BOOTH: Hey, Noel, eyes over here. Okay? Eyes on him, not her, him. Noel. Chris Gutman. NOEL: So not my type. BOOTH: It's not recreational. I want to find out where he goes,who he sees,who he talks to. Okay, listen, he hangs out with a guy by the name of Jim Dodd. Want me to write that down for you? NOEL: No, I got it. BOOTH: What's his name? NOEL: Jim Dodd. BOOTH: Right. Jim Dodd. I want details. I'll give you 50 bucks. NOEL: 50 bucks? BOOTH: Mm-hmm. NOEL: Sure, but I got to be done by Sunday, because I got this... BOOTH: Right, the enemas. Nomaste. NOEL: Namaste. (Brennan smiles at him and they leave) (Cut to: Medico Legal Lab.) HODGINS: Everything you never wanted to drain from outhouse sludge. Two toy cars, three cell phones, a doorknob, a rubber casing, plastic Easter bunny head,and - drumroll...optional-one slightly used 40-caliber b*llet. CAM: Excellent. If Booth can find the m*rder w*apon, we can match it. DAISY: We may not have to wait that long. I took some initiative and checked out the lumbar fractures I found on O'Roarke; figured he'd have to be treated for them. He was treated at Providence Hospital. The police brought him in. The wife of a guy he busted rammed Bill with her grocery cart at Food King. CAM: You did this without my approval? (she nods her head yes) And why shouldn't I toss you out of here right now? DAISY: Dr. Brennan always says that in an intellectual pursuit, there are no limits. CAM: Well, in fact there are. Produce section road rage is a long way from sh**ting a man d*ad. DAISY: Not if you're a police officer who carries a g*n the same caliber as the b*llet you found in the poop pit. (Daisy hands Cam a file folder) CAM: (reads) Capitol Police Sergeant Francis Diamond. DAISY: Doesn't it feel as if I've always been here? (Cut to: FBI Headquarters. Meeting Room. Booth and Brennan are talking to Sergeant Francis Diamond.) SGT. DIAMOND: I hate Bill O'Roarke. He tried to destroy my marriage. But I didn't k*ll him. BOOTH: You don't think your husband cheating might have put a wrinkle in your relationship? SGT. DIAMOND: What my husband did was not cheating. BRENNAN: See, Booth, this is a woman enlightened enough not to expect a monogamous relationship. SGT. DIAMOND: He'd never cheat on me. BOOTH: Okay, then why did you turn your husband in to the Busted by Bill show? SGT. DIAMOND: I didn't, it was my sister. She called up their tip line. Kept insisting that he was messing around, but it wasn't true. BOOTH: Sergeant Diamond, we saw the video. Your husband met the young woman at the motel with flowers. BRENNAN: And then took off his pants. SGT. DIAMOND: He went there to warn her that it could be dangerous meeting someone online. BRENNAN: Perhaps she's not so enlightened. BOOTH: Okay, Ballistics is going to need to see the sidearm. Please. Now. (Cut to: Medico Legal Lab. Brennan and Cam are walking into the Autopsy Room.) CAM: I want to show you what I found lodged in Bill O'Roarke's lower intestine. BRENNAN: I can't understand why Booth has an issue with me seeing two men. CAM: Guys like to think they're the only ones who should sleep with more than one person. They like to be in control. Doesn't take a lot to throw the little darlings off their game. CAM: Oh, yeah, then you end up lying in bed holding them while they say, "I don't know what's wrong, this has never happened to me before." BRENNAN: He should be happy that I've found a way to satisfy myself. It just happens to require two men. ANGELA: I've done that. I miss college. CAM: And the botanist, no biological imperative? BRENNAN: He's flirted with the intent to become intimate, but Mark keeps me quite sated sexually. ANGELA: You really got to learn some girl talk, sweetie. CAM: Okay, look at that. BRENNAN: How did a wire get lodged in his intestine? CAM: Not sure yet. And the tox screen's even stranger. Tetrahydrozoline hydrochloride. Eye drops? CAM: And sildenafil citrate. BRENNAN: Viagra. ANGELA: Bloodshot eyes and wood in a pill. Party time. (Daisy enters) DAISY: Dr. Brennan, I'm Daisy Wick, your new grad assistant. BRENNAN: I'd rather not learn your name until I've assessed your work. DAISY: Oh, of course. I'm the same way. We're two of a kind. You're like a hero to me. BRENNAN: Hero worship exposes a lack of independent intellectual examination. I'll tell Booth what we found. (Brennan leaves) DAISY: She's so smart. ANGELA: Yeah. (Cut to: DC Street. Booth and Brennan are walking to meet up with Noel) BOOTH: So Sergeant Diamond's firearm wasn't a match. She wasn't even in town Friday and Monday. She was with her husband fixing her marriage at some tantric sex workshop. BRENNAN: I've heard that if practiced correctly, tantric sexual techniques can extend orgasms by 4 to 500 percent. BOOTH: Whoa, they actually teach that? NOEL: Teach what? BRENNAN: Extended orgasms through tantric yoga. BOOTH: No, Bones, don't encourage this guy. NOEL: It's a godly pursuit, man. BOOTH: Noel? What do you have for us? NOEL: I followed Gutman from that gas station where he works. Are you embarrassed to talk about...? BOOTH: Noel... NOEL: Right. Gutman went off shift at 7:00, beelined for the roach coach. Dude actually ate a hot dog. You have any idea how many toxins are in your average hot dog? BRENNAN: Yes, I do. BOOTH: Jim Dodd, Noel. NOEL: He caught the M Street bus. BOOTH: Noel? NOEL: Sat next to a girl wearing a Led Zeppelin tour T-shirt. Not a real one. One of those fakes where Jimmy Page has a Stratocaster instead of a Gibson. BOOTH: Where did he go? NOEL: To a church: St. Xavier's. Goes down to the basement where they store all these awesome Christmas decorations. The Jesus is like...you could sit down and share a doobie with Him, you know? BOOTH: I really hope this has something to do with Jim Dodd. NOEL: Not only did he meet up with Dodd, he sat next to him for two hours. BRENNAN: : With the life-sized Jesus? NOEL: No, man! They were in divorce support group. They're breakup buddies. BOOTH: Oh, well, getting busted by O'Roarke must've ended Jim Dodd's marriage. Would you say that these divorce support groups were angry? NOEL: No way. The guys are all sad and weepy. The dumped chicks eat it up. The Dodd dude, he's hooking up with at least two of them, which is probably why he goes there every day. Which I know... 'cause I photocopied the sign-in sheet. BOOTH: Right, that's great. NOEL: So how'd I do? Huh? BOOTH: Oh, right. You did great. Here you go, pal. (he hands him a $50) Get all the mung beans and the enemas you want. Boy, here you go. See ya. (Cut to: FBI Interrogation Room. Booth and Brennan are interrogating Jim Dodd) JIM: The loan shark's got me down for five G's plus the vig, so I told Gutman to keep his mouth shut if anybody asked about me. How was I supposed to know it was gonna be the FBI? BOOTH: So, why'd you do a runner last week? JIM: I owe two grand back rent, child support, alimony, plus the loan shark-- I mean, wouldn't you run? BOOTH: And all this hard luck is because of Bill O'Roarke, right? JIM: What? No. No,it had nothing to do with that. BOOTH: Where were you Friday and Saturday? JIM: I didn't k*ll him. I swear. BOOTH: Where were you? JIM: I drove to Jersey to borrow money from my mom. She pawned her engagement ring because the loan shark was gonna rip my ears off. Pathetic. BOOTH: Mother's contact information. (he writes it down) Pathetic. (Cut to: Medico Legal Lab - Angela's Office. Cam, Sweets and Hodgins enter.) ANGELA: Hey. So...it takes over two hours for this computer to render each new image, but this last pass gave us a little more detail in that photograph. (She shows them the more enhanced photo) HODGINS: What is that on her back? CAM: A tattoo? ANGELA: It's a tramp stamp of some kind. SWEETS: Cool. Useful, I hope. ANGELA: Anyway, I was starting to enhance the resolution when Sweets brought me the videos. SWEETSL O'Roarke was talking to his producer. Appeared upset, but the sound was distorted and barely audible. (Angela puts on the video) BILL: They were Busted By Bill. I'm Bill O'Roarke. VERONICA: Okay, let's get a tail slate. BILL: Arthur, a moment... now. ARTHUR: What's up, Billy? (followed by inaudible sounds - cuts back to Angela) ANGELA: Okay, I sampled Bill's voice and I removed all the extraneous noise. (She puts the re-sampled video back on) BILL: Arthur, a moment... now. ARTHUR: What's up, Billy? BILL: This thing with Veronica, it's over. I can't work with her anymore. ARTHUR: Oh, just kiss and make up. BILL: No, I want her gone. I'm serious. (Angela pauses the video) HODGINS: Sounds like Viagra-popping Billy might have gotten himself a bit too involved with someone at work. CAM: So that could be Veronica in the picture. SWEETS: Fits the profile: jilted and vengeful. (Angela unpauses the video) VERONICA: That's a wrap. (Cut to: Busted by Bill studios.) BOOTH: Excuse me. Sorry to interrupt. AMANDA: I'm just packing up some things for our daughter. I, uh, I don't know if she wants them, but maybe someday. BOOTH: If you don't mind, Mrs. O'Roarke, we'd like a word with Veronica. AMANDA: Sure. Excuse me. VERONICA: Is there a problem? BRENNAN: Did Mr. O'Roarke ask Arthur Lang to f*re you? VERONICA: I'm still working here, aren't I? BRENNAN: Because O'Roarke is d*ad. BOOTH: See, I'm thinking that you got fired, then you got angry, which led to revenge. VERONICA: Is he serious? BRENNAN: Why would O'Roarke want you fired? VERONICA: I sold a new show. On my own. Bill accused me of stealing the idea from him. BOOTH: Did you? VERONICA: No. I didn't. I knew he'd be mad when he found out,but the idea was mine. BOOTH: And now that he's d*ad, we're just going to have to believe you,right? VERONICA: I worked with Bill every day for two years. We were incredibly close. We would've made up. BOOTH: How close? BOOTH: What is that supposed to mean? BRENNAN: I believe Agent Booth is asking if you had sexual intercourse with O'Roarke. But I agree, he could have phrased the question more clearly. VERONICA: No. I was not sleeping with Bill. BRENNAN: Do you have a tattoo on the small of your back? (She turns around, lifts up her shirt and shows that she doesn't) VERONICA: If there are no more questions, I would like to help Amanda with Bill's things. Excuse me. (Cut to: Medico Legal Lab - Forensics Platform.) HODGINS: I'm done with the culture you swabbed from the wound on the victim's thigh. CAM: What'd you get? HODGINS: A trace of enameled iron, a fleck of silver plating. Maybe from a Kn*fe? CAM: Don't think so. The wound's too jagged and I found amylase activity. HODGINS: So he had saliva and iron in a wound on his thigh? CAM: And I found candidiasis in the saliva. HODGINS: Okay, so somebody with a thrush infection scratched him with something metal, and then licked him? CAM: You're getting warm. Look. (she brings up an image on the computer) Come on, you can do it. Distance between peaks is irregular and about two inches apart. HODGINS: Hmm... wavy thigh scratch. CAM: Oral thrush. Wiggle your tongue side to side. HODGINS: You serious? CAM: Oh, yeah. HODGINS: Infected tongue piercing. (Cut to video) HOLLY: You want to see it? GUY: Mm-hmm. (Holly sticks out her tongue and shows her tongue ring) (end video) HODGINS: Silver-plated iron. (Cut to: FBI Headquarters. Interrogation Room. Booth and Brennan are questioning Holly Markwell.) BOOTH: Come on, Holly, was it something that Bill did to you? I mean, he was older than you, huh? Probably took advantage of you? HOLLY: No. No, Bill was a good man. BOOTH: You two were sleeping together, weren't you? HOLLY: I don't have to answer questions like that. I know my rights. BRENNAN: Your stud, please? HOLLY: You're kidding. BRENNAN: You really should consider some nystatin for that infection, by the way. We found saliva in the laceration on your boss' thigh. And we can prove that it's yours. Your stud. HOLLY: Forget it. No way. BOOTH: Well, we have a court order. We know our rights, too, so... Your stud, please. (she takes it out and hands it to Brennan.) That wasn't too hard. You're sure you don't want to talk to us? HOLLY: It is not what you think. BOOTH: What do I think? HOLLY: We loved each other. I didn't k*ll him. Why would I k*ll a man that I loved? BRENNAN: Is that how you got the job, sleeping with O'Roarke? HOLLY: No! No, it was...It was Pete, the camera guy. Okay, Pete and I met at a club one night and we went out for a while. Anyway,we still have a place together. And Pete knew that I wanted to get into TV, so he got me a job as a production assistant, and, um... Bill just kind of took me under his wing. BOOTH: Yeah, I'd say so. Didn't bother you that he was married? BRENNAN: Perhaps he wasn't fully satisfied in a long-term relationship. BOOTH: Bones... BRENNAN: What? It's understandable. Needs change. (to Holly) When did you last have intercourse? HOLLY: Is she for real? BOOTH: I'm sorry. We have to ask these kind of questions in a m*rder investigation. BRENNAN: Intercourse? HOLLY: Friday night. BRENNAN: Just before he disappeared. BOOTH: What happened, Holly? You were lying there in his arms. You tell him you're tired of his wife getting all the money... HOLLY: No, I never cared about the money. BOOTH: So... you tell him that he should leave her, but he says he's got a life with her, he's got a daughter, and right there, you snap, you realize you've been used. So you show him a picture of the two of you. HOLLY: Oh, my God. BOOTH: You cram this down his throat. Then you sh**t him. BRENNAN: Do you have any body modifications other than the (she points to her tongue) piercing, Ms. Markwell? HOLLY: What, like fake boobs? BRENNAN: No, like tattoos. HOLLY: I have to, right? BOOTH: Afraid so. HOLLY: You know, I loved Bill. I didn't k*ll him. (Cut to: Medico Legal Lab. Angela's Office.) ANGELA: And there you have it. You are busted, Billy. BRENNAN: Holly admits it's her in the picture but insists she didn't k*ll him. SWEETS: Well, if denial is severe enough, she might actually believe that. HODGINS: I know what was used to cram the picture down his throat. DAISY: Because of what I found. Hi, Dr. Brennan. BRENNAN: I don't fraternize at work. HODGINS: Daisy found the fractures on the sagittal suture, which contained some particulates. DAISY: Told you. HODGINS: They are chlorinated polyethylene. It's the rubber used on the tail of a microphone. The copper wire we found in his intestine was from inside that rubber cap. CAM: Putrescent gases forced the wire into the esophagus, and the buoyancy of the outhouse sewage caused it to migrate up the digestive tract to the intestine. ANGELA: Well, Holly had access to the microphone. CAM: She's small. Do you think she could have upended a 180-pound man and placed him in a poop pit? BRENNAN: You're her size. Pick up Dr. Sweets and turn him upside down. DAISY: What? SWEETS: That's not going to happen. DAISY: I have to. (She charges towards Sweets but he stops her with a hand on her head) SWEETSL Oh,no,no, no,no,you don't, you don't, you don't, it's fine. HODGINS: Nice. CAM: So it's probably not Holly. Anyone else have access to the equipment? ANGELA: The print was e-mailed to somebody. DAISY: The m*rder was surprised and enraged by that image. I minored in psychology. SWEETS: Really? DAISY: Yeah. BRENNAN: Well, Holly wouldn't be surprised. She knew she slept with Bill. SWEETS: Right, but someone who was sleeping with either O'Roarke or Holly might have seen this. The image triggered the k*ller's rage. There was only one way to avenge that violation. The k*ller had to make sure that this image died with O'Roarke. DAISY: That's brilliant. BRENNAN: I know who did it. (Cut to: Medico Legal Lab. Booth and Brennan are coming out of her office.) BOOTH: So, you sure? (Booth hits his arm on the way out) Ow. BRENNAN: Yeah, it's the only person who makes sense. Mark, wha-what are you doing here? MARK: Well, you told me to pick you up. With dinner? BRENNAN: I... am so sorry. I... there's been an emergency. MARK: Okay, do you want me to reschedule, or...? JASON: Temperance. BRENNAN: Jason! What are you doing here? JASON: We're going to Coldplay, remember? BOOTH: You remember Coldplay. MARK: Coldplay? BRENNAN: Sorry, I've been distracted by the case. MARK: Why don't we ever go to a concert? As a matter of fact, why don't we ever leave your bedroom? BRENNAN: Um, can we talk about this later? We're about to arrest... JASON: You're dating this guy? BRENNAN: I -I don't like that term. It has an antiquated moral and needlessly restrictive connotation. MARK: (to Jason) And who are you? JASON: Obviously, a guy who is not doing as well as you. BRENNAN: This is Jason. (to Jason) Jason, Mark. (to Mark) Mark, Jason. (to Jason) Please understand, Jason, you're very good-looking, but sexual attraction is an involuntary hormonal response involving an increase in neutrophins and testosterone. MARK: (to Jason) So you get to go out? BRENNAN: Mark, you are a strong and attentive man, but Jason is more stimulating, intellectually. JASON: That's not the only way I could be stimulating. BOOTH: Um, m*rder? BRENNAN: m*rder, yes. MARK: What do you do with this one, Temperance? BRENNAN: Oh... this-uh, Booth is my partner, that's all. BOOTH: We should go. BRENNAN: Yes, okay. All right. Oh, Jason, we can talk at the concert. I'll meet you out front by 8:00, and Mark, we can talk later at my apartment. BOOTH: Oh, yeah. See ya, boys. Thanks. (he grabs a soda) I'll grab one of those. (Cut to: FBI Headquarters - Interrogation Room. Booth and Brennan are questioning Pete.) PETE: Thi-This is crazy. Why would I k*ll him? I mean, B-Bill and I were like family. BRENNAN: Because he was sleeping with your girlfriend. Although not only did you lose your girlfriend, you lost your job. It was not a good choice. PETE: (to Booth) What is she talking about? What, no, Holly and I are-we're just roommates. BOOTH: Yeah, but you used to be a couple and you were in love with her. And you felt that Bill ruined it for you... PETE: No, no. BRENNAN: You said that O'Roarke wasn't home when you went to pick him up Saturday morning, but that's not true. BOOTH: Yeah, you brought him his usual cup of coffee, but this time you put in something a little special. BRENNAN: Tetrahydrozoline hydrochloride. BOOTH: That, right there, is squint talk for eyedrops. Old bartender's trick, guaranteed to give Bill the runs. PETE: You guys don't know what you're talking about. BOOTH: Really? (He shows Pete the picture) PETE: Where did you get that? BOOTH: What'd you do, Pete-set up your own camera, sh**t your own show so you could bust Bill? PETE: I just lost it. Look, I'm a nice guy. I am. You can ask anybody. I just lost it. (Cut to FBI Headquarters. Sweets Office - Brennan and Booth enter.) SWEETS: Hey. Come on in. You look nice, Dr. Brennan. BRENNAN: Oh, thank you, uh... I was supposed to go to a...gallery opening tonight. BOOTH: What, did Jason get a new tight suit? BRENNAN: With Mark. SWEETS: Yeah, the two amigos. BOOTH: I thought he was more of your, uh, "stay at home" kind of a guy. BRENNAN: I was visiting the possibility that I might enjoy him in a strictly conversational setting. BOOTH: And? BRENNAN: Since the m*rder, I'm considering the argument for monogamy. BOOTH: Write that one down, Sweets. I have a positive influence on her. BRENNAN: No, you don't. BOOTH: Yes, I do. BRENNAN: Mark broke up with me. BOOTH: Oh. Sorry. Well, what about "gay Jason"? BRENNAN: Him, too. I guess they weren't as accepting of each other as I thought, so... SWEETS: Is it typical for you two to discuss your love lives? BOOTH: Well, I mean, only when she has naked men in her apartment. BRENNAN: No, that's not true. I'm very open about my relationships, as opposed to you. BOOTH: Okay, what's that supposed to mean? BRENNAN: You're very secretive. As if discussing your sex life would somehow be offensive to me. I assume you are sexually active. BOOTH: I do fine. SWEETS: Does it seem that your partnership provides a surrogate relationship, making it more difficult to form other bonds? BRENNAN: A surrogate relationship wouldn't necessarily be such a bad thing because then I could avoid the sting of rejection, which, however fleeting, is still uncomfortable. BOOTH: Right. Okay, look, I'm sorry. You know what? If Mark and Jason don't know how lucky they are, they don't deserve you in the first place. BRENNAN: All relationships are temporary. BOOTH: No, that's not true, Bones. You're wrong. Okay, there is someone for everyone. Someone you're meant to spend the rest of your life with. All right? You just have to be open enough to see it. That's all. (They stare at each other for a minute. Sweets watches, amused.) BOOTH: Come on, I'll buy you dinner. Hey, I can be fun in a strictly conversational setting. SWEETS: See? Surrogate relationship. BOOTH: Surrogate nothing. Okay? It's a meal. With drinks. Just strictly conversational. SWEETS: I can come, too. BRENNAN: Actually, our partnership does make it difficult to form other bonds-- no offense. SWEETS: Our session isn't over yet. BOOTH; How about Chinese? SWEETS: I love Chinese. Love it. BRENNAN: I feel more like Thai. BOOTH: Thai? I got coupons to Hop Li. BRENNAN: What, you're gonna take me out for a discount meal? BOOTH: What? There's two for one, and then they throw in some... (Sweets sits on the couch and picks up his phone and dials.) SWEETS: Hi. Is this Daisy Wick? Hey, this is Lance. (pause) The shrink? Yeah. Listen, sorry you got fired. Nothing. What are you doing? The accordian? No, no , no. I play a little bass... FADE OUT. END.

{"type": "series", "show": "Bones", "episode": "04x03 - Man in the Outhouse"}

foreverdreaming

"The Finger in the Nest" Episode 4x04 / Production 3x17 Airdate: September 17, 2008 Written By: Lyla Oliver Directed by: Jeff Woolnough Transcribed by: vanima_luhta Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Special Agent Seeley Booth and his son, Parker, are walking through a park, talking. Booth has a football in his hands.) BOOTH: You know what the most beautiful thing in the world is? PARKER: Mom says a sunset. BOOTH: Okay, well, one of the most beautiful man-made things. PARKER: Mom says the Mona Lisa. BOOTH: Okay, look, all due respect to your mom, buddy, but a perfectly thrown spiral is way better than any of that stuff, okay, so let me show you how you do this. You put your hand up here like that, spread your fingers wide. PARKER: My hand's too small. BOOTH: It'll grow, alright? Okay, hand there to steady the ball. Lift it up to your ear. (Parker lifts the football up near his chin.) BOOTH: No, your ear, not your chin, silly. Alright. PARKER: What's it saying? BOOTH: It's saying, "Throw your old man a deep pass for a touchdown!" Hey! (Booth runs out to catch the football then runs back to tackle Parker.) BOOTH: What? What you got? Whoo! (They both go down and Parker looks up into the tree they're playing beneath.) PARKER: Hey, there's a bird's nest. BOOTH: Where? PARKER: There. BOOTH: Cool, huh? Hey, you want me to lift you up so you can see inside? PARKER: How about I knock it down with a perfect spiral? BOOTH: No, no, no... don't do that, you don't want to do that. That's somebody's home, okay, buddy? Something could be alive in there, okay? (Parker nods understanding.) BOOTH: So you want me to boost you up so you can see? PARKER: Sure. BOOTH: Alright, you ready? PARKER: Yeah. BOOTH: One, two, three and up. (Booth lifts Parker so he can see into the nest.) BOOTH: What do you see up there? PARKER: Higher, a little higher. BOOTH: Higher? Okay. (Parker looks into the nest.) PARKER: I see something. BOOTH: Well, if it's an egg, don't touch it because if the mommy bird comes back... PARKER: It's not an egg. BOOTH: What is it? (Parker lifts something out of the nest and looks at it.) PARKER: It's somebody's finger. (Cut to: Dr. Temperance Brennan driving in her car talking on her cell phone to Dr. Camille Saroyan who is in the Medico- Legal Lab platform, with Brennan on speakerphone, she's there with a new grad student, Mr. Scott Starret.) BRENNAN: He pulled the finger out of a bird's nest. CAM: Did he completely freak out? BRENNAN: Booth said Parker wanted to put it in his pocket and take it home. (Cut to: Medico-Legal Lab platform.) STARRET: When it comes to boys, that "snips and snails and puppy dog's tails" thing is pretty accurate. CAM: You have a son? STARRET: I have four. BRENNAN: (heard over the speakerphone) Mr. Starret is my oldest grad student. (Cut to: Brennan driving.) BRENNAN: Can you get a fingerprint? CAM: (heard over the speakerphone) Uh, not enough flesh. (Cut to: Medico-Legal Lab platform.) STARRET: There are scrapes on the bone and a jagged appearance here where it was severed. BRENNAN: (heard over the speakerphone) Well, it was probably chewed off by a wild animal. (Dr. Jack Hodgins enters the platform.) HODGINS: The sticky stuff on the finger turns out to be sap from a flowering Japanese Cherry. (Hodgins looks at Mr. Starret strangely, and then shakes a finger at him.) HODGINS: I know you from somewhere. (Mr. Starret looks Hodgins over and nods agreement.) STARRET: Right. I sold you a vintage '50s hot rod back in the mid-90s. You were clean shaven back then. HODGINS: Because I was a kid. BRENNAN: (heard over the speakerphone) But you drove a hot rod, Hodgins? HODGINS: No, I did not. The lemon he sold me broke down after a week. CAM: Body parts in park, mystery needs solving. HODGINS: (turns toward a computer and begins typing) The nest was made by a corvus brachyrhynchos. The American crow. (Cut to: Image of a black crow on a computer screen.) HODGINS: A crow will seldom stray more than twelve miles from its nest. STARRET: There's a spectacular copse of Japanese flowering Cherry at the Jefferson Memorial. HODGINS: How do you know? STARRET: Career number two: Parks supervisor. CAM: The Jefferson Memorial is eight miles from where Parker found the finger. BRENNAN: Good work, guys. (Hangs up her phone) HODGINS: I'd say "King of the Lab" but... that just depresses me. (Hodgins exits and Starret looks confusedly at Cam. She shakes her head.) CAM: Don't ask. (Cut to: Booth's office at the FBI building. Parker is sitting in Booth's chair at his desk and Booth and Dr. Lance Sweets are standing outside the office watching him.) SWEETS: A human finger? BOOTH: Yeah, a human finger, alright? Look, is my son going to be suffering from some kind of post-traumatic stress, you know like suppressed feelings, memories, all that hooey? SWEETS: Well, a child's brain can't process death as an end. You know, that's why we tell children that their deceased loved ones are looking down on us from heaven. BOOTH: Which they are. SWEETS: Yeah, it's an excellent coping technique. You know, grandma isn't worm food, she's simply moved on to a better place. BOOTH: Which she did. SWEETS: Yeah. Parker looks good to me. (Cut to: Parker playing with a baseball and glove.) BOOTH: So, you talk to him? SWEETS: "Hi, Parker, I'm Dr. Sweets. I'm a psychologist and I'm here to talk to you about the human finger that you found." BOOTH: That's great. Could you do that? SWEETS: No. That could introduce issues that don't currently exist. Just call me if he displays any symptoms of distress. BOOTH: Okay, any symptoms of distress. Like um, k*lling cats? SWEETS: Yeah, sure. (Cut to: Booth and Brennan, Booth is sitting in the SUV while Brennan leans against it. Lights are flashing around them, obviously at a crime scene near the Jefferson Memorial.) BRENNAN: When I was five years old, I went next door to visit our neighbor, Mrs. Walkey, and she was d*ad; sitting at the kitchen table. And I'm alright. BOOTH: You spend your life with skeletons. It's just a matter of time. He's just a kid. He's gonna realize that he had a d*ad finger in his hand. He's gonna freak out. BRENNAN: Are you afraid you're going to get into trouble with Rebecca? BOOTH: There's a chance that he might not say anything to her. BRENNAN: So, yes. FBI AGENT: Agent Booth? BOOTH: Yeah? FBI AGENT: We found something. (Booth gets out of the car and shuts the door.) (Cut to: Booth and Brennan with flashlights walk into a copse of trees.) BOOTH: Okay, what have you got? (Cut to: An opossum chewing on a corpse.) BOOTH: Whoa! BRENNAN: Aww, it's an opossum. BOOTH: Eating a body. Should I sh**t it? BRENNAN: No. No, no, no. Opossums are scared of humans. Here! (Walks toward the opossum, tucking her flashlight under her arm, and starts clapping her hands.) Shoo, shoo, shoo. Shoo, shoo. Go, go, go, go. Go, go, go. Shoo, shoo. C'mon, shoo, shoo, shoo, shoo, shoo, shoo, shoo. (Opossum walking slowly off.) BOOTH: Yeah, they're terrified. (Brennan returns to the corpse and looks down at it.) BRENNAN: A number of body parts are missing. We'll have to grid the vicinity. BOOTH: Okay, we'll re-calibrate the search, and we'll call this ground zero. BRENNAN: Fanny pack, PDA clip. BOOTH: Well, if you can identify this person, I can subpoena the PDA's contents. BRENNAN: Partial skull. BOOTH: (Shines his flashlight around the area and lands on the opossum.) Oh, look at that. The possum's d*ad. (Eyes brighten with an idea.) I got it! The victim was poisoned, the possum ate the victim, got poisoned and died. That's it. BRENNAN: (walks over to the opossum while explaining to Booth) A stressed-out opossum can go into a false sleep, lasting up to four hours. (Picks up the opossum by the tail, and it starts moving shortly after.) BOOTH: Oh. So the possum was faking it? BRENNAN: Uh-huh. (Puts the opossum down and it walks off.) BOOTH: Wow. Yep, there it goes. BRENNAN: Uh, you should go get him. BOOTH: What do I look like, Ranger Rick? BRENNAN: He could have evidence in his digestive tract. BOOTH: C'mon, Bones. BRENNAN: Booth, evidence. BOOTH: Fine, I'll go get your possum. BRENNAN: Opossum. BOOTH: Possum. BRENNAN: Opossum. ACT ONE (Open on: Medico-Legal Lab platform. Mr. Starret and Cam are examining the remains found near the Jefferson Memorial.) STARRET: The sternal rib end indicates the victim was between 35 and 40 years old. The length of the long bones suggests he was between five-foot-eight and five-ten. CAM: He? STARRET: Bone density and skull indicators suggest male. CAM: Time of death... approximately four days ago. Lividity indicates that he died somewhere else and was then dumped. Deep puncture wounds to the trachea pierced the jugular. He bled to death. STARRET: I'll make an impression of the wounds, and see if we can't specify a m*rder w*apon. CAM: First we look for particulates. (Cut to: Hodgins looking in a microscope, Sweets is standing nearby.) HODGINS: Bull penis. SWEETS: Beg your pardon? HODGINS: The fanny pack had dandruff-sized flakes of bull penis in it. (Sits back from the microscope and looks at Sweets) Why are you spying on me? SWEETS: Could it be because I'm the dupe of an organ of the shadowy forces that secretly run this country? HODGINS: You got the dupe part right. (Looks back into the microscope) Freeze dried bovine phallus. SWEETS: You know where to find me if you wish to discuss anything. HODGINS: Yeah, the problem isn't finding you-it's avoiding you. Hm. SWEETS: Okay. (Sweets exits.) (Cut to: Angela's office. Angela is at the computer while Starret and Cam look over her shoulders.) ANGELA: The skull was badly mangled, so I was only able to construct a partial. But I cross-checked physiological markers against the missing persons database and it yielded three possibilities. Okay. Robert Sanchez, 24... STARRET: Too young. ANGELA: Michael Minden, former basketball coach, thirty-nine. STARRET: Too tall. ANGELA: That leaves Dr. Seth Elliot, veterinarian, thirty-seven. CAM: Any objections to Dr. Elliot? STARRET: He falls into the parameters. Plus, dog trainers use freeze dried bull penises as rewards. He was a veterinarian. ANGELA: H-how do you know about the bull penis stuff? CAM: He's middle-aged and he's held every possible job. STARRET: Four boys, seven dogs, fourteen guinea pigs, one reticulated python... you get the point. ANGELA: I got it. (Cut to: Conference room at the FBI building. Booth and Brennan are questioning the ex-wife of the victim, Alice Elliot.) ALICE: Oh, God. I've always hated that fanny pack. That's blood on it, isn't it? What happened? BRENNAN: Mrs. Elliot, when did you last speak with your husband? ALICE: Ex-husband. On Thursday, we made arrangements for Seth to pick up Brando. We have joint custody. BOOTH: And Brando is... (A small dog pokes it's head out of a bag on Alice's lap) your cat. BRENNAN: That's a dog, Booth. BOOTH: I... Thank you. So, uh... Seth Elliot never picked up Fido. BRENNAN: Brando. BOOTH: The dog? ALICE: Seth's d*ad, isn't he? BOOTH: I'm afraid so. (Alice starts to cry and hugs the dog.) BRENNAN: May I hold your dog while you cry? (Alice hands over the dog and Brennan grins.) Oh, he's so compact. (The dog is making small yipping and growling noises.) ALICE: Brando adored Seth. So did I. BOOTH: Wow, not so many ex-wives speak so fondly of their former husbands. ALICE: I never wanted to divorce Seth. BRENNAN: Then why did you? ALICE: You know, Seth had a serious gambling problem. He would either lose our car payment, or he would come home with diamond earrings. And when he lost our house, filing for divorce was supposed to be a wakeup call. BOOTH: And he never woke up. ALICE: No. BOOTH: Listen, do you have the bookie's name? ALICE: No, ask Karen. BOOTH AND BRENNAN: (Together) Who's Karen? (Cut to: Dr. Elliot's office. Booth and Brennan are talking with Karen Landrew, Dr. Elliot's assistant.) KAREN: (Crying) I've been Dr. Elliot's assistant, receptionist, whatever, for like eight months. m*rder? BRENNAN: His remains were found in the Jefferson Memorial park. KAREN: Oh my God, poor Seth. I don't know what'll happen to this place now. BRENNAN: Was it doing well? KAREN: We made barely enough to pay the rent, cover his salary, mine and... and the kid who sweeps up. BRENNAN: So no, not very well. KAREN: Seth didn't tell me everything, but I could sense he was under a lot of pressure. He tossed and turned all night. BOOTH: So you slept together? KAREN: He's divorced, I'm single. There's nothing enervating about it. BRENNAN: Oh, for future reference, that word doesn't mean what you think. BOOTH: Look, are you aware that Dr. Elliot had a gambling problem? KAREN: That was Seth's one fault. BOOTH: We'd like to talk to his bookie, if you know where he is. KAREN: I don't think that's how Seth gambled. BRENNAN: How did he gamble? KAREN: Online poker, mostly. BOOTH: Can you think of anything else? KAREN: Well, just after I started here, Seth caught a guy stealing drugs. He-He wrestled him to the ground, called the cops. Everyone said Seth was a hero. BRENNAN: What kind of drugs? KAREN: Ketamine. It's an animal tranquilizer. An-and the guy went to prison. Do you think he k*lled Seth for revenge? BOOTH: You know, thank you for your help. We're really sorry for your loss. Come on, Bones. KAREN: Without Seth, I'm paralyzed. I don't know how I'll find the energy to go on. BRENNAN: Now that is what "enervating" means. BOOTH: Bones. BRENNAN: What? (They exit.) (Cut to: Booth and Brennan driving. Brennan has a laptop open on her lap, Booth is driving.) BRENNAN: Okay. Tucker Payne. He was found guilty of stealing drugs from Dr. Elliot's vet clinic. Sentenced to two years and he was paroled one month ago. BOOTH: I'll have the drug thief's parole officer bring him in for questioning. Okay? (Brennan's phone rings and she answers it.) BRENNAN: Brennan. (Scene cuts back and forth between the Medico-Legal lab where Cam, Starret and Hodgins are and the car where Booth and Brennan are.) CAM: Dr. Brennan, Hodgins found saliva. BRENNAN: (Heard over the speakerphone) Where? CAM: On the victim. BRENNAN: But why was Hodgins looking for saliva? HODGINS: I wasn't looking for saliva. I found it. (Hodgins heard over the speakerphone.) Giant difference. BOOTH: Whoa, easy pal, watch your tone. BRENNAN: I don't care about tone, I just care about results. (Cam holding up a finger to quiet Hodgins while she speaks.) CAM: Dr. Hodgins was looking for particulates on the mandible and vertebrate that might lead to a m*rder w*apon when he found saliva. HODGINS: There was enough saliva in the wounds to run a DNA profile. BOOTH: Well, it had to be the possum, right? STARRET: Uh, the puncture wounds indicate something larger. BOOTH: Hey, who's that? HODGINS: (Heard over the speakerphone.) A fraudulent used car salesman. CAM: Booth, meet Mr. Starret. HODGINS: (Heard over the speakerphone.) I ran the standard eight nuclear markers for canids... BOOTH: Canids? What's that, like some kind of bug? STARRET: Not a bug, Agent Booth. HODGINS: Canis lupus familiaris. See how annoying that interrupting know-it-all used car salesman thing can be? BOOTH: I'm sorry, w-what is a can-ass familiar-ass... BRENNAN: Domestic dog. CAM: Seth Elliot was k*lled by a dog with filed teeth. ACT TWO (Cut to: Conference room in the FBI building. Booth interrogating Tucker Payne who is accompanied by his pit bull, Schatzi.) BOOTH: Tucker Felix Payne. You really must hate your parents for naming you that. TUCKER: It's a good name. Felix means "lucky." BOOTH: as*ault, possession of various restricted w*apon, various drug offenses. You don't seem so lucky. TUCKER: You should see the stuff they didn't get me on. BOOTH: Was it good luck that got you taken down by a veterinarian? TUCKER: I was so high I could have been taken down by a florist. BOOTH: Yeah, the vet is d*ad. You get paroled, vet turns up m*rder. You see where I'm going with this? Make your dog bark? TUCKER: You told me to bring Schatzi so you could hear him bark? BOOTH: Schatzi? TUCKER: It means "treasure" in German. BOOTH: Yeah, I want to hear Schatzi bark. TUCKER: Gib laut! (Schatzi barks twice.) BOOTH: I can't see its teeth. Want to show me his teeth? (Booth takes his g*n out and places it on the table. Tucker shows Booth the dog's teeth, Shatzi growls.) Why do you file its teeth down to points? TUCKER: I'm a drug dealer. You people catch me with a g*n, I go away forever. BOOTH: Shatzi your choice of w*apon? TUCKER: Never had to use him yet. Were you really going to sh**t my dog? BOOTH: I got nothing against your dog. (Booth picks up his g*n and puts it back in his holster.) I was going to sh**t you. See, I'm going to take your dog. (Hands Tucker a warrant.) TUCKER: Aww, man. You got a warrant for my dog? BOOTH: Mm hmm. TUCKER: That's cold. (Cut to: Medico-Legal Lab platform. Cam and Starret are going over results.) STARRET: Per your instructions, I microsiled the lethal bite mark. See here? (Points to bite marks on a bloody mandible.) CAM: An irregularity in the wound track. STARRET: Yes. I took an impression of Shatzi's bite. CAM: Who's Schatzi? STARRET: (Schatzi barks in a cage behind them.) Drug dealer's dog. (Turns to the dog and points.) Sejet sch n brav! (Turns back to Cam.) He responds to German commands. CAM: Very intimidating. STARRET: The dog that k*lled Dr. Elliot has a pronounced crack in its canine tooth. And the neighboring bicuspid shows a slab fracture. Very distinct. CAM: So Schatzi's not our k*ller. STARRET: Schatzi is innocent. (Shatzi barks again and the phone rings, Cam picks up.) CAM: Hey, Hodgins. (Scene cuts back and forth between the lab and the examination area where Hodgins and other FBI forensic crewmen are examining a car.) HODGINS: City police found the vet's car. A forensics crew is going through it now. Booth wanted me to make sure they didn't screw things up. (A forensic crewman gives Hodgins a look, and Hodgins shrugs.) Hey, deal with it. CAM: (Heard over the speakerphone) Well, I hope you find something, 'cause this puppy's innocent. HODGINS: (Heard over the speakerphone.) Yeah, well we're finding gobs of dried blood. CAM: It's a vet's vehicle-could be from one of his patients. STARRET: It's not. HODGINS: (Heard over the speakerphone.) Don't listen to him. You'll end up buying this blood-soaked heap for three times its value. STARRET: I worked as a vet's assistant in college when I was studying to be and EMT. We were as careful with blood as any human doctor. HODGINS: You ever think this vet didn't live up to your high standards? STARRET: (Heard over the speakerphone.) Most likely, the car was used to transport the victim's body, and then dumped. CAM: (Heard over the speakerphone.) That does make more sense. HODGINS: I found... (the forensic crewman clears his throat and gives Hodgins a look) Excuse me. The crack FBI team found a prescription bottle of arithromyacin. CAM: That's not an animal drug. That's a macrolide antibiotic used for a number of conditions. STARRET: Including acne and STDs. (Cam nods and gives him a questioning look. He holds up his hands.) Four boys. CAM: (Heard over the speakerphone) Maybe we got lucky and the bad guy dropped his prescription. HODGINS: Bottle reads "Donald Timmons." STARRET: (Heard over the speakerphone.) We should track him down. HODGINS: Wow, that is an absolutely wonderful idea that could only have sprung from a time-tempered mind of a man with your life's experience ripping off unsuspecting car enthusiasts. FBI FORENSIC CREWMAN: I feel better. You treat everyone like crap. (Cut to: Booth and Brennan driving up to a run-down shack with lots of machinery. Two dogs are sitting outside.) BOOTH: Wow, look at that pit, huh? Muscles like cantaloupes. (Pit bull starts barking.) BRENNAN: (Goes for the door handle to get out of the car.) Is that why we're not getting out? BOOTH: No, it's the country, Bones. They got a different way of doing things. BRENNAN: You're afraid of the dog. BOOTH: No, I'm not. What you do in the country is you sit in your car and you wait. It's rural-polite. Parker had a nightmare. BRENNAN: About severed fingers? BOOTH: No, it was a singing frog. BRENNAN: I don't see the connection. But then I'm one of those people who thinks that if you dream about a banana, it's probably just a banana. BOOTH: He's acting up in school, he's talking back to his mom, he's not flushing the toilet. BRENNAN: He's a boy. BOOTH: Okay, yeah. I get it. You saw a whole lady's corpse when you were a little girl, and you were fine. BRENNAN: Yes. Although, for some reason that I do not understand, I kept staging my own death. Pretending that I drowned in the bathtub, faking electrical shock. It really freaked my parents out. And then once when Russ found me hanging he had to go see the school psychologist. BOOTH: But otherwise you were fine? BRENNAN: Yeah. BOOTH: Yeah, okay. Do you dream about bananas a lot? BRENNAN: Why? (Booth shrugs and a man comes out of the building. Brennan nods toward the man.) Can we get out of the car now? (Booth and Brennan get out of the car.) BOOTH: Quiet. Don Timmons? DON: Why you just waiting in the car? Gladys wouldn't hurt you. BOOTH: FBI Special Agent Booth. This here is my associate, Dr. Brennan. BRENNAN: Do you know Dr. Seth Elliot? DON: Sure I do. Went to high school with him. He's my vet. Why? BOOTH: He was m*rder. DON: Oh, man. (He turns toward the building and shouts.) Robbie. Hey, Robbie! ROBBIE: (Exits the building and walks toward them.) What's up? DON: Seth died. ROBBIE: What happened? DON: This is the FBI, they say he got m*rder. This is my boy Robbie. He used to work for Seth part-time. BRENNAN: Can you think of a reason why Dr. Elliot's car would be full of blood? ROBBIE: No, no. It's not like he ran an animal ambulance or something. BOOTH: You ever ride in his car, Mr. Timmons? DON: No, never. Why? (Brennan brings out the prescription Hodgins found in an evidence bag and hands it to Don.) ROBBIE: When it's bagged like that, it means it's evidence, Dad. It's not his. It's mine. DON: Robbie. ROBBIE: Dad, it's a m*rder investigation. They don't care about insurance. I'm too old to be on my dad's insurance. BOOTH: He got the prescription under your name. BRENNAN: But that's fraud. DON: That's working around a system that doesn't care about people like us. Listen, I'm the father. Robbie shouldn't be held responsible. BOOTH: How about you? You been in Dr. Elliot's car recently? ROBBIE: Last... last time was on the weekend. We did a gelding over at Danny Oliver's place. BRENNAN: What about Tuesday night? Where were you? ROBBIE: I was at my tutor's. I'm trying to get my GED. (Gladys brings a squeaky toy to Brennan and she bends down and pets her.) BRENNAN: Hi. DON: Robbie's going to go to medical school if it kills both of us. ROBBIE: I was kind of thinking I'd be a vet. DON: Yeah, well that's a good backup if you crap out on medical school. BOOTH: We're going to need the tutor's name, address, all that stuff. DON: It's Andrew Hopp. He'll vouch for Robbie. BRENNAN: Gladys is a very nice animal. ROBBIE: Yeah. Dad really trained her great. DON: Gladys, come. Sit. Lay down. What? (Scratches at his ear and Gladys barks.) BOOTH: Well, that's impressive. DON: No sense in owning a dog if you can't control it. BRENNAN: (To Booth.) Gladys teeth are not filed. ROBBIE: What? BOOTH: Oh, Dr. Elliot was k*lled by a dog with sharpened teeth. (Brennan throws the squeaky toy.) BOOTH: Bones, what are you doing? Enough playing with the dog. BRENNAN: What? ROBBIE: Seth was m*rder by a dog? BRENNAN: The m*rder was a human being, the m*rder w*apon was a dog. ACT THREE (Cut to: Medico-Legal Lab platform. Hodgins looking into a microscope and Sweets standing nearby once again.) HODGINS: Back to this, are we? You staring at me? SWEETS: Well, I have concerns, Dr. Hodgins. HODGINS: About me? SWEETS: Yeah, you seem to have completely abandoned your paranoid conspiracy theories. HODGINS: I'm not a trained psychologist, like you, but that sounds like a good thing. (Picks up the phone and dials Cam.) Dr. Saroyan, I've found something important I need to show you. (Hangs up.) SWEETS: Conspiracy was the central idea around which you organized your sense of self. Also, I can't help but note that you're not paying quite so much attention to your personal appearance. HODGINS: Less paranoid and less vain. Again, that sounds like a good thing. SWEETS: These kinds of changes in a man's life indicate intense distress. Would you like to discuss this with me? HODGINS: I'd rather drive a motorcycle full speed into a bridge abutment. SWEETS: Do you, uh... do you often entertain suicidal thoughts? HODGINS: No, I'm more homicidal in nature. SWEETS: Pretty sure you're not saying that in earnest, but as a way to keep me at arm's length. (Cam enters.) CAM: I'm here, what's up? HODGINS: (To Sweets.) Oh, do you mind? I have work to do. SWEETS: You need to talk about these things, Dr. Hodgins. If not with me, then with someone else. Dr. Saroyan. (Sweets exits.) CAM: What have you got? HODGINS: Oh, uh, I found some particulates that the geniuses at FBI forensics missed. CAM: From the victim's car? HODGINS: Crushed exoskeletons of copeopods and other crustaceans. CAM: Ah HODGINS: (After Cam's confused expression.) Yeah, I don't know what that means either. CAM: So, you called me over here to... HODGINS: Make Sweets go away. CAM: Not an appropriate use of your boss, Dr. Hodgins. HODGINS: It worked, didn't it? (Cut to: Brennan's office at the Jeffersonian. Booth and Brennan are walking into the office with Andrew Hopp.) BOOTH: Thanks for coming into the Jeffersonian, Dr. Hopp. HOPP: I'm not a doctor yet. I'm only a third year medical student. BRENNAN: So, you tutor Robbie Timmons? HOPP: Yeah, twice a week-here's a complete record of our meetings. (He pulls out a piece of paper and goes to hand it to Brenann but Booth snatches it.) BOOTH: I'll take that. Thanks. (Booth looks down on a small pillow with parallel stitches in it that Hopp is holding.) BOOTH: You, do a little, uh, needlepoint on the side? BRENNAN: It's used to practice suturing. HOPP: Yeah, next year we use actual corpses. BOOTH: So what is, uh, Robbie like? HOPP: He's a good kid-I mean, he's never going to be what his dad wants, but he tries hard. (An alarm beeps on his cell.) I'm sorry, I have to run. I got a class. (They begin walking out of the office, following Hopp.) BOOTH: Did you ever meet Dr. Elliot? HOPP: The vet that Robbie worked for? The one who got m*rder? Yeah. BOOTH: I take it you didn't like him, huh? HOPP: Uh, I was raised not to speak ill of the d*ad. BOOTH: Yeah, well I was raised to ask questions like that, so I'm afraid I'm going to have to insist. HOPP: (Sighs.) I met him maybe twice, and I'm pretty sure he was tweaking. BRENNAN: W-what's that? BOOTH: He was a meth addict. HOPP: I'm just not sure Seth Elliot was the best role model for...for Robbie Timmons, that's all. BRENNAN: Did Robbie Timmons' father know? HOPP: No way, Old Don's a pretty straight arrow. Robbie's his main project, so... BOOTH: Well, thanks for coming in. HOPP: Hey, thanks for letting me see this place. It's legendary. (Hopp exits.) (Cut to: Angela's office. Angela is at her computer and Booth and Brennan are standing behind her looking over her shoulders.) BOOTH: It's dogfighting. ANGELA: (Scrolling through pictures of various dogs fighting.) I hate this job, so I'm quitting to go run a gallery in Dubai. BRENNAN: Oh, it's just disgusting. ANGELA: Yeah, we got the subpoena to download Dr. Elliot's PDA records from the server. BOOTH: These were on his PDA? ANGELA: Time-stamped the day of his death. BRENNAN: (Pointing to a picture.) Fighting pit, spectators. A r*pe stand used to restrain uncooperative females. The smaller cages are for bait-small animals used as rewards for the winners. BOOTH: They teach you that in anthropology school? BRENNAN: Pitting animals against each other is a common pastime in evolving cultures where v*olence is more commonplace and animal life has no value. ANGELA: To men. No value to men. BRENNAN: Yes, it's always men. BOOTH: Here we go again. Okay, you two don't get all, you know, Xena: Princess Warrior on me, okay? I guess we know now where Elliot liked to do his gambling. BRENNAN: Wait, Ange, go back. (Points to an area on the picture on the screen.) Right there, can you magnify that? ANGELA: What, that blob? BRENNAN: There's something familiar. That's Glady's ball. ANGELA: Who's Gladys? BOOTH: Could be enough for me to get a warrant if the judge had a glass of wine or two at lunch. ANGELA: Dubai, people. I'm going to go sell Inuit art to gazillionaires. (Cut to: FBI Building. Sweets is on the computer, typing when there's a knock and Booth enters towing Parker behind him.) BOOTH: Hey, Sweets. You got a minute for me and Parker here? SWEETS: Wow, there you are, actually right here in my office without an appointment or... Hi, Parker. I'm Dr. Sweets. PARKER: His face doesn't look like a baby's behind. BOOTH: (Covers Parker's ears with his hands.) Look, okay, he's having nightmares. He's uh, not eating. He doesn't want to go to school and suddenly, he's afraid of meteors. SWEETS: Giant flaming rocks from outer space. Who wouldn't be afraid? PARKER: You know I can still hear you. BOOTH: Okay, hum, hum, okay, got it? Hum. (Parker starts humming.) I know all this is connected to him finding that finger. SWEETS: I'm not some radio advice hack who performs diagnoses over the phone. BOOTH: This is exactly why I brought him here in person-cure him. SWEETS: No. It doesn't really work that way. Therapy with a child is... PARKER: (As Booth lets go of him.) Ah, I thought I was going to run out of breath. BOOTH: Yeah, I'm going to run out of breath when I run upstairs to get that warrant from that senile judge. Ten, fifteen minutes? Is that good enough time? Okay, see you! Bye, have fun! (While Sweets shakes his head Booth runs out of the office and shuts the door behind him) PARKER: (Sits down on the couch and puts his feet up on the coffee table.) Are you my babysitter? SWEETS: (Sits down across from Parker.) Parker. That is exactly what I am. (Cut to: Medico-Legal Lab. Cam and Hodgins walking through the lab to a workstation.) CAM: The judge said no. Glady's ball wasn't enough for a warrant. HODGINS: Why? CAM: Because over two million of them were sold last year. HODGINS: Well, we did our best. Next case. CAM: We need evidence that the Timmons' place was used for dogfighting. HODGINS: Alright, well, I found crustaceous material in the victim's car. It's an antifungal treatment used on Astroturf. CAM: That doesn't link us with dogfighting, either. ANGELA: (Approaches and nods.) Yeah, it does. (Cut to: Angela's office. Scrolling through more pictures of dogfighting.) ANGELA: Ick. (Next picture.) Ew. (Next picture.) Blugh. (Next picture.) Alright, here we go. Brennan said that this was the dogfighting ring. (Magnifies a picture of the ground.) HODGINS: So, it's Astroturf. CAM: If this Astroturf cleaning stuff was delivered to the Timmons' place, that should get us a warrant. HODGINS: (To Angela.) You're a genius. ANGELA: No, you're the genius. (Awkward silence ensues. Then Cam and Hodgins exit.) (Cut to: Timmons' place. Booth exits the SUV and starts rattling off instructions as he heads back to greet Mr. Cesar Millan.) BOOTH: Okay, people, what we're looking for is evidence of a dogfighting operation. Mr. Millan, thank you so much for coming. CESAR: I hope I can help. BRENNAN: I've seen you on TV. CESAR: Thank you. BRENNAN: No, I only stated a fact-there's nothing inherently complimentary about being on television. BOOTH: She's happy you're here, and so am I. DON: (Exits the building looking angry.) What the hell's going on here? BOOTH: (Hands an agent the warrant.) You know what? Serve him this warrant, tell them we're looking for Astroturf. BRENNAN: So, where do we look first? BOOTH: Start with the larger outbuildings. C'mon. (Cut to: Cesar, Booth and Brennan walking around the buildings.) CESAR: You don't hurt the ones you love. You don't send the ones you love to their death for entertainment. (Brennan stops and looks into a holding pen.) BOOTH: You must really hate these guys. CESAR: I really do. BOOTH: (Watching Brennan as she steps into the pen and looks at freshly turned dirt.) What is it? BRENNAN: He said that the dogs fight to their death. So we should have expected this. (Dog bones are sticking out of the soil.) It's a mass grave. These seem to be all dog bones, but there's other stuff too; some trash, betting slips. BOOTH: We'll send it all back to the Jeffersonian. See if we can trace the betting slips. Find these people and charge them. BRENNAN: Yes, that would make me feel a bit better if we did that. CESAR: (Calling from inside a nearby building.) Agent Booth, we found something. (Cut to: Cesar, Booth and Brennan walking inside the building, looking around.) BOOTH: Yep, dogfighting ring. The Astroturf. BRENNAN: It's just like the pictures on Elliot's PDA. BOOTH: Find any dogs? CESAR: Yes, quite a few in fact. (Cesar opens a door to reveal several dogs chained up on the other side. They all stand up and start barking at them.) CESAR: Shhht. Hey. Shhht. (Snaps his fingers and motions them down.) Shhhh. Down. (The dogs all lie down.) BRENNAN: How does he do that? BOOTH: He's the dog whisperer. (Booth snaps and tries to imitate the sound Cesar makes.) BRENNAN: You didn't do anything. (Cut to: FBI Building interrogation room. Booth is questioning Don Timmons.) BOOTH: Dogfighting ring, the remains of a dozen d*ad dogs. And you're gonna tell me all that happened a hundred yards from your house and you had no idea what was going on? DON: I never go to the barn. I, uh, I rent it out. (Pulls a piece of paper from his pocket and hands it to Booth.) BOOTH: (Stares at Don for a minute before picking up the paper and reading it. Scoffs.) Numbered company. Don't tell me. They pay cash and you never met the tenant. DON: That's right. As far as I know, they use it for storage. BOOTH: How involved was Dr. Elliot. DON: I have no idea what you're talking about. BOOTH: He owe you money, or maybe you just wanted a bigger cut. DON: Let me go, or get me my lawyer. BOOTH: Whatever happened, you know what? Four days ago, you snapped. You had one of your trained dogs att*ck him. DON: Four days ago? I'm a driller, Agent Booth. I dig wells mostly, some pylon holes. Four days ago I was at an auger seminar in Chicago. BOOTH: Can you corroborate that? DON: Airplane tickets, hotel receipts, about sixty eyewitnesses. See, I'm kind of the life of the party at those things. I know how to organize a good time. BOOTH: Just like you know how to organize a dogfighting ring. DON: I don't know anything about what goes on down at that barn. (Cut to: Medico-Legal Lab. Dogs are everywhere contained in cages. Cesar and Brennan are looking at the dogs.) CESAR: Hey, stop that now. BRENNAN: Could I see your teeth please? CESAR: That's not how you do it. (Motions down with his hand.) Shht. Down. (Opens the cage door.) Down. (Takes the dog by the head and lifts his lip so that Brennan can compare a molding to its teeth.) BRENNAN: No, it's not a match. CESAR: That mold you made, it's like Cinderella's slipper. BRENNAN: That story never made sense to me, but yes. (Another dog starts barking at Brennan.) BRENNAN: Hey, stop that now. (Tries to make the same noises as Cesar to calm the dog.) CESAR: It's not as easy as it looks. Shht. Down. (They open the cage door and compare the mold to the dog's tooth.) BRENNAN: It's a match. CESAR: Are you positive? BRENNAN: This is the k*ller dog, yes. CESAR: I'm sorry, buddy. (Pets the dog.) So sorry, buddy. (Cut to: Medico-Legal Lab. Hodgins and Starret are sifting through evidence on an exam table.) STARRET: Should I be looking out for anything in particular? HODGINS: Yeah, flashy crap you can sell to a gullible kid. STARRET: I didn't sell you that car, you bought it. You saw those horizontal scallops and you just had to have it. I suggested that you look under the hood, but all you did was sit behind the wheel and make vroom-vroom noises. HODGINS: I was twenty years old. STARRET: All these years later you're still blaming me? You're not twenty anymore, Dr. Hodgins, so cut it out. HODGINS: You know...(Long pause as he gets angry, then realizes his mistake.) I'm sorry. I just... (Puts his head in his hands.) I've just been having a lot of problems recently. STARRET: I'm sorry to hear that. HODGINS: My best friend who used to work here with me, he got himself into a lot of trouble. I really miss the guy. STARRET: Dr. Hodgins... HODGINS: You know Angela? She and I, we were engaged to be married, and well, that went south too. STARRET: That's a lot to bear... especially if you feel responsible. HODGINS: Yeah, I do. I do feel responsible. STARRET: You shouldn't be talking to me. HODGINS: Of course not, I'm sorry. STARRET: What I mean is; I'm not the right person for you to confide in. This is my last day here. I leave for a dig in Arizona tomorrow. HODGINS: Oh. STARRET: There are people around here to seem to like you very much. People who are concerned with your happiness. (He roots around in the evidence and brings out a small microchip.) What's this? HODGINS: It's a computer chip. Pet owners have them embedded in their animals in case of theft or loss. But, you knew that. Didn't you? (Cut to: Sweet's office. He's laying on the couch reading a magazine when Booth enters.) BOOTH: I got a message that you have something to tell me about Parker. SWEETS: Uh,yeah, yeah. Uh, you were right. Parker is traumatized. (Booth looks dejected and flops into a chair with a sigh.) Uh, it has nothing to do with the finger in the nest. BOOTH: Huh? SWEETS: Um, he has a girl problem. BOOTH: Girl? He's six. SWEETS: Uh huh. The girl, her name is Stephanie Clyde. She's somewhat large. Likes to pick him up and carry him around. BOOTH: Carry him under her arm? SWEETS: Like a pet monkey. He doesn't know what to do. He says you told him never to h*t girls. BOOTH: I told him never to h*t anyone. You know, unless it was for self defense. She, uh, carries him around? SWEETS: Like a monkey. At recess. She thinks he's cute. BOOTH: What about the finger? SWEETS: Parker actually wishes that you'd let him have the finger. So he could show it to Stephanie and maybe make her barf. BOOTH: Why doesn't he just run away? SWEETS: Well, when I suggested that, he told me very proudly that his father never ran away from anything. BOOTH: (Laughs.) Proudly? He said that? SWEETS: I think you know what to do. I mean, we've all had our Stephanie Clydes, right? BOOTH: No one's ever carried me around like a monkey, especially a girl. SWEETS: Of course not, me neither. (Cut to: Medico-Legal Lab. Cam examining the dog that had the matching tooth, revealing a wound.) CAM: This is exactly where the microchip would be embedded. (Starret takes the serial number off the microchip and it loads in the computer.) STARRET: Ten digits. HODGINS: The FBI can use it to track down Ripley's owner. CAM: If it's his microchip. (Cut to: Dr. Elliot's office. Booth and Brennan hand Karen Landrew a case file.) KAREN: Ripley? BRENNAN: According to the American Veterinary Identification Device database, his owners brought him here. BOOTH: To be put to sleep. KAREN: It's true. You know why? BOOTH: Why? KAREN: Because they didn't know when they bought him that he'd get so big. BRENNAN: You didn't euthanize Ripley. KAREN: Seth couldn't do it. The dog was completely healthy. Instead he found Ripley a new home. BOOTH: Where? KAREN: That, I don't know. BRENNAN: Ripley ended up at a dogfighting facility run by Don Timmons. KAREN: No. Seth devoted his life to saving dogs. He simply wouldn't do that. Not on purpose. ACT FOUR (Cut to: Brennan's office. She's sitting on the couch looking at her computer with Ripley when Booth enters.) BOOTH: Hey, Bones. Don Timmons' alibi checked out. He was in Chicago... (Trails off when he sees Ripley.) Whoa, what are you doing? BRENNAN: I'm just going through the case to see if I missed anything. BOOTH: Uh, the dog should be, you know, in the cage. He k*lled Seth Elliot. BRENNAN: It's not his fault. He's actually a very nice dog, aren't you? He reminds me of you. BOOTH: Me? BRENNAN: He's got warm and reassuring brown eyes, and he's capable of great v*olence. BOOTH: Hey, great. Thanks a million. (Starts to walk out.) BRENNAN: Wait, Booth, look at this cruelty. They send dogs into fight, to die or be hurt, and then they stitch them back up and they send them out to fight again. You know, we've been assuming that it's been Seth Elliot doctoring these dogs. BOOTH: Well, he was a vet. BRENNAN: But look... (magnifies a picture of a stitched wound) common suture stitch. See here how it's uneven in the same way, and then there's an "x" at the end? BOOTH: So? BRENNAN: It's distinctive. And I've seen it before. (Cut to: Barn where the dogfighting took place. Booth and Brennan are comparing the pillow Hopp used to practice his stitches with the photograph of the stitched wound. Don, Hopp and Robbie are standing nearby.) BRENNAN: Common suture, uneven..."x" at the end. Same thing. It's like a fingerprint. BOOTH: (To Hopp.) The thread is green nylon. You'd better believe we'll match it. HOPP: Stitching up wounded animals isn't a crime. ROBBIE: What's going on? HOPP: Just everybody shut up, and we'll be fine. (Cesar enters with Ripley on a leash.) BOOTH: Everyone, this is Ripley. BRENNAN: He k*lled Dr.Elliot. DON: None of us ever saw that dog before. BRENNAN: Well, we can tie Andy here to all of these wounded animals and to Ripley. ROBBIE: Is that that guy from TV who talks to dogs. CESAR: Yes. BOOTH: You see, we want to know who sicced Ripley here on Seth Elliot. BRENNAN: We don't need you. We know you were in Chicago. CESAR: (To Robbie.) Would you mind clapping, like this? (Claps twice.) HOPP: No we won't do that. DON: Do it Robbie. ROBBIE: What? DON: You're not his master, do it. (Robbie claps twice and there is no reaction from Ripley.) CESAR: It's not him. (Booth walks behind Hopp and claps twice. Ripley comes running and sits at Hopp's feet.) BOOTH: Look at that. BRENNAN: He's waiting for your command. HOPP: May... maybe my dog k*lled Dr. Elliot, but that doesn't mean I made him do it. DON: Ripley's a good dog. He wouldn't att*ck unless he was ordered. (To Robbie.) Tell these people what you know about Seth Elliot. HOPP: Robbie... ROBBIE: I-I saw it. Andy told Ripley to att*ck because he saw Dr. Elliot taking pictures of the dogfighting. (Cut to: Sweet's office. Sweets is sitting across from Hodgins.) HODGINS: I don't know how to do this. SWEETS: Mostly you just tell me what's on your mind. HODGINS: Mostly on my mind is I hate everyone. SWEETS: Everyone? HODGINS: To varying degress, but, um... yeah, yeah everyone. (Shrugs.) Angela...the most. Because we, you know, had something great, uh, and now it's dirt, Zack...for being such an idiot, Brennan for bringing us all together, Cam for making us efficient, Booth for giving us a mission, you for pick, pick, picking at me... Should I go on? SWEETS: No, no. I get the point. HODGINS: I just hate everyone. So, what? Intense therapy, heavy medication? SWEETS: Nah. I'm good with the hate. HODGINS: Are you serious? SWEETS: Yeah, I am. You're doing fine. HODGINS: Um... I hate everyone. SWEETS: You're coping. It's a coping technique. Coping's good. HODGINS: Did you get your degree on the internet? Let me see your diploma. SWEETS: You're working. You're living a life of purpose. You haven't turned your back on your friends. HODGINS: Except I hate them all. SWEETS: You're independently wealthy, right? You don't have to work. And yet you choose to stay with the people you hate. HODGINS: Which makes me completely nuts. SWEETS: No, you've... you've replaced one way of seeing the world-paranoia-with another: misanthropy. Soon you'll replace misanthropy with something nicer. But for now, temporarily, I'm satisfied with your coping technique. HODGINS: My coping technique of hate? SWEETS: Correct. HODGINS: So... are you, like, my therapist now, or... SWEETS: No, we work together. HODGINS: (Stands.) Great, see you at work. (Hodgins exits.) (Cut to: Booth's office. Brennan walks in to find Booth sitting at his desk.) BRENNAN: Hey. BOOTH: Hey. Robbie Timmons gave a statement. Andrew Hopp set the dog on Seth Elliot. Apparently Elliot was furious when he found out the dog he'd given to Timmons was used in dogfighting. BRENNAN: Dr. Elliot took all those photos to turn into the police. BOOTH: Andrew Hopp would have lost his main source of income. He would have been forced to leave medical school. BRENNAN: What about the rest of the people in the dogfighting ring? BOOTH: Don't worry about it. We'll round 'em up. (Looks at the bag Brennan has in her hand.) So, what do you got there? BRENNAN: (Takes a collar and leash out of the bag.) Well, I've decided to adopt Ripley. BOOT: Bones... BRENNAN: I've already contacted a dog walker and a doggie day care place, and my dad will take him when I leave town. I got a little tag. See? Ripley Brennan. BOOTH: He was put down. BRENNAN: What? BOOTH: I'm sorry. You know, he k*lled someone and they had to put him down. BRENNAN: It wasn't Ripley's fault. People made him do what he did. BOOTH: I know. I'm sorry. BRENNAN: You can tell he's a good-natured dog. They put him down? BOOTH: Yeah. BRENNAN: Damn it. BOOTH: Bones, I'm sorry. BRENNAN: What are they going to do with his remains? (Cut to: Booth and Brennan in a copse of trees. Booth is putting dirt into a hole in the ground.) BRENNAN: Hey, Booth? Can I do that? BOOTH: You sure? BRENNAN: Yeah, you dug it. (Brennan takes the shovel and begins putting the dirt in the grave.) BOOTH: Yeah. BRENNAN: So did Sweets help you with Parker? BOOTH: Yeah. I told Parker that it's best to just walk away sometimes. BRENNAN: What, sometimes? Isn't it always better to walk away? You know, this dog would still be alive if he wasn't forced to fight. BOOTH: I told him to walk away if it's for himself, and to stand up and fight if it's for someone else. I don't know if that was the right thing to say, but... BRENNAN: You're a very good father. (She finishes with the dirt and sighs.) BOOTH: So, did you want to say something? BRENNAN: Well... I feel that this dog, Ripley, paid a price that was unfair. BOOTH: It's not my fault, Bones, why're you talking to me? BRENNAN: What? You're the only one here. BOOTH: Talk to the universe... or God or Ripley. BRENNAN: Well, I don't believe in God. BOOTH: Well, God spelled backwards is "dog". BRENNAN: And Ripley is d*ad. Plus he's a dog, with, you know... limited vocabulary skills. BOOTH: Bones, just... speak from your heart. BRENNAN: On behalf of humankind, universe, I'd like to apologize for what happened to Ripley. He was born a cute little puppy and then the people who adopted him wanted to k*ll him because they were too stupid to realize that he would grow into a big dog. BOOTH: That's good. BRENNAN: (Choking up.) Ripley was a good dog. He didn't wanna fight. But he did it to please his master. Y'know, he didn't want to att*ck a human being, but he did it to please his master. You know, it wasn't Ripley's fault that his master was cruel and selfish. Like all dogs, Ripley only saw the good in people. Dogs are like that. People should take a lesson. (Brennan takes the dog tag out of her pocket and presses it into the soil over the grave. She then begins to press the dirt down on the grave.) BRENNAN: Is that enough? BOOTH: Yeah. As much as any good dog...(reaches out to touch her shoulder) hey, could hope for. Even with limited vocabulary skills, okay? (Brennan starts to tear up. Booth wraps his arm around her and she leans into him.) END

{"type": "series", "show": "Bones", "episode": "04x04 - The Finger in the Nest"}

foreverdreaming

"The Perfect Pieces in the Purple Pond" Episode 4x05 / Production 4x01 Written By: Josh Berman Directed by: Jeannot Szwarc Transcribed by: tearcreek Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER. (Interior of an abandoned warehouse.) TODD: That was great. You were great. So maybe we can do it again? KAREN: The others are coming, right? TODD: (hopping up and down a bit) We still got time. KAREN: What is the matter with you? TODD: I gotta take a leak. KAREN: Go! TODD: It's not my fault they made the GargantuGulps so gargantuous. (He begins to exit). KAREN: It doesn't seem to bother me any. Microbladder. TODD: (jogs out of the warehouse. TODD steps up to an evaporation pool and unzips his jeans. He urinates into the pool. We see the water turning purple.) KAREN! KAREN: WHAT? TODD: (yelling) Are you sure I'm the only guy you've ever had sex with? KAREN: Why? (We look at the water again. A human hand reaches up out of the purple water.) TODD: Oh my god. (Two more body parts appear. TODD runs back and we see a torso and numerous other parts have surfaced.) TODD: KAREN! KAREN! (Cut to: Int. McKinley Psychiatric Hospital.) ZACK: As I've told you many times before Doctor Sweets, I do feel remorse. SWEETS: But not for s*ab a man in the heart. ZACK: No, for succumbing to the faulty logic that persuaded me that his death was desirable. SWEETS: You know a sane person would regret m*rder someone more than being taken in by a line of crap. ZACK: Define 'crap'. SWEETS: Drivel, blarney, nonsense, uh, balderdash, twaddle, bull, bunkum, hooey. Like that. ZACK: Now I realize it was drivel, blarney, nonsense, balderdash, twaddle, bull, bunkum, hooey. Then I perceived it as logic. SWEETS: (Goes to stand.) How are your hands? ZACK: I estimate that I've regained almost 60% full function. Which is not bad for hands that were torn apart by an expl*si*n. (SWEETS is by the locked door, swiping a key card. A red light denies him access.) SWEETS: You know you'll only be released from this psychiatric institution (he tries again) if we cure you of your delusions. (He raps on the door.) My card isn't working! Hello? ZACK: I was wrong, not delusional. (SWEETS just looks at him. The door is opened by a male ORDERLY in scrubs.) ORDERLY: Your card must have expired, Doctor Sweets. SWEETS: (looks at the card) Thank you. (Then at ZACK) Well, perhaps you should consider that your delusion is that you're not delusional. (Cut to: Int. same abandoned warehouse from teaser.) BOOTH: How many pieces in total? AGENT: Twelve. Interesting anomaly, no head. BRENNAN: No head? That's odd. AGENT: Which is why I said 'anomaly'. BOOTH: Hey, you don't need to be snippy with my partner, pal. BRENNAN: Booth, it's alright. Woah, what's wrong with your back? BOOTH: Oh, nothing. BRENNAN: Well you're walking as if you've strained your intertransverse ligament. I might be able to help with that. BOOTH: No I should never have gone down that small slide with Parker. I'll be fine; it's just nothing, okay? AGENT: Body parts were found in this evaporation pool. BOOTH: That's purple! AGENT: Yeah, kid said it turned purple when he peed in it. BRENNAN: For future reference, this is more of an anomaly than a missing head. AGENT: Sad comment on your life, Doc. BOOTH: Again, snippy. You know, if my back wasn't bad, I would h*t you. BRENNAN: Booth! I can take care of myself. (b*at.) Size of the limbs suggest that our victim is a fully-grown male. BOOTH: What is with the purple water? BRENNAN: Hodgins can analyze it. AGENT 2: Cell phone, Doctor Brennan. BOOTH: Alright don't tell me, you want the entire purple pond drained and shipped back to the Jeffersonian. BRENNAN: No, I think a small sample will do. BOOTH: Great! BRENNAN: Although... Skulls are heavy; the head could have sunk to the bottom. You are correct. We should drain it. BOOTH: We're draining it. Drain it. (Muttering) Oh, man. (Opening Credits) (Open, Int. Medico-Legal Lab, platform.) ANGELA: The ends of his fingers look b*rned. BRENNAN: t*rture? WENDALL: Sometimes guys try to conceal their identity by losing their fingerprints. BRENNAN: Mr Bray is my brightest scholarship student. ANGELA: Alright, these are children's shoes, but they're a size 11. CAM: So you think our victim was a giant toddler? BRENNAN: No, that would show up in the bones. CAM: (to WENDALL) Sarcasm does not play well on the forensic platform. ANGELA: I tracked down the manufacturer in Sri Lanka, and guess what? Special order. CAM: Time of death, based on decomp, between two and four days. BRENNAN: All of the cuts to the skeleton are clean except for several incomplete slices to the C2 Vertebra WENDALL: Close to cutting off the head, the k*ller hesitates. CAM: Makes sense... gets easier after the first chop. BRENNAN: What did you glean from the x-rays? WENDALL: Slight spinal curvature, hypermobile extension joints, ah, cartilage deficiency, Ehler-Danlos Syndrome? CAM: We'll have the FBI check with local orthopedic physicians. (Enter HODGINS) HODGINS: The water turned purple because of a bottom growing algae called lemanea. Something agitated the algae so that it turned purple. BRENNAN: The young man who found the body urinated in the pool. HODGINS: Huh, well, average rate of flow for males under forty-five is what, it's 21 milliliters per second, so yeah, yeah that would be enough to disrupt the algae. CAM: Doctor Hodgins, have you moved yet? HODGINS: Nope. If you hand me those shoes, I can check for particulates. (Exit HODGINS.) BRENNAN: Where is Hodgins moving? ANGELA: Oh, Cam thinks that Hodgins should move into Zack's Ookey room. BRENNAN: Oh. Cam's right. I tell all of my grad students not to be distracted by the standard set by Zack. WENDALL: I don't know who that is. ANGELA: You and me, Wendell, we need to talk. (Cut to: transit, Int. Booth's SUV) BRENNAN: If your back doesn't hurt, then why are you letting me drive? BOOTH: Well, you know what? Don't get used to it, okay? I heal really, really fast. My guys, they didn't find the victim's head in the pool. Alright? But I put out a bulletin to orthopedic doctors within two hundred miles of the body drop- BRENNAN: Body parts drop. The victim was k*lled, chopped up and then dropped. What? BOOTH: Breaking in a new intern aren't you? BRENNAN: How did you know? BOOTH: Well, because, you know, you always get overly precise... that's how I usually know. Hey, so, you want me to uh, talk to them, break them in a little bit? BRENNAN: No, Booth, you don't need to fix everything for everyone all the time. You know? I can handle myself. BOOTH: Partners watch out for each other. BRENNAN: Well, if that were true, you'd let me fix your back. BOOTH: My back is fine, alright? All I need is an aspirin, a hot bath, maybe a nice single malt scotch. We cross referenced (mispronounced) Ehler-DanlosSyndrome- BRENNAN: (correcting) Ailers-Donlohs BOOTH: - those, those kiddy Ange tracked down, okay, we came up with this guy here. BRENNAN: Oh, Jared Addison, twenty-five years old. BOOTH: Watch the road! BRENNAN: What, I am watching the road. I am an excellent driver. BOOTH: (simultaneously) Twenty-five years old. Oh, well you're not; you're looking at the screen. Well I'm guessing that that's our victim. (Both exhale.) (Cut to: Exterior JARED ADDISON's residence. MRS ADDISON rises from her gardening.) MRS ADDISON: My son was diagnosed with Ehler-Danlosin his teens. Are you sure it's Jared? BOOTH: (holding up a picture of the shoes) Do you recognize these shoes? MRS ADDISON: Jared ordered them specially. BRENNAN: This distinct footwear in combination with Ehler-Danlosand other markers indicate that the remains we found belonged to your son. BOOTH: We're very sorry for your loss. If you need a moment... BRENNAN: It would be helpful if we could see your son's room. (BOOTH and BRENNAN exchange a glance. MRS ADDISON nods.) (Cut to: Int. JARED ADDISON's bedroom. MRS ADDISON reveals three rows of the same shoes.) BOOTH: Woah. MRS ADDISON: you can see why I recognized the shoes. BOOTH: Mrs Addison, your son died days ago. Why didn't you report him missing? MRS ADDISON: I had no idea Jared was missing. BOOTH: Well he lives here with you, right? MRS ADDISON: Jared was a novelist. He was finishing a book. He checked into a hotel so I wouldn't bother him. I had no idea anything was wrong. BRENNAN: Your son was Jared Addison the cult science fiction novelist? BOOTH: Wait a second; on the back here it says that he lived in the Caribbean on a boat. BRENNAN: No, that's not your son. (b*at.) Obviously the publisher hired an impersonator and came up with some romantic cover story.] BOOTH: How'd you know that? BRENNAN: My publisher wanted to do the same thing with me. MRS ADDISON: Jared's publisher dropped him after his second book. Jared was feeling a lot of pressure to make this one great, maybe try to get him back. BOOTH: Listen, Mrs Addison, with your permission I'd like to bring someone in here to take a look over your son's room. You know, an expert. BRENNAN: W-what kind of expert? BOOTH: You know, Bones, an expert. (Cut to: Int. Medico-Legal Lab, Hodgins' workspace) HODGINS: I found coffee grounds, and sea kelp in the treads of the vic's shoes. CAM: So, before the giant toddler was k*lled he was brewing coffee on the seashore? HODGINS: Yes, that's it precisely. Case closed. Also, I found a tiny fly egg smaller than any of the eggs of any of the flies common to where we found the body parts. CAM: Where is this fly egg from? HODGINS: In order to answer that, I have to hatch it. CAM: Seriously? HODGINS: I'm an entomologist. I have to hatch this insect egg in order to identify an important piece of evidence in a m*rder investigation. Where's the funny in that? CAM: I know you're upset about breaking up with Angela, Doctor Hodgins, and I know you're upset about losing Zack, but despite your personal problems, this is a workplace and your attitude leaves a lot to be desired. HODGINS: Fine, if you want to make a change, you make a change. Otherwise, you let me do my job, and hatch this egg. (b*at. CAM walks away.) (Cut to: Int. JARED ADDISON's bedroom.) SWEETS: These action figurines? They're awesome. BOOTH: Still living at home there, huh Sweets? SWEETS: No, I have my own place. And before that, I lived with a woman, alright? BRENNAN: Was that woman your mother? BOOTH: Yeah, your mommy? SWEETS: No, she most definitely was not my mother. (b*at.) If our victim's twenty-five years old, I'd assume he was ment*lly slow? BRENNAN: Given the complexity of his novels, I'd estimate his IQ to be higher than yours. SWEETS: Then Booth is right - something else is wrong. BOOTH: Ha, full speed ahead Sweets. Alright, let me have it - come on. SWEETS: It goes without saying! Everything is perfectly aligned. Obsessive compulsive. BRENNAN: How does this help us? SWEETS: People with OCD repeat patterns in their lives in order to stave off psychological panic. Now, if we ask which of Jared Addison's set patterns have recently been disrupted... we may very well discover what got him k*lled. BRENNAN: No, we can't ask Jared Addison. He's d*ad SWEETS: She is WICKED literal, huh? BOOTH: Okay, hey, it's her process, don't be mean to her. BRENNAN: Booth! BOOTH: I'm not defending, I'm just explaining. BRENNAN: I can defend- you were defending. BOOTH: I was explaining. SWEETS: Woah, this is an interesting development in your interpersonal behaviors. BRENNAN: No, what's more interesting is that Booth's back hurts and he won't let me fix it. BOOTH: No, none of this is interesting, okay? Look, I just want to know what mojo disrupted crazy boy's pattern. SWEETS: My first guess? At his age? Sex. BOOTH: Sex. SWEETS: "Crazy boy"'s offensive, by the way. BRENNAN: His mother didn't mention a girlfriend. (b*at.) What's wrong with him? BOOTH: Sweets, what are you doing? SWEETS: I'm putting myself in the mind of an Obsessive Compulsive in order to figure out where I might conceal a memory enhancer, a psychosexual proxy. BOOTH: Right... right... what's that mean? BRENNAN: Masturbatory aid. BOOTH: Oh! Check the shoes. BRENNAN: What? SWEETS: Good. BOOTH: Yeah. BRENNAN: He's not going to find it in the shoes. (SWEETS holds up an envelope.) BRENNAN: Do all boys keep their masturbatory aids in their shoes, or is that particular to you? BOOTH: Oh, that's for me to know and you to find out. SWEETS: Miss Kelly Sutton. There's a phone number, and an email address, and a, a list of sexual suggestions. BOOTH: Woah, BRENNAN: What, you're surprised he has a girlfriend? BOOTH: Well, I wouldn't exactly call her a girl. (A photograph shows a woman much older than JARED ADDISON's age bracket.) (Cut to: Int. FBI interrogation room.) KELLY: I loved Jared. The age difference bothers you? BOOTH: Well Mrs Addison said that Jared wasn't really all that interested in you. KELLY: She said that I was pursuing Jared, didn't she? Fact is, Jared wanted to marry me. (SWEETS and BRENNAN, behind one-way glass) SWEETS: One study showed that in 45% of successful American marriages, the woman was at least five years older than her husband. BRENNAN: Older women are sexually experienced and less inhibited- SWEETS: (mouths) yeah... BRENNAN: Younger men have a greater sex drive and they can keep up. SWEETS: I know quite a bit about older women. The woman I lived with was twenty-six, so... BOOTH: (on the other side of the glass, coughs) SWEETS: Oh. Sorry. (He turns off the transmitter to Booth's earpiece.) BOOTH: So, how did you meet? KELLY: Well I help out my son at his florist and nursery, and Jared came in to buy an orchid for his mother. He was full of anxiety. SWEETS: (through transmitter) Probably about microbes, Booth. BOOTH: Oh, afraid of germs? KELLY: I picked out an orchid and I took it out to his car, and he was very appreciative. And I thought he was just adorable, so I asked him out to dinner and the rest is history. He fell in love with me and I responded. BOOTH: Jared's mother thought he was at the hotel writing his book, but uh, there's no record of him checking in. KELLY: He was at the hotel, but for a conference... BOOTH: Right, with the uh, Science Fiction writers. KELLY: No, for behavior modification. SWEETS: If he was trying to overcome his- (turns on transmitter) if he was trying to overcome his psychological issues, that might have thr*at her. BOOTH: With your support. KELLY: Of course. (b*at.) Look, I only wanted what was best for Jared. I'm not a crazy person. (Cut to: Int. Medico-Legal Lab, Bone Room.) WENDALL: I've looked at the remains over and over and I can't find any cause of death. BRENNAN: Without the head, we many never discover cause of death, and without cause of death, it's much less likely that we'll solve the crime. WENDALL: This fracture, on the right metacarpal in the last two fingers? It's got a nickname. The 'boxers fracture'. It happens if you slug someone without keeping your wrist d*ad straight. Yeah, so. BRENNAN: How did you know that? WENDALL: I fought Golden Gloves when I was a kid. If you x-ray my hand, it don't look much different than this. BRENNAN: I don't expect anyone to live up to Zack's standards, Mr Bray, but that is extremely good work. (b*at.) Mr Bray, have you ever conducted a sexual relationship with a woman over twenty years older than yourself? (b*at.) I ask because anthropologically speaking, there's a correlation between physically aggressive young males and sexual preciosity. WENDALL: I'm pretty sure you aren't any twenty years older than me, Doctor Brennan. BRENNAN: Why would my age be relevant? (b*at.) Very good work on the boxer's fracture. (Exit BRENNAN.) (Cut to: Int. McKinley Psychiatric Hospital) ZACK: What did you bring me, Hodgins? HODGINS: (flips a written equation onto the table) Huh? Try and figure this one out. ZACK: The lemma on it's own is difficult to solve because the solution changes dependent up on whether or not the subsequent proposition is auxiliary or subsidiary. HODGINS: So I got you b*at, right? Yep, that makes me king of the- (b*at.) - that, that makes me king. (b*at.) We're going to get you out of here someday, Zack, and you can be king again. ZACK: I know you're lying to make me feel better and not to be malicious. HODGINS: Want to hear about the case we're working on now? Body in twelve pieces, and get this - no head. ZACK: So thirteen pieces. (b*at.) The linear function must be bounded before you apply the Riesz representation. HODGINS: What? ZACK: The characteristic polynomial of a differential operator is not the same as the characteristic polynomial of a matrix. HODGINS: You solved it? ZACK: Yes. I'm king of the loony bin. HODGINS: Yeah you are. (b*at.) Hey, I got an idea. I'm going to leave the case file with you. It's got all the x-rays so far, all the data. Maybe you'll find something we missed, huh? ZACK: I've done that many times in the past. (b*at.) Angela says you and she aren't together anymore. HODGINS: Yeah, y'know. ZACK: I'm sorry things are going badly for you. (HODGINS laughs.) ZACK: Why are you laughing? HODGINS: My best friend is locked up in a loony bin, wearing gloves because he blew up his own hands, and he feels sorry for me. (He laughs. b*at.) (Cut to: Int. of a hotel, a behavior modification course.) PROFESSOR AMERIAN: Mud is not dangerous. Mud is not toxic, mud is not poisonous, mud will not hurt you. What you're going to do is you're going to dip your hand in the bucket and you're going to mix it around. Do it! BRENNAN: Look at the haemotoma on his left occipital. It's what you would call a shiner. BOOTH: I know, Bones. PROFESSOR AMERIAN: Now, take that mud. Rub it on your arms, on your legs, your stomach, your feet, get it in there. RALPH: No, no, no, I can't do it. I can't. PROFESSOR AMERIAN: Look, who's in control, Ralph, you or the OCD? RALPH: Oh god, oh god, oh god. PROFESSOR AMERIAN: Do you want to be ordered around by a disorder? RALPH: No. I want order, not disorder. PROFESSOR AMERIAN: I have been where you are, man. I have felt your fears. Now look at me now, you can do it too. (Ralph runs from the room.) Ralph. BOOTH: Ooh, we got a runner. PROFESSOR AMERIAN: You think you wanna follow Ralph? All of ya? But you don't want to do that; you do not want to do that. I know, because I'm one of you. BOOTH: Excuse me. Maybe you would like to follow me, I've a few questions for you. PROFESSOR AMERIAN: I'm a professor of Psychology at the University of Maryland. I received a grant to conduct trial research on methods of reforming OCD behavior. BOOTH: Was Jared Addison one of your students? PROFESSOR AMERIAN: I'm bound by patient confidentiality, I'm sure you understand. BRENNAN: Jared was chopped into pieces and tossed away into an industrial pool. BOOTH: Yeah, that's not one of your therapy exercises now is it? PROFESSOR AMERIAN: Oh wow, oh god, yes, yes, Jared was one of mine. He ah, I believe he was making progress despite severe misophobia. BOOTH: Misophobia, right, and that is... BRENNAN: The germ phobia. BOOTH: Right. PROFESSOR AMERIAN: He'd hold a flame under his fingertips after shaking hands; he would literally burn the germs away. BOOTH: When was the last time you saw Jared. PROFESSOR AMERIAN: It was Thursday afternoon. He took off right after we completed the toilet exercise. BOOTH: You mean he went to the bathroom. PROFESSOR AMERIAN: No. Each participant is required to pick a mint out of the toilet and hold it on their tongue for ten seconds. BOOTH: Maybe Jared gave you that shiner after you made him suck on a toilet mint. BRENNAN: We know he struck someone with his right hand. BOOTH: Yeah, just like this, right there (he strikes out with his fist but doesn't connect.) You see? Right there like that. PROFESSOR AMERIAN: I was punched by another participant who had an extreme reaction to the floor licking exercise. BRENNAN: Is it common for patients to att*ck you? PROFESSOR AMERIAN: It happens. There's a lot of stress involved, people break. BRENNAN: Some people would see what you do as t*rture. BOOTH: Yeah, maybe when Jared let you down, you broke. PROFESSOR AMERIAN: Let me down? Jared was my star patient! It's a tragedy he died before he could enjoy his new freedoms. RALPH: (entering) Excuse me. PROFESSOR AMERIAN: Ah, it's okay Ralph; we'll try again tomorrow. RALPH: I'm not here to apologies, Professor Amerian; I'm here to confess. I k*lled Jared. Can you please sterilize your handcuffs before taking me in? (Cut to: Int. FBI Interrogation room.) SWEETS: Now I just want to say for the record that you're here of your own volition and have declined legal representation. (BOOTH and BRENNAN behind one-way glass.) BRENNAN: Why are you letting Sweets conduct this interrogation? BOOTH: Crazy guy, shrink, it's a no brainer. BRENNAN: Are we going to let Sweets interrogate all of our insane suspects? (SWEETS lifts his hand to his ear.) BOOTH: (into transmitter) Annoying, isn't it, Sweets? SWEETS: (b*at.) Why did you k*ll him? RALPH: I didn't mean to k*ll him. The fact is, if I don't eat at exactly 8.14am according to this watch, the person nearest to me dies. Professor Amerian told me not to eat until 9am according to this watch, and Jared was sitting next to me. SWEETS: You believe that's what k*lled him? RALPH: When you lock me up, I should either keep my watch or you should only put me next to terrible people who deserve to die. SWEETS: Did you by any chance dismember Jared after you k*lled him? RALPH: No, I just k*lled him. BOOTH: Oh no, we've gotta keep looking. BRENNAN: If Jared was having breakfast with Ralph, how come he never showed up for that day's session? SWEETS: Ralph, where did Jared go after you had breakfast together? RALPH: To the coffee bar in the lobby. SWEETS: Why? RALPH: To get coffee. BRENNAN: Hodgins found coffee grounds and sea kelp in the treads of Jared's shoes. [Int. Hotel Lobby; coffee stand] BARRISTER: What can I get you? BRENNAN: A sample of your grounds. BOOTH: It's garbage, Bones. You don't need a warrant for garbage. BARRISTER: What's going on? BOOTH: FBI, Special Agent Booth. Do you recognize this man? BARRISTER: What did he do, lodge a complaint? Because I never actually h*t the guy. I pushed him. On the chest, with maybe two fingers. A nudge. BRENNAN: Why did you push him? BARRISTER: The dude had me wash my hands with antibacterial soap before I started on his cappuccino. Then he had me redo it. Three times, because the cup was dirty. On the outside. Which it was not. Look at my cups. Pristine. BOOTH: So you pushed the dude for insulting your cups. BARRISTER: No. All of these OCDC people are the same. Complaining. Every day I'm throwing away perfectly good coffee. I'm going bankrupt. He did it to me one too many times and I cracked. Call it a crime of passion. BOOTH: So was that the last time you saw him? BARRISTER: Nope, guy came by here the other day, and we made nice. Thursday. He apologized to me; he even shook my hands without putting on rubber gloves. He was like a different guy. BRENNAN: Professor Amerian's methods were working. BARRISTER: Oh god, please keep that under your hat. That's all I need is for this place to become the coffee Mecca for the phobics. [Int. Medico-Legal Lab, ANGELA's office.] ANGELA: Hey, Wendell, come in. What can I do for you? WENDALL: You said come to you with questions. (b*at.) I owe people money. ANGELA: That's not technically a question, so there's not much for me to go on. WENDALL: What I gotta do is keep my nose clean, graduate at the top of my class and get a good job so I can pay off that debt. ANGELA: You're worried about getting fired because you can't satisfy Doctor Brennan, right? WENDALL: ...never mind. [WENDALL exits. ANGELA follows into the hallway] ANGELA: Wendell, Wendell hold on. You never actually asked me a question. WENDALL: That guy, the psycho who helped the serial k*ller? ANGELA: Could you please not call Zack a psycho? Crazy as it sounds we all still love him. WENDALL: He was Doctor Brennan's boy toy, right? ANGELA: What, boy toy... as in sexual? (WENDALL nods. ANGELA laughs.) No. Where did you get- no. Absolutely not. WENDALL: Plus the FBI guy. ANGELA: Again, no. Wrong. WENDALL: Well then she h*t on me. ANGELA: No, I don't think so. WENDALL: She looked me right in the eyes and asked me if I had any experience with older women. It's like if you want to work around here you gotta- ANGELA: Wendell, stop. You need to look for some alternative explanation for what you think happened between you and Brennan. And if you can't think of anything than you should just assume you're hallucinating. Or insane. Because she absolutely didn't h*t on you. I'm glad we talked. [Exit ANGELA.] [Int. Medico-Legal Lab, ANGELA's office.] CAM: You get anything off the victim's cell phone? ANGELA: I was able to recreate a call list from the sim. CAM: He only called one number. ANGELA: Once a day for thirty days at exactly the same time. CAM: Who is it? ANGELA: I called the number and recorded the answer. RECIEVER: Forward Retro Publishing, how may I direct your call? ANGELA: Does that mean anything to you? CAM: Yes. Forward Retro is the publisher that dropped Jared Addison after his second book. The one that never wanted to talk to him again. [Int. FBI interrogation room.] TUSHMAN: Publishing game has changed. You know what I mean, Doctor Brennan. BRENNAN: No, I do not. BOOTH: Well, try me, Mr Tushman. TUSHMAN: Book-wise it's no longer about good writing, per se, it's about marketability. BRENNAN: Of the book. TUSHMAN: Of the author. There's a reason why your photo takes up the entire back cover of your books. BRENNAN: Because I'm a very good writer. TUSHMAN: You're serviceable. But your success is contingent upon your image as a hot scientist chick. BRENNAN: That's not true is it? BOOTH: No, of course not. Don't call my partner a "chick". What's the matter with you? TUSHMAN: Fine, fine, got it. The point is, I had to hire a guy to pretend to be Jared. Book tours, press, the geek flash at the nerd conventions. BOOTH: This guy (he points to the picture on the back of JARED ADDISON's book) TUSHMAN: Yeah, CD Howl. The deal I had with CD was to let him write his own stuff and you know what, it was good, he started selling, so I had to choose between Jared and CD. BOOTH: So you had no contact with Jared Addison after f*ring him. TUSHMAN: Absolutely none. BOOTH: And that's a lie. He called you every day. (BRENNAN lunges at TUSHMAN) Woah, Bones, ow. BRENNAN: Ask him what happened to his tooth. TUSHMAN: (Distorted somewhat) Uh, ugh, that's as*ault. Are your hands clean? BOOTH: Yeah, my partner wants to know what happened to your tooth. BRENNAN: Jared Addison punched him. TUSHMAN: I admit to that cause and effect situation. BOOTH: Why'd he punch you? BRENNAN: Probably because he said Jared was a bad writer. TUSHMAN: I didn't k*ll Jared, but you think I did because of a minor physical altercation. BOOTH: Okay... go ahead. You know what? Explain yourself. TUSHMAN: Jared came into my office and he told me he was cured of his OCD, he mentioned toilet candy... uh. He said he was willing to go out on the road, hustle the book however I wanted, I told him I wasn't interested, I'd heard it all before, and then he clapped me one. Didn't hurt either, and then I told him that I would take on his book. BRENNAN: Why did you change your mind after he h*t you? BOOTH: So if I punched you, you'd read my manuscript? TUSHMAN: Jared h*t me. With his bare hand. The old Jared Addison would have never done that. BRENNAN: You believed he was cured. TUSHMAN: Can you imagine the sales I'd have gotten off of revealing the real Jared Addison? Mm. I'd have made a fortune. (Cut to: Int. Medico-Legal Lab, HODGINS' workstation) CAM: Doctor Hodgins, HODGINS: Shhh. My egg from the victim's shoes is hatching. CAM: You need quiet for that. HODGINS: No, I just thought it might stop you from talking. CAM: Pushing it, Doctor Hodgins, how's about we say you've found the line? (A b*at. HODGINS concedes) HODGINS: This fly might tell us where Jared Addison was m*rder. Oh, look, look, look, look. Hey there, little buddy. This is a white fly. It only lives in very warm, humid climates. CAM: Jared Addison's old lady girlfriend used to work in a nursery. HODGINS: Hey, Doctor Saroyan? I'm not moving into Zack's space. I'm not being difficult, I just, I can't do it. I hope you understand. CAM: I understand. I thought you being the one who moved in there would be easiest for Zack. HODGINS: Well, if he were a normal human, that might be true, but... CAM: (laughs) Yeah. (Cut to: Int. Crown Diner) ANGELA: Okay, here's the thing. This new guy, Wendell? He might be nuts. SWEETS: Hey Angela. Pickle? ANGELA: He thinks Brennan h*t on him. SWEETS: Why does he think that? ANGELA: He says she asked him if he was interested in having sex with an older woman. Which is impossible. Which I set him straight about, in no uncertain terms believe you me. SWEETS: I'm certain she did exactly that. ANGELA: No no. I've known Brennan for years, and there's no way, believe me she had a- SWEETS: Our m*rder victim was twenty-eight years younger than his girlfriend. Doctor Brennan was probably looking for insights in her, you know, clumsy yet endearing way. You might want to let Wendell know that you've misjudged him. In no uncertain terms. ANGELA: Huh. Well Wendell also says that he owes a lot of people a lot of money. And that he really needs this job. Like, the mob or something. SWEETS: Oh, no, no, no. Unless it's rampant paranoia, not my jurisdiction. But on the other thing I'm solid. ANGELA: You know, the last time I listened to you, you broke up me and Hodgins. SWEETS: No. ANGELA: Yeah. SWEETS: Angela. That wasn't my fault. I think you know that. ANGELA: Yeah. (Exit ANGELA). SWEETS: (Softly.) Yeah. (Ext., MR SUTTON [KELLY SUTTON's SON]'s nursery.) BOOTH: Okay, what do you think? BRENNAN: Yeah, what do you think? HODGINS: Oh yeah. This is definitely an environment conducive to white fly. (He lets out a long whistle) I'll start taking some samples. SUTTON: Can I help you? BOOTH: Yeah, FBI Special Agent Seeley Booth. We have a warrant here to search the premises. SUTTON: Is this about Jared Addison's m*rder? BOOTH: Yup. (b*at. BRENNAN reaches down into compost) No no, Bones, don't touch that. You know there's tons of disgusting stuff and chemicals in that- SUTTON: Not here, our fertilizer's 100% organics. My own blend. BOOTH: Yeah, I bet. (BRENNAN puts some fertilizer on her tongue) Oh, there you go, now you're going to get sick, your stomach going to go upside down, it's going to be a mess. BRENNAN: Coffee. BOOTH: Coffee? BRENNAN: Sea kelp and coffee grounds. Jared Addison was here shortly before he died. SUTTON: Jared was my mom's boyfriend. Heavy emphasis on the "boy". BOOTH: Yeah, well, we heard that this place kinda freaked him out. SUTTON: All the germs, yeah, but he was here. I don't know if it was the dirt that made him squirm or the question but the kid toughed it out. BRENNAN: What question? SUTTON: He wanted my permission to marry mom. BOOTH: And what was your answer? SUTTON: I told him I thought it would be creepy to have a stepfather who was ten years younger than me. I told him he should forget about it and try to be normal. BRENNAN: You told him "no". SUTTON: I said no, he could not have my blessing. (b*at.) He was lucky I didn't conk him on the head and chop him up for fertilizer, but I didn't. HODGINS: White flies. I'll do some lab work, but they look to be the exact strain that I hatched at the lab. BOOTH: I'm sorry, but did you say you did conk him on the head? SUTTON: I said I didn't. BRENNAN: Booth? BOOTH: Yeah? BRENNAN: Flies on the shovel. BOOTH: Oh. We know that flies are attracted to manure, blood. BRENNAN: The flies are mostly on this shovel. It follows that there should be something different about this one. Will that warrant let me test the shovel? BOOTH: Well, yeah. It's out in the open, so it's fine. BRENNAN: I'm going to use phenolphthalein. It'll tell us if there's blood present on the shovel. (BRENNAN swabs the shovel and dips it in phenolphthalein. The liquid turns pink.) SUTTON: What's pink mean? HODGINS: It means you caved in Jared Addison's skull. BRENNAN: And/or removed his head. BOOTH: I'm going to have to ask you to close up shop and take you downtown. We have a few questions we'd like to ask you. (Cut to: Int. Medico-Legal Lab upstairs walkway. WENDELL stands with a cigarette in his mouth.) ANGELA: Somebody as smart as you should know better. WENDELL: Oh I don't smoke, I just... I don't smoke. ANGELA: So... You weren't totally wrong about Doctor Brennan. WENDELL: I can't risk having sex with my boss. Like I said, I got debts. ANGELA: No, no. Not totally wrong, I said. When she asked you about your experiences with older women, her interest was anthropological. WENDELL: She was looking me right in the eyes. ANGELA: She's direct. And awkward. Now, you've got two choices here. You either answer the question, like me or Zack, or you tell her she's being inappropriate, like Booth or Cam. Either way, she's not going to hold it against you. WENDELL: You're sure about this. ANGELA: Yeah. Frankly I'm more worried about the money owing thing. WENDELL: I can pay my debts. ANGELA: Yeah but you can't work on legal cases if the wrong kind of people have leverage on you, right? WENDELL: Wrong kind of people? What's that supposed to mean? ANGELA: Oh, no, I'm trying to help, Wendell, it's not- WENDELL: No, no, if they're the wrong people, then so am I. ANGELA: Could you please not yell? WENDELL: My whole neighborhood ponied up to send me to school. They're working people. They make money with their hands. I need to pay them back. ANGELA: Oh! I... I, I thought you owed the mob money. Like, we're working on a mob case and you owe the mob money. (They both laugh.) WENDELL: I don't owe the mob money. ANGELA: Yeah, see the problem? WENDELL: And I don't smoke. When I gotta think, I ask myself what my dad would've done. You know, he smoked all the time. Holding this cigarette, it's stupid, okay, but it helps me get into his head. But he died of lung cancer, so I do not smoke. ANGELA: Wow, Wendell. Once you start talking, it's... wow. WENDELL: I don't get you people. I'd like to work here but it's like a minefield. Too many ways to step wrong. ANGELA: I admit, it takes some getting used to. Good luck. [Exit ANGELA] (Cut to: Int. Medico-Legal Lab, Platform) CAM: It wasn't blood. On the shovel, it wasn't blood. BOOTH: Bones' magic juice didn't work. BRENNAN: No, phenolphthalein is not magic. HODGINS: It's an indicator that reacts with- WENDELL: -Potato protein. ANGELA: Potatoes? HODGINS: Yeah, fenalphaline turns pink in the presence of potatoes. BOOTH: I locked the guy up because of potatoes. BRENNAN: He might have done it, Booth. But we all know that without the victim's head we aren't likely to solve this m*rder. HODGINS: Well maybe Wendell here missed something in the bones. WENDELL: I didn't. ANGELA: Don't blame Wendell; he's doing very well. HODGINS: I just wish Zack were here, that's all. BOOTH: You gotta get over it. Zack's not coming back. ZACK: I know where to find the victim's head. CAM: (b*at.) This is not good. BRENNAN: How did you get out? ZACK: You don't appear happy to see me. BOOTH: Oh, we're not. BRENNAN: Well I am! I really am! Zack! HODGINS: Hey buddy! CAM: Well I doubt he got a weekend pass. BOOTH: Zack, how'd you get out? ZACK: Doctor Sweets helped me. ANGELA: Oh well then I totally change my mind about Sweets. I now love him. CAM: Does Doctor Sweets know that he helped you? ZACK: No. (To BRENNAN) You're hurting my arm. BRENNAN: Oh, sorry. BOOTH: Alright Zack, you're with me and Bones. The rest of you, go play with your microscopes or whatever it is you do. Let's go, Bone Room, now. March. BRENNAN: Come on. (Cut to: Int. Medico-Legal Lab Bone Room) ZACK: Everything in the room is organized in sets of twelve. A dozen shoes in the closet, a dozen action figures on the shelf, a dozen pencils in the pencil holder. Even books are grouped by the dozen. BOOTH AND BRENNAN (simultaneously): I should have noticed that. BRENNAN: Sets of twelve must be a manifestation of Jared Addison's OCD. ZACK: I did an analysis of his novels. There's no recurring sets of numbers. Only recurring images of germs and fear of microbes. BOOTH: Okay then what is with the number twelve. ZACK: They live at twelve kindergarten street. Kindergarten has twelve letters. Alphanumeric is also a twelve letter word by the way, but I suspect that's just ironic. BOOTH: Okay, this side of him? I don't miss at all. ZACK: Books, CDs, everything. It's always twelve. In the yard, everything comes in twelve. Paving stones, plants. Decorative rocks, gnomes. Always twelve. BOOTH: Oh. BRENNAN: What? BOOTH: Well Jared Addison wouldn't have been gardening - he's germaphobic. ZACK: Even his name - Jared Addison. Twelve letters. BRENNAN: Oh. BOOTH: What? BRENNAN: Well he didn't name himself, his mother did. BOOTH: His mother has OCD too? ZACK: That's the most reasonable conclusion. BOOTH: But the body was found in twelve pieces not counting the head. Why? (Enter SWEETS) SWEETS: The incomplete saw marks on the C2 vertebra were hesitation marks. She couldn't deal with the part of the body that was her child's face. You. You used me to escape? (ZACK nods.) How? ZACK: Your card. BOOTH: Sweets, one crime at a time - m*rder first. Okay, why'd she k*ll her son? SWEETS: He was overcoming his disorder. Jared Addison was ready to take control of his professional life. He'd found love, and was ready to leave her house. It wasn't just his patterns he was destroying. It was hers. And as a result, she suffered a psychotic break and m*rder her own child. (b*at.) You know, I still have my card. ZACK: I swapped out the magnetic strip, with loony bin library card. SWEETS: Wait, that's why it didn't work? BOOTH: Zack. Where is Jared's head? ZACK: Everything comes in twelves. Everything, except for this. (He points at a birdbath.) (Montage. Set Free by Katie Gray plays. Ext. JARED ADDISON's house. Booth serves a warrant to MRS ADDISON, FBI swarm the yard. Cut to Int. Crown Diner. HODGINS, ANGELA, CAM and ZACK sit in a booth talking and laughing inaudibly. Cut to Ext. JARED ADDISON's house. The birdbath is dug up. Cut to Ext. McKinley Psychiatric Hospital. SWEETS paces and looks at his watch. Cut to Int. Crown Diner. The team continue to enjoy ZACK's presence. Cut to Int. Medico-Legal Lab, platform. WENDELL walks down the steps. Stops. Glances back. Continues. Cut to Ext. JARED ADDISON's house. A box is recovered. On the lid are the words 'Jared Addison'. Inside is the skull of Jared Addison. Cut to Int. Crown Diner.) CAM: Well, Zack was right. ANGELA: Of course he was. CAM: As always. ZACK: Time to go. (b*at. He rises.) I should get back. CAM: Okay. HODGINS: Okay. (Ext. McKinley Psychiatric Hospital. BOOTH and ZACK arrive outside the gates in an SUV.) BOOTH: Okay. Yeah, come on, let's go. Come on, easy. SWEETS: What took so long? BOOTH: Relax, Sweets, okay? He's all yours. SWEETS: Wait, ah, I thought we'd do this together. BOOTH: Look, just walk him back through the front door okay. Don't look guilty, and if anyone asks, you took him for electroshock. Alright? (to ZACK) Don't. Escape. Again. You got it Zack? You figure out who a k*ller is, you call me or Doctor Brennan. (b*at.) Not Sweets. Alright? (b*at.) Yeah. SWEETS: Wait. What if he... I don't know, what if he overpowers me or... BOOTH: ...Zack? ZACK: I'm much stronger than I look. SWEETS: He's done it before. He k*lled a man. BOOTH: Okay, Zack, promise you're not going to k*ll Sweets. ZACK: I promise. BOOTH: There you go. SWEETS: Yeah. Yeah. BOOTH: There you go! I've got great seats to the Capitals. (Exit BOOTH.) SWEETS: If we bump into anybody, let me do the talking. ZACK: I haven't actually literally done it before, you know. SWEETS: Had sex? ZACK: Ended someone's life. Why doesn't anyone ever believe I've had sex? SWEETS: (b*at.) Y-you confessed to plunging a Kn*fe into a man's chest. ZACK: No, I said I k*lled him. Which I did - I told the Master where to find the man. SWEETS: But you didn't... plunge a Kn*fe into the man's chest? ZACK: It wasn't me. SWEETS: Zack! Why did you confess? ZACK: I would've done it. If the Master had asked, I would have done it. SWEETS: No, no, you don't know that. People have no idea if they're capable of ending a life until they're put in that situation. (b*at.) In all of our sessions, I've had question marks because you, at heart, are not a k*ller. I gotta, I gotta tell Doctor Brennan (he punches a number into a cell phone) and Booth. ZACK: You can't tell them, because I'm your patient, and you're not allowed. Ethically. SWEETS: Zack, don't you want your friends to know that you didn't k*ll anyone? ZACK: I'm still an accessory to m*rder. If you tell them, they'll take me out of here and put me in prison. Hodgins assures me I would not do well in prison. SWEETS: Okay, what about the person that actually did commit the m*rder? He's still out there. ZACK: No, the Master k*lled him, so he could recruit me. There could only ever be two. SWEETS: You have to let me tell the truth. ZACK: You can't tell anyone without my permission. (b*at. SWEETS nods.) We should go in. I don't want to get you into trouble. (Exit ZACK. SWEETS sighs. Exit SWEETS.) (Cut to: Int. Medico-Legal Lab, BRENNAN's office. She drops leafs of paper into a garbage can.) (Enter BOOTH.) BOOTH: What are you doing? BRENNAN: Throwing out my book. BOOTH: It's still on your hard-drive, right? BRENNAN: Nope, not any more it's not. BOOTH: You erased it?! BRENNAN: Yeah. BOOTH: Woah. Woah, whoa, whoa, whoa, whoa, whoa, stop. BRENNAN: But I don't want to be a writer any more. BOOTH: Oh, why? Because of what that publisher said? He was an idiot, did you see his glasses? BRENNAN: But I don't wanna be a sexy scientist. BOOTH: Well that's like me saying I don't want to be a sexy FBI agent. We can't change who we are. (He reaches down to pull out the pages.) Oh god, this is just. This it not good for the back. (b*at.) Suspenseful, and chilling. Temperance Brennan leads the pack. Anthropology has never been more exciting. BRENNAN: You memorized my reviews? BOOTH: Angela can scan these, and get them back on your computer. BRENNAN: You know my reviews, Booth, but do you read my books? BOOTH: Every single word. BRENNAN: You never said anything. BOOTH: Well I figure you know, I'm all over your real world, why would you want me in your fantasy world too? (He offers her the manuscript. After a pause, she takes it.) BRENNAN: I can appreciate that. BOOTH: You see? How this works, huh? It's give and take. We're partners, huh? BRENNAN: Except you won't let me fix your back. BOOTH: Oh, come on, my back is fine, it's just- BRENNAN: (Stands) Oh really? BOOTH: Ohnohah. Okay, how do I know you're not gonna like, paralyze me or make it worse? BRENNAN: I also help you by explaining a lot of things to you. (She stands behind him.) BOOTH: Yeah, well you know, I explain things to you just as much as you explain things to me. (BRENNAN winds her arms under BOOTH's shoulders and places her hands on the back of his neck.) BRENNAN: Well, my things are more important. (She pulls back.) BOOTH: That's debatable, WOAH. OW. BRENNAN: Ah, necessary pain. BOOTH: Yeah, necessary. Ah, the way you really help me is, is, you let me be a guy. (BRENNAN rotates him.) BRENNAN: I help you be a guy? BOOTH: Yeah, you know, it's a guy's thing to fix things and make them right. When I fix things I feel like I am one with the universe. (BRENNAN hooks him below the spine.) Oh! Ah. Woah! God! That's amazing. How'd you do that? BRENNAN: See? We help each other. Quid pro quo. BOOTH: I know what that means, quid pro quo. BRENNAN: I'm sure you do. BOOTH: I know a lot of things. BRENNAN: Well, you didn't know what misophobia meant. BOOTH: Well you didn't know that you could just take coffee grounds because it's garbage; you don't need a warrant for that. BRENNAN: I sort of knew that, I just was making sure that that was.. -END-

{"type": "series", "show": "Bones", "episode": "04x05 - The Perfect Pieces in the Purple Pond"}

foreverdreaming

"The Crank in the Shaft" Episode 4x06 / Production 3x18 Airdate: October 1, 2008 Written By: Elizabeth Benjamin Directed by: Steven DePaul Transcribed by: vanima_luhta Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Several people are waiting to get into an elevator. It arrives, the doors open and they flood in.) VOICE #1: Excuse me. VOICE#2: Excuse me. VOICE#3: Six, please. VOICE#4: He got it. (A man pushes a button again.) VOICE #5: Somebody already pushed it. (Hamid Hirani approaches the elevator and sticks his arm between the doors as they start to close. He steps inside.) HAMID: Sorry about that. (The doors close and Hamid takes a drink of a coffee he apparently purchased outside of work. Chip Yap notices and comments.) CHIP: Is our coffee machine still broken? HAMID: It was on Friday and I couldn’t chance it. CHRISTINE GERTIN: Well, I filled out a 1612 repair authorization for office equipment under two hundred dollars, but I never heard back. (Ted Russo has ear buds in his ears, apparently listening to music.) TED: Man, this guitar is bitchin’. (The elevator opens and a few people leave.) VOICE #1: Sorry. VOICE #2: Excuse me. (Gary Flannery looks back at Chip.) GARY: How’s the third quarter P&L? CHIP: I processed a stack of orders and returns with Patty on Friday. She was still reviewing them when I left. (Hamid takes another drink of coffee and everyone in the elevator begins sniffing, as if they smell something foul. They look at each other accusingly and then the elevator begins to shake and the lights flicker.) CHRISTINE: Oh my God, what’s going on? (The elevator begins to fall rapidly and then comes to an abrupt stop. The ceiling tiles fall and a human leg wearing a high heel on its foot falls to the ground. Everyone looks sick.) (Cut to: Dr. Lance Sweet’s office at the FBI Building. Special Agent Seeley Booth and Dr. Temperance Brennan are sitting on the couch across from Sweets and Booth’s leg is bouncing up and down repeatedly.) SWEETS: The conscious mind represents only one-sixth of our brain’s activity. Now, I want you to both appreciate the power of the subconscious and our quests for its secrets as we... BRENNAN: Stop! SWEETS: Dr. Brennan, you can’t dismiss over a hundred years of psychological research. BRENNAN: I’m not even actually listening. (She brings her hand down on his knee to stop him from bouncing it. He then bounces the other and she puts her hand on that one, too.) Your leg has not stopped moving since we started this session. (To Sweets.) Something you should have noticed. SWEETS: I assumed he was anxious to leave, as he is every session. BOOTH: Yeah, well, that’s not it. Okay, a guy at work, Special Agent Graham Kelton died last week. SWEETS: I’m so sorry. BRENNAN: That’s awful, Booth. Were you good friends? BOOTH: No, he was a creep. SWEETS: Oh. So, then your agitation comes from...? BOOTH: Kelton had the best desk chair in the office building, alright? Lumbar support, cushioned arms, Macintosh oak finish. SWEETS: And? BOOTH: And I want it. I put a request in, but so have all the other agents. I mean, this is one sweet chair. BRENNAN: You are anxious that you won’t get a d*ad man’s chair? BOOTH: Right. Mine, it won’t even recline anymore. Get this: Charlie Baron, okay, he’d been putting a request in to Human Resources even when Kelton was on his deathbed. Alright, is that low or what? Hey, Bones, maybe you can write me a doctor’s note saying that I need the chair. BRENNAN: What? BOOTH: Yeah, something along the lines, that I got, like, a bad back, and the extra lumbar support could enhance my job performance. BRENNAN: I’m not a medical doctor.  (Booth looks to Sweets.) SWEETS: The answer’s no. You’re obviously trying to enhance your status with your coworkers by acquiring something that they all covet. BRENNAN: You want a throne. BOOTH: Back support, okay? I’m just looking for a little back support. SWEETS: Perhaps you’ve been feeling inadequate at work lately. Compensating in this... (Booth’s phone ring and he answers it.) BOOTH: Booth. Right, be right there. Well, got a case. See ya! BRENNAN: (Stands with Booth.) Okay. SWEETS: (As Booth and Brennan are leaving.) Agent Booth, I really think that we’re touching on something important... BRENNAN: Thank you. (She shuts the door and they both exit.) (Sweets sits back in his chair with a sigh, and then appears to be testing the back support of his own chair.) (Cut to: Booth and Brennan are walking toward the office building where the leg was found.) BOOTH: If I could help you get a better chair, I would. BRENNAN: Thank you, but if I wanted a better office chair, I’d just buy one myself. BOOTH: No, no, that’s not how it works, Bones. When you work for The Man he buys all the office furniture. BRENNAN: Which man? BOOTH: You’re kidding me, right? There’s no actual man. BRENNAN: Then who buys the office furniture? BOOTH: Never mind, Bones. Just never mind. (Cut to: Booth and Brennan cutting their way through a crowd of people to the elevator where Dr. Cam Saroyan is already examining the leg.) BOOTH: Excuse us. BRENNAN: Sorry. So sorry. BOOTH: Coming through, that’s it. Watch out. Whoa, whoa. Look at that. Hey Cam, you’re a real doctor. Maybe you could, do a pal a favor and write me a note for my back. CAM: The chair? BOOTH: Well, yeah, this is a chance for you to be, um, creative. (Brennan steps into the elevator with Cam.) BRENNAN: Tell us about the leg. CAM: Given the pump, female victim. The skin elasticity, what’s left of it, indicates she was probably between twenty and forty years old. BRENNAN: Striations on the bone suggests the flesh was scraped away.   CAM: And the remaining soft tissue appears to have been scavenged. (Hamid takes a picture of Brennan and Cam with his camera phone.) BOOTH: Whoa, whoa, whoa, what are you thinkin’? Huh? A little respect. HAMID: I wasn’t taking a photo of the leg. I was taking her picture. (To Cam.) You’re the most beautiful woman I’ve ever seen in the elevator. BOOTH: Back up there. (To the security guards.) Take-take him out of here. Take care of him. BRENNAN: (Laughing.) Did you find anything besides the leg? (Cam points up.) (Cut to: The elevator shaft, Brennan and Cam are standing on top of the elevator and Booth pops his head up through the trap door.) BRENNAN: The remains are smeared along the entire length of the hoist way. BOOTH: Oh. Oh wow. God, that, that’s nasty. CAM: I’m gonna need a spatula to scrape off all the flesh and the organs. BRENNAN: The bones are in hundreds of pieces. I want them bagged. CAM: Judging from the amount of putrefactive liquid on top of the car, she landed here first, wedging up against the shaft. BOOTH:  So when it went up and down, she... Oh, that’s not good. That’s bad. That’s not good. (He disappears down the trap door.) CAM: I don’t see any hemorrhagic tissue. Victim was most likely d*ad before she was put in here. BRENNAN: Well, fracturing indicates she was dropped from quite a height. (Cam and Brennan sweep the beams of their flashlights up the shaft for quite a ways.) (Cut to: Building Manager Stan Nokes leading Booth, Brennan and Cam toward the machine room on the roof of the building.) NOKES: It’s the machine room. It has the control system for the elevator. BOOTH: Who has access to this room? NOKES: Only maintenance, but they only unlock it when the elevator is serviced. BOOTH: (Knocks the door open with his elbow.) Lock’s been jimmied. NOKES: I don’t know how this happened. I run a safe building. CAM: Right, except for the mangled d*ad woman. (Cam, Brennan, Booth and Nokes enter the machine room.) NOKES: It’s the first unit. Those cables raise and lower the cars. BOOTH: (Pulls a grate up from a small opening in the floor.) Look at this. Okay. So you think the victim’s body could have been, you know, pushed down there? CAM: It’s pretty small. But I’ve seen bodies carried down storm drains narrower than that. BRENNAN: Who tries to hide a body by throwing it down an elevator shaft? BOOTH: (Looks down and sees the butt of a marijuana joint.) Ah-hah, someone who’s toasted. CAM: (Pulls a pair of tweezers from her utility belt and leans down to pick up the joint.) A joint, huh. I can get DNA from the paper. BRENNAN: Marijuana doesn’t make you a k*ller. BOOTH: Yeah, well it makes you stupid. CAM: Stupid enough to jam someone down an elevator shaft? ACT ONE (Open: Medico-Legal Lab Platform. Dr. Jack Hodgins and the newest intern, Colin Fisher are on the platform, Fisher is pushing a cart full of brown paper bags marked with evidence tape.) FISHER: Sad. Woman’s whole life reduced to a bunch of glorified sandwich bags. HODGINS: Not the woman’s life, Fisher, just her body. Big difference. FISHER: Whatever gets you through the day. (Cam enters.) CAM: What have we got? HODGINS: Her clothes are shredded and covered in particulates. Still sorting through it all. I’m pulling traces to run through the GC Mass Spec. CAM: Well, I’ve got the when. (Walks over to a computer and pulls up some information.) Vitreous humor from an eyeball confirms time of death sometime between Friday night and Saturday morning. And, her final meal was lettuce, yogurt, chicken and pita. HODGINS:  A gyro. CAM: Most likely. I’ve got them checking Greek restaurants in the neighborhood. Maybe someone made a delivery to her office. FISHER: d*ad before the fall. Wish we knew how she died. CAM: Tox screen came back negative. No drugs, no poison, not even caffeine. HODGINS: So, ball’s in your court, Fisher. FISHER: Dr. Brennan left me with exactly one thousand, two-hundred and sixty-three bone fragments, each one screaming pain, v*olence and hopelessness. So how about cutting me a little slack? CAM: The job gets easier with time, Mr. Fisher. Any leads on who she is? FISHER: The hot chick is doing a sketch from the few pieces of skull I could locate and reconstruct. CAM: Hot chick? FISHER: Sorry. The other hot chick. HODGINS: (Pulls a bow from the pieces of evidence on an exam table.) It’s a bow. With hair. It’s brown. Natural colors. (He holds it out to Cam who just looks at it.) It might help Angela with her sketch. CAM: Right. You should give it to her. HODGINS: I’m kind of busy. CAM: And I’m kind of your boss. (Hodgins exits.) CAM: Anything else, Mr. Fisher? FISHER: I also found hairline impact fissures on the lateral epicondyle. CAM: And? FISHER: My grad thesis explored the effect of falls on human bone. I got the idea at my summer job. CAM: I’m afraid to ask. FISHER: su1c1de hotline. CAM: Were you... for or against? (Cut to: Angela Montenegro’s office. Angela is sitting in a chair with a dummy in front of her with pieces of a skull attached to it. Hodgins is bringing the bow to her.) HODGINS: Hey, I got a bow for you. ANGELA: Look, Hodgins, we both decided it’s over. I don’t want any gifts. HODGINS: Um, the bow’s from the victim. ANGELA: Oh, right. Sorry. That’s helpful, that bow. HODGINS: How’s it coming? ANGELA: Well, according to my sketch, the victim was a model for Picasso. HODGINS: (Laughs) Like it. ANGELA: Mr. Cheerful is putting more pieces together for me. HODGINS: That’s a good idea. Just so you know, I’m cool. You and I, we work together, and... and that’s it. ANGELA: Great.  We’re two professionals. HODGINS:  Yep, two professionals. ANGELA: I should finish this, ‘cause this is... HODGINS: Yeah, yeah, you know, and I’ve got lots to do. I mean, lots. So...okay. ANGELA: Okay. (Cut to: Fisher and Cam on the platform.) FISHER: From the impact fissures, I’d estimate her fall was from at least sixty meters. CAM: Okay, first of all, I doubt even Dr. Brennan could discover that from impact fissures alone. FISHER: My thesis got me here. Ask her. CAM:  And second, that doesn’t indicate what floor she fell from ‘cause the elevator car could have been on any floor in the building when she landed on it. FISHER: But since it’s a sixteen story building, at about ten feet per floor... CAM: Eleven or twelve if you count the space between floors. FISHER: Right. That’s 252 feet.  That gives us 76.8 meters, a difference of about 17 meters. That’s... CAM: Fifty-two feet. FISHER: Meaning she had to fall from the top floor or the machine room above it. CAM: Very impressive, Mr. Fisher. FISHER: Well, I’ll still end up like her one day. CAM: You ever think of finding a girlfriend, Mr. Fisher? FISHER: I’ve got one. Jill. (He pulls out his wallet and shows Cam a picture of Jill) CAM: She’s very beautiful. FISHER: Yes. Now. (Cut to: Booth and Brennan walking down a hall in the office building conversing.) BOOTH: Patty Hoyle, she’s one of the people who didn’t check into the building. BRENNAN: Angela’s sketch matches the picture on her ID card. Wait, so Cam is actually going to write you a letter so you can get the chair? BOOTH: That’s right. She understands how the game is played. BRENNAN: She worked for the same man as you. BOOTH: That’s right. BRENNAN: The man who doesn’t exist. BOOTH: Wow. Can you imagine working in a place like this? BRENNAN: No. It’s not sterile, and there’s no room for diagnostic equipment or sufficient bone storage. BOOTH: Bones, I meant the little cubicles. Look, they look like caged animals. BRENNAN: Throughout history, you can find examples of human beings adapting to virtually any environment. Like you and the chair. BOOTH: Me? You’re way off base. (They come to Christine’s desk and she is answering multiple phone lines and putting them on hold.) CHRISTINE: Ziff-Young. Hold the line, please. Ziff-Young. Hold the line, please. Ziff-Young. Hold the line, please. Ziff-Young. Hold the line, please. (Booth pulls out his badge and flashes it at her. She stops answering the phone.) BOOTH: Thank you. CHRISTINE: Did you find out who it was? The whole building’s been wondering. I was there, you know, in the elevator. It was horrible. BOOTH: Slow down, okay? (He pulls out the badge of Patty Hoyle and shows it to Christine.) Did this woman show up for work? CHRISTINE: Oh, Patty. Oh, my God. Oh, my God, Patty? Really? It’s Patty, Chip. It was Patty in the elevator. (Chip walks over from a nearby cubicle.) CHIP: Oh, man. BRENNAN: We still have to verify identity with dental records. CHIP: Hey, everybody? CHRISTINE: Oh, my God. CHIP: It was Patty. (Hamid stands up.) HAMID: No, not Patty. Pretty Patty? BOOTH: Could you just keep it quiet, please? (Gary steps out of a door and looks around.) GARY: What’s going on? What about Patty? (Cut to: Patty’s cubicle.  Gary is showing them her desk.) GARY: This is Patty’s area, right over here. Patty decorated the place herself. Even painted the frogs. BOOTH: Lot of frogs. GARY: Well, she was just that kind of person. BRENNAN: One who was adjusted to an impersonal workplace. Nice chair. BOOTH: We’re going to have to look in her computer. GARY: Whatever you need. It’s all company property. I can get you the password. BRENNAN: So you saw her last Friday? GARY: She was still here when I left, yeah. Working late as usual. She...she was the best office manager you can imagine. BRENNAN: See? Booth? Some people accept their position as a drone. BOOTH: Are you calling me a drone? BRENNAN: It’s not a pejorative statement, without the drones, the hive would die. BOOTH: Anyone else wok here late? GARY: Are you kidding? I mean , when that clock hits 6:00, it’s like the running of the bulls, especially on Friday. BOOTH: Did Patty have any enemies? GARY: Well, we all have to break a few eggs to make an omelet. BOOTH: Do you know if she caught any of your employees smoking marijuana? GARY: Marijuana? No. BOOTH: So, no history of drug use here? GARY: Ted Russo was arrested last year for smoking pot at a concert in the park, but he is a good worker. He promised me he hasn’t touched the stuff since. (Cut to: Employee break room where Ted is making a peanut butter and berry loops sandwich. Booth and Brennan enter to question him with Gary.) GARY: Ted?  TED: (Mouth full) Yeah? Well, hey, what’s up? GARY: Ted, the leg found in the elevator? It was Patty. TED: Oh, dude. GARY: Agent Booth and Dr. Brennan would like to ask you a few questions. BOOTH: Hi, Ted. (Ted stands) We found the remnants of a joint in the room where Patty could have been pushed into the elevator shaft. TED: I don’t smoke, man. Yeah, my eyes look like this cause I have allergies. (Sniffs) BRENNAN: We pulled DNA from the saliva on the cigarette paper. TED: Really? BRENNAN: Mmmhmm.  And we can get a court order to take a sample from you. (He looks back and forth between Booth and Brennan. Booth nods at him.) TED: All right, sure. I smoke a little weed. Wouldn’t you? Locked up in these veal pens all day, you know, collating invoices. I’m an artist, man. But my dad cut me off, so without this place I’d starve to death. BOOTH: What happened Ted? Patty catch you? thr*at to f*re you and you k*lled her? Ted, if you think these cubicles are small, wait til you see the inside of a cell, pal. (Cut to: FBI Interrogation Room. Booth is questioning Ted further.) TED: How many times do I have to say it? I didn’t k*ll Patty. BOOTH: Would you call her a friend? TED: She was the office manager, man. Eyes always on me, you know? (Imitates Patty’s voice) "Why are you using so many envelopes, Russo?" "Gee, like, maybe ‘cause I’m sending out letters?" But I didn’t k*ll her. BOOTH: Did you think she was a bitch? TED: What? BOOTH: Right there, you see that?  (Booth pulls out a picture of a red car with the word "BITCH" carved into the side) That’s Patty’s car. "Bitch" Is that an example of your artwork? TED: No, I didn’t do that. BOOTH: We found your roach in the elevator machine room, where we also found parts of Patty’s body crushed in the hoist way. We found two weeks worth of invoices that you hadn’t completed.  Maybe Patty caught you, you keyed her car, you went back to the machine room for a quick toke and to chill. Patty walks in on you, she catches you, thr*at your job...You k*ll her. TED: Dude, you are so off base. BOOTH: Let me have your keys. TED: Why? BOOTH: Is that a "no"? ‘Cause I’ll just go get a court order. (Ted hands over his keys.) BOOTH: Oh, look at that. Thanks for your cooperation. That wasn’t too hard. ACT TWO (Cut to: Medico-Legal Lab, Brennan’s office. Brennan is looking at fragments of bone on her computer. Angela walks in.) BRENNAN: That depressed intern is quite clever. His analysis of the impact fissures supports Booth’s theory of where the body was dropped. ANGELA: Great. I don’t know how to act around Hodgins. BRENNAN: I beg your pardon? ANGELA: We just ended a relationship that was intense, both emotionally and sexually. (Sits down in a chair across from Brennan’s desk.) Now rather than intense we’re just... plain tense. We don’t look at each other, everything is fraught with meaning. (Brennan stares at her, not saying anything.) Brennan, you’re supposed to say something. BRENNAN: Oh, I’m sorry. What am I supposed to say? ANGELA: Something that will make me feel better. BRENNAN: Oh, huh. Um, well, both Hodgins and you mean a lot to me, but since you’re my best friend, I...I guess I could f*re Hodgins. ANGELA: What? No. Huh? I...I don’t want you to f*re him. BRENNAN: That’s good, cause I would have disliked doing that. ANGELA: Yeah, of course. Thank you, though, for the offer. It was...it was very sweet. BRENNAN: So, I helped? ANGELA: Oh, absolutely, sweetie. Thank you, it was... (gives her a thumbs up. Brennan looks pleased with herself.) (Cut to: An exam room at the Medico-Legal Lab. Booth walks in looking for Cam.) BOOTH: Cam? Hi, listen, I appreciate the doctor’s note, but you can’t send it in. CAM: Too late, that’s just a copy. BOOTH: This note, it makes me sound like an invalid. CAM: You want the chair, don’t you? BOOTH: No, I want to keep my job. Hello? "Agent Booth suffers from multi-level disc disease with herniation of the L4-5 disc, producing rad-i-cu-ular..." CAM: Radicular. BOOTH: "...radicular pain in a sciatic distribution." This letter is going to get me a gurney, not a chair. CAM: I’m a coroner. Tell them... I confused you with a corpse. BOOTH: Am I the only one taking this seriously? CAM: You are now. (Booth exits.) You’re welcome. (Cut to: Medico-Legal Lab platform. Hodgins is working at a computer and Fisher walks over to speak with him.) FISHER: You look bummed. HODGINS: What? No. It’s just... sometimes answers pose more questions than they answer.   FISHER: Thus the melancholy. HODGINS: Did you discover cause of death yet? FISHER: Life, man. Life is always the cause of death. HODGINS: Okay, now you’re just a tool. Why are you here? FISHER: Well, I was hoping you could maybe give me a little inspiration, being a mentor and all. HODGINS: All I have are the facts, man. Initial particulate analysis shows a thin layer of styrene acrylate copolymer on her sweater. It’s copier toner. FISHER: She worked in an office. She probably got dirty changing a cartridge. HODGINS: She was an office manager wearing a cashmere sweater. I doubt changing the cartridge was her responsibility, not to mention, the toner dust was all over her front and back. FISHER: Very cool. She probably spent a little time rolling around the copy room floor. HODGINS: Huh. FISHER: Anything else? HODGINS: Yeah. Yeah, there were some stains on different sweater fragments consisting of hesperic acid, ascorbic acid, citrus sinensis, furfural, proteolytic enzyme, alcohol, triarylmethane dye, a.k.a. Brilliant Blue. It’s a food coloring. FISHER: Do you think the stain is relevant to the case? HODGINS: Before I can answer that, I need to know what it is. FISHER: I get it. We live our lives in the darkness, hoping for sun that seldom shines... HODGINS: Go away, Fisher. (Fisher exits.) (Cut to:  Booth and Brennan walking through the office building while conversing.) BOOTH: Forensics analyzed Ted Russo’s keys, all right. There’s no evidence of red paint transfer from keying the car. BRENNAN: This is a very efficient workspace, don’t you think? It affords a minimum amount of human interaction so the workers can concentrate solely on productivity. BOOTH: It’s demoralizing. Don’t look at me like that. I’m not some kind of a drone. BRENNAN: You have superiors to whom you must report, protocols you must follow. All of your actions are documented and reviewed. BOOTH: Look, I do not work for some faceless bureaucracy, okay? I work for the United States Government, and so do you, which makes you a drone, too. BRENNAN: No. No, I’m a completely independent contractor operating out of the Jeffersonian. In the hive, I would be the queen bee. BOOTH: Still in a hive. BRENNAN: In which I am the queen. (Cut to:  Copy room where FBI Forensic Tech Marcus Geier is already examining the area.) BOOTH: Okay, what do we got? GEIER: We found dried toner in a section of the floor and fabric threads that might match the victim’s clothes. (Booth opens his mouth to speak, but Brennan beats him to it.) BRENNAN: Send them all to Dr. Hodgins at the Jeffersonian. BOOTH: (Stage whisper.) Says the queen bee. BRENNAN: What? BOOTH: Nothing. BRENNAN: Use the ALS in this area. Booth, the light. BOOTH: (Booth turns off the lights) I’ll tell you what, I’m going to be the king bee in my department. BRENNAN: There’s no such thing as a king bee. BOOTH: Sure there is. And he is going to have the finest chair in the hive. (The ALS shows staining on the carpet.) BRENNAN: This area might also have staining that could help Hodgins identify what else was on the victim’s clothes. Remove this section of carpet and send it to the lab. BOOTH: What is it? BRENNAN: I’m not sure. Cam and Hodgins will have to check it. The lights. BOOTH: Yeah, yeah. (Booth walks over to turn the lights on while his phone rings. He answers.) Booth. Right. Just send it to my phone right away. BRENNAN: What’s going on? BOOTH: Computer Forensics, they went through the victim’s hard drive. Seems that she got a really angry e-mail last week.  It’s from somebody who works here: Dave Farfield. "You self-entitled bitch. You are done playing with me. You’ll pay. Trust me. Love and Kisses, Dave." (Cut to Gary’s office, Booth and Brennan are asking him questions.) BRENNAN: Do you have an employee named Dave Farfield? GARY: Yes. Well, actually, no. BOOTH: Okay, which is it? GARY: Well, Dave worked her for eight years, but he was let go last Thursday. BOOTH: You fired him? GARY: That’s right. Oh, God... BRENNAN: What? GARY: Well, it was Patty. She told me that Dave was a problem: disruptive, not doing his work. BOOTH: So, it was Patty who got him fired? GARY: She showed me an inflammatory e-mail that he wrote to her, and I agreed with Patty, it wasn’t right. BRENNAN: And Dave knew he was fired because of Patty? GARY: Yes. Oh, my. (Cut to: FBI Interrogation room, Booth is interrogating Dave Farfield. He puts a picture of Patty’s car down in front of him.) DAVE: I don’t get it. Keying someone’s car is a federal offense now? BOOTH: So you admit you did it? DAVE: No. But did you ever meet Patty? Someone was just accurately describing her. (Picks up the picture and hands it back to Booth.) I mean, what other kind of person would call the FBI because she had her car keyed? BOOTH: Patty’s d*ad, Dave. DAVE: Whoa, wait a second. Is that why I’m here? (Booth holds the picture up again.) Okay, look, sir... I admit that I keyed her car, but she purposely parked across the line so I couldn’t get into my space. I mean, every day, I would have to squeeze the car in. I scratched the whole side of my Corolla. And that car was cherry. BOOTH: You hated her. DAVE: She got me fired because I turned her into the parking guards, but it’s not like I’m the only one that didn’t like her. BOOTH: Your coworkers seemed to like her. DAVE: No, no, she drove us all crazy. She docked Hamid’s pay one time because he put too much half and half in his coffee. And then she had me reported for excessive use of the Internet, and I was the IT guy. BOOTH: So where were you Friday night, Dave? DAVE: I was at Paradise Isle. I met Chip over there. BOOTH: Chip? DAVE: Chip’s a guy from work. I got a little t*nk, I bitched about getting fired. Chip drove me home, ‘cause like I said, I got a little t*nk, but I was home before eight. BOOTH: You got an alibi after that? DAVE: I was online. I was online playing Knights of Atlantis. You can check the log or ask... Thrustkiller278 or Donnerparty819. BOOTH: Right. ACT THREE (Cut to: Medico-Legal Lab platform. Patty’s skeleton is laid out on a lighted exam table. Cam and Fisher are talking about the damage done to the body.) FISHER: Her body sustained severe postmortem damage: comminuted crush fractures of the upper and lower extremities, burst fractures of the thoracic and lumbar vertebrae, and shearing of the spinous processes. CAM: Your reconstruction looks good. FISHER: It’s incomplete. I suck. CAM: This woman was mulched in an elevator shaft. Given her condition, I’m impressed with your work. Come on, Mr. Fisher, let me see a little smile. (Fisher gives her a deadpan expression.) That’s the ticket. FISHER: I also found incomplete bilateral compression fractures of ribs R3 to R11. There’s inward deformation to the lateral aspects. Curve patterns are consistent with the outer edge of a shoe. CAM: I looked at several sections of the epidermis from the area of patterned abrasions, didn’t find any hemorrhage in the soft tissue. FISHER: So she was stomped postmortem. Why stomp on someone when they’re already d*ad? CAM: Good question. And I have another. Did you figure out cause of death, yet? FISHER: I told you, man, I suck. CAM: Buck up, Mr. Fisher. You give me cause of death, I give you a Kierkegaard t-shirt.  (Cut to: Royal Diner. Sweets is sitting at a table reading a paper. Angela sits down in the chair across from him.) ANGELA: Hey! SWEETS: Hello. ANGELA: Fries look good. SWEETS: You want some? ANGELA: If you don’t want them. So, I need some advice. SWEETS: I have office hours, Ms. Montenegro. This is ... ANGELA: How do I deal with Hodgins? I mean, we broke up so I just want it to be over with so I can get back to work without all this unspoken drama, you know what I’m saying? SWEETS: Uh huh, uh huh. First, I think it’s important to find out what went wrong, why you were involved in an unsuccessful relationship. ANGELA: Who says it was unsuccessful? SWEETS: You’re not together anymore, are you? ANGELA: Do you love your parents? SWEETS: Yes. ANGELA: But you don’t live together anymore. Does that mean your relationship with Mom and Dad was unsuccessful? SWEETS: I don’t think it’s the same.  ANGELA: I do. Sometimes you have to move on, whatever your feelings.  SWEETS: When we create intimate sexual relationships, and if the relationship isn’t functioning the way it should, one is left with anxiety and confusion that will remain until dealt with. ANGELA: Okay. So let’s deal with it. SWEETS: No, it’s going to take longer than us sitting here for a few minutes. We need to find out why you were attracted to him in the first place. ANGELA: He has kind eyes, great sense of humor, cute ass. He does this thing where... SWEETS: No. No. Um, I meant what are those things in your past that have led you to Dr. Hodgins and what he represents to you as an archetype. You know what? I’m going to look at my schedule, but we should probably start by meeting twice a week. ANGELA: No. I think I’m okay. SWEETS: Therapy can’t be rushed. ANGELA: Look, Sweets, the way I look at it, if I’m sh*t by an arrow, I-I don’t need to know where the arrow was made, or what kind of bow it came from, or even who it was who sh*t me. I just need to get it out of my chest. (Sighs.) So...thank you. This has been helpful. You’re good. Thanks for the fries. (Angela exits.) SWEETS: Go ahead. Help yourself. (Cut to: Medico-Legal Lab, Cam’s office. Hodgins walks in to speak with Cam.) HODGINS: Found another mystery stain on this piece of her skirt. It’s body fluid, so... it’s your problem. CAM: What have we here? HODGINS: Do you think I’m off my game because of Angela? Because of all this residual stuff between us? Every time I look at her, I still think about... CAM: Semen. HODGINS: What? No. I was going to say something much more romantic than that. CAM: This stain... it’s semen. HODGINS: Oh. Right. CAM: I was also given a swatch of carpet from the copy room that had a stain. Also semen. HODGINS: So now we know victim was on the floor of the copy room and that there were semen stains on the floor and now on her skirt? CAM: My guess is, the stains will match. (Cut to: Booth and Brennan walking through the smoking area of the office building.) BOOTH: Patty Hoyle ordered food Friday night, had it delivered to the office. Guess whose credit card she used? BRENNAN: Well, I really don’t have enough data to make an educated guess.  BOOTH: Oh, her boss is Gary Flannery. BRENNAN: So, Cam is comparing the semen found on the floor with the stain found on the skirt. BOOTH: Seems like Pretty Patty was sleeping her way up the food chain with the boss. BRENNAN: Flannery is married. Maybe she thr*at to expose the affair, and he decided to k*ll her to keep her quiet. (They walk around a corner to see HAMID: Just because tech support is in India doesn’t mean I get special treatment. Patty knew that. GARY: Just call them, please. BOOTH: Excuse me. Mr. Flannery, like to ask you a few questions about your credit card statement. BRENNAN: I’d like to ask him for a DNA sample. BOOTH: Now. (Cut to: FBI Interrogation room. Booth and Brennan are interrogating Gary.) GARY: Patty was a valued employee and that is all. BOOTH: Come on, you think I’m gonna slam you for having a little fun? It happens. Late night meetings, a little cleavage. GARY: No. I-I’m a married man. BRENNAN: Then why did you give her your credit card? GARY: For the occasional business expense. BOOTH: Room service, massage, shiatsu one hour, a purse, three hundred dollars worth of lingerie. GARY: I was not having sex with Patty! BOOTH: Why did she have your credit card? BRENNAN: And semen on her skirt. GARY: No! Patty decided to run an expendables audit, all right, she wanted to account for every damn pencil. And she found out I was ordering extra office supplies and selling the surplus online. She was going to report me to corporate. But she said she’d keep her mouth shut if I let her use my card now and then. Oh, she had the whole office under her thumb, knew everyone’s business. Sneaky bitch. BRENNAN: So she was blackmailing you. That’s not easy to stop, is it? GARY: But I didn’t k*ll her.  Please. You can’t tell the head office. I’ve got a family. I could lose my job, my healthcare, my pension... BOOTH: Shut up. Open your mouth. GARY: (Opens his mouth so Brennan can swab it.) Ahhh... (Cut to: Medico-Legal Lab, exam room. Brennan and Fisher are going over the remains.) BRENNAN: What have you found? The pelvis? FISHER: The anteroposterior diameter is 160 millimeters. Transverse diameter is 240 millimeters. (Pauses and scoffs.) Listen to me. Reducing the pelvic inlet, the orifice of life, to a numerical abstract. BRENNAN: We need mathematical constructs to understand any aspect of our world, Mr. Fisher. And those figures and equations are beautiful. Like a musical composition, they give life meaning and us the possibility of knowing the unknowable. FISHER: Right. There’s no evidence that the body was disarticulated prior to being shoved down the chute, so she either went in headfirst or feetfirst. Given that, I’ve cut a hole that corresponds to the measurements of the chute. (He lifts a box and hands it to Brennan, then picks up the pelvic bone and demonstrates it against the hole he’s cut in the box.) There’s only one problem. Any way you turn it, the pelvis won’t fit. So, the body couldn’t have entered the shaft by that chute. But since it still had to fall a minimum of 60 meters... BRENNAN: It was dumped from the 16th floor. I’ll call Booth. (Cam enters.) CAM: DNA results came back. The two semen stains are a match—the one from her skirt and the one from the copy room floor. But they’re not from her boss. Sorry. (Cut to: Medico-Legal Lab, platform. Hodgins is working as Angela approaches.) ANGELA: Hey. HODGINS: Hey, uh...hi. ANGELA: Look, this tension between us, I hate it. I-I mean, I know that we broke up and everything, but I’ve experienced loss before and lived through it and... you have, too. And I’m not gonna pretend this didn’t happen because it might be easier to break up. I’m going to relive us huddled last winter in that cabin in Montana when the lights went out and the heat went out and laughing our asses off when you tried explaining that spectrometer thingy to me. So, I am not going to hide anymore, and I’m not going to walk on eggshells. I am just going to accept that the whole damn mess happened, and pain or not, I’m glad it did. HODGINS: Okay. (Angela exits.) (Cut to: Booth and Brennan in the office building. Brennan is examining the elevator door.) BRENNAN: So, forensics didn’t find any prints? BOOTH: (Trying to pry the elevator doors open on his own and unable to do so. Sighs.) No. Cleaning crew came in over the weekend and wiped down all the elevator doors. BRENNAN: Eh, no blood. What’s that? (She points to a pink pastry box next to Booth’s feet.) BOOTH: What? BRENNAN: That. BOOTH: Those are my cupcakes. I got them for the HR officer at work. I heard she loves them. BRENNAN: So, fraud and bribery? BOOTH: No. Twelve years of service and lumbar support, okay? It’s all a matter of perception. BRENNAN: Okay. BOOTH: Don’t say it like that. "Okay," like I’m some kind of kid. BRENNAN: Okay. BOOTH: It’s looking pretty good, too, Bones. I mean, Willie Ackerman, he got cut off the list ‘cause he got his note from an acupuncturist, and that doesn’t even count. Hah! Boob. Watch out, I’m going to try this again. (He tries to pry the doors open again.) Oh, man. Ah, forget it! There’s no way that I could keep that open long enough to dump a body, and I’m in shape. BRENNAN: Must have been someone that was stronger than you. BOOTH: You’re kidding me? Have you seen the people in these offices? Compared to them, I am Hercules. BRENNAN: Well, apparently not. Maybe you do need that chair. BOOTH: Or maybe it was two people. ACT FOUR (Cut to:  Medico-Legal Lab, Cam and Fisher are examining the remains.) FISHER: One thousand, two-hundred and sixty-three bone fragments and I’ve checked every single one of them. And the only cause of death I see is on the squamous temporal bone.  CAM: The localized staining would be consistent with blunt force trauma.  FISHER: Except there’s no sign of that on the exterior of the skull. CAM: Then it was probably caused by a ruptured aneurysm. FISHER: Which would make her death an accident. And our persuit for a villain merely a cry for justice in an unjust world. CAM: But if it’s an accident, it wouldn’t account for the elevator or the semen. FISHER: True. I should have found that earlier. Dr. Brennan’s going to f*re me, isn’t she? I guess while I was trying to see the metaphorical sun, I totally forgot that the chances of survival in an unfriendly cosmos... CAM: Have you considered Prozac, Mr. Fisher? FISHER: Already on it. CAM: Then double your dose ‘cause you’re bringing me down, and that’s hard to do, ‘cause I have worked with death for years and you are making it all look like good times now. So, get it together, okay, Eeyore? (Brennan enters.) BRENNAN: What have you found? CAM: An aneurysm. FISHER: It should have been caused by trauma to the ectocranial surface, but there’s no evidence of trauma at all. BRENNAN: Very good, Mr. Fisher. What do you see there? FISHER: Two tiny punctures, approximately seven millimeters apart. And what’s very good? I totally missed them. CAM: You found the hemorrhagic stain that led us here. FISHER: So what caused them? Snake fangs? Eastern pipistrelle bat? Uh, a vampire? BRENNAN: Fingerprint powder. (Fisher goes to get the fingerprint powder. Brennan applies it and examines the puncture wounds beneath a microscope.) FISHER: What are you doing? BRENNAN: A fine horizontal bar terminating in two vertical protrusions. CAM: Oh, my God. She was k*lled by a staple. (Cut to: Royal Diner, Booth and Brennan are eating and talking at a table near the window.) BOOTH: A staple? BRENNAN: Mmhm. BOOTH: How do you k*ll somebody with a staple? BRENNAN: It perforated the thinnest part of the calvarium... the squamous temporal bone... causing Miss Hoyle’s preexisting aneurysm to rupture. BOOTH: And how do you get somebody to stand still while you staple them? BRENNAN: There’s a small depression near the wound that suggests the stapler was thrown. BOOTH: So whoever did this didn’t mean to k*ll her. BRENNAN: No, I can’t confirm that. BOOTH: It’s common sense, Bones. One doesn’t usually use a stapler as a m*rder w*apon, and they certainly couldn’t have known that she had an aneurysm. BRENNAN: I’ll concede on both points. BOOTH: Tell you what, my boys are looking for the m*rder w*apon. Maybe we can pull some prints. BRENNAN: So Patty has sex with someone who then hits her with a stapler. Odd work environment. (Hodgins enters and sits next to Brennan.) HODGINS: Okay, you are not going to believe this. BOOTH: Yeah, try topping death by office supplies. HODGINS: I was wracking my brian over the trace analysis from the sweater. Furfural, proteolytic enzyme, triarylmethane dye... BOOTH: Hodgins, Hodg-Hodgins. Eyes are glazing over. HODGINS: It’s a blue Hawaiian. BRENNAN: What’s a blue Hawaiian? BOOTH: Well, it’s a potent cocktail. Two of those puppies and you’re asking yourself, "Hey, why amd I naked and who are all these people?" HODGINS: Brilliant blue FCF from the blue curacao, furfural from the rum, proteolytic enzyme—pinapple, alcohol speaks for itself. BRENNAN: Is this the sort of beverage they would serve at the Paradise Isle? BOOTH: Yeah, it comes in one of those ceramic monkey heads. So the k*ller must have stepped in spilled drink. HODGINS: Given the level of fructose and sugarcane, it would have adhered to his shoe. He stomps on the victim, and presto, her sweater lights up with more traces than a luau pig. BRENNAN: Dave as at Paradise Isle, but his, his alibi checks out. BOOTH: Yeah, but Dave was there with Chip, who gave him a ride home, but we don’t know what Chip did for the rest of the night. Good work, Hodgins. HODGINS: Thanks. BOOTH: Now you can have a French fry.  HODGINS: Hey, man, right? Hey, you know, uh... I think Angela and I are cool now. We talked, and I think... BRENNAN: (Her phone rings and she answers.) Brennan. BOOTH:  You know what? Just keep it to yourself. BRENNAN: We’ll be right there. BOOTH: You can have all the fries you want. Pay for the bill, too. HODGINS: ...to talk to you guys about... BRENNAN: Thanks, Hodgins. HODGINS:  ...Angela. (Cut to: Medico-Legal Lab. Brennan, Booth and Cam are walking through the lab.) CAM: I was filing the DNA test I ran on Gary’s saliva. BOOTH: Ah, it does match after all. CAM: No, but I did double-check the semen’s sample from the victim’s skirt with the one on the floor and they do match. (She brings up an image of sperm on a large screen.) And according to the deterioration of the sperm tail, the ej*cul*te is from Friday night. BOOTH: That must have been some happy hour. BRENNAN: The night she was m*rder. BOOTH: You can tell all that from their little tails? CAM: Yes, and I can also tell that our man is probably of Asian descent. BOOTH: Oh, by the way they swim. CAM: No. From forty-two specific DNA sequences. BOOTH: Yeah, probably more exact. CAM: I’m not sure if that’s helpful. There are three billion Asian people in the world. BRENNAN: But only one who works in the office. BOOTH: And he was at Paradise Isle. (Cut to: FBI Interrogation room, Booth is questioning Chip.) BOOTH: We found the m*rder w*apon, Chip. CHIP: A stapler? BOOTH: Yep, a stapler. Picked it up in a dumpster behind your building. BRENNAN: Someone threw it at her. We found some of Patty’s hair embedded in the slide, as well as a trace of blood. CHIP: So, uh, what do you need from me? I’ll help any way I can. I liked Patty. BOOTH: Enough to make love to her in the copy room on the floor? CHIP: God, no. She was my boss. BRENNAN: We also found semen on the floor of the copy room and on her skirt. The DNA showed it was from an Asian male.  You’re the only person of Asian descent in the office, Chip. BOOTH: Look at this. We have a, uh, court order here for your DNA. (Takes the court order out of his jacket and puts it on the table in front of Chip.)     CHIP: Okay, you’re right. I was sleeping with Patty, but I wanted to end it, so I had a couple drinks to get up my courage and went back to the office. BOOTH: Then what happened? CHIP: I told her we had to stop because we were going to get caught. She thr*at to report me for sexual harassment if I didn’t keep sleeping with her. She was calling Gary to report me. BOOTH: So you threw the stapler at her? CHIP: It... h*t her in the head a-and she just dropped. BRENNAN: She had an aneurysm. You ruptured it. CHIP: I didn’t know. BOOTH: Then what? CHIP: I...had to get rid of her. I...I panicked, dragged her into the hall, opened the elevator doors, and...shoved her down the shaft. BOOTH: How? CHIP: W-what do you mean, "how?" (Cut to:  The office building, Chip is trying to pry the elevator doors open. He is unsuccessful.) CHIP: It must have been the adrenaline. Enough of that, you can lift a car, right? (Booth pulls out his g*n and cocks the hammer back.) BOOTH: Is this enough adrenaline for you? CHIP: Okay. (Chip tries again and then Brennan steps in to help. They are able to pry it open enough to fit a body through.) BOOTH: Look at that—two people. Who’s helping you? CHIP: No one. It was just me. BOOTH: Somebody had to have helped you hold the doors open while you kicked her down the shaft. CHIP: No. BOOTH: Who are you protecting, Chipper? BRENNAN: Booth, can you take the door? (Booth holds the doors open.) BOOTH: Got it, got it. All right. (Brennan bends down and picks up a blue fingernail with a pair of tweezers.) BOOTH: Okay, what is that? BRENNAN: It looks like a piece of fingernail, blue nail polish. (Cut to: FBI Interrogation room. Christine, with her blue fingernails, is being interrogated by Booth and Brennan.) CHRISTINE: Chip tried to protect me? BRENNAN: Yes. CHRISTINE: That’s just like him, you know? Whenever I have too many calls on hold, he’d always answer the phone. He totally didn’t have to do that. BOOTH: The best way for you to help him is to just tell me the truth. CHRISTINE: Okay, well...we both have roommates...so...sometimes...we’d make love in the office. We were in the copy room and we thought we were alone, but Patty came back for something and she caught us, and she said she was going to report us. I mean, no one in the office could date. It was against company policy. She said we’d both be fired. BOOTH: So you threw the stapler. CHRISTINE: I-I was so sick of her sticking her nose in everything. Sh-she went over to the phone to report us to Gary, and...I threw the stapler. I didn’t, I didn’t mean to k*ll her. I just wanted to be with Chip. (She begins to cry heavily and Booth reaches over to hold her hand.) (Cut to: Booth’s office at the FBI building. Brennan walks in to see Booth shining the leather on his new chair.) BRENNAN: I see you got your throne. BOOTH: That’s right. The chair. BRENNAN: Looks nice. Another victory for the hive. BOOTH: HR said you called. BRENNAN: Yes, but I didn’t lie to them. I wouldn’t do that. (Sits down.) BOOTH: Well, you must have said something because she didn’t even eat her cupcakes and the chair was here. BRENNAN: No, I just told them why I felt it was important for you to have it, that’s all. BOOTH: And, uh, why is that? Because even a mindless drone (lowers himself into the chair) ahhhh...deserves some perks? BRENNAN: No, because of how important you are to them. I mentioned your dedication and courage and sensitivity. BOOTH: Sensitivity? BRENNAN: Yes, Booth. I mean, even today with that young woman who k*lled her boss, it’s very impressive.  Anyway, I said that a chair is a good way to show the other employees in the office how much those qualities are valued. BOOTH: Hmmm, well, it worked. BRENNAN: I’ll never understand why you felt you had to lie to get the chair. I mean, you could have just told them about yourself on your own. BOOTH: Well, because that would have been bragging, even though it was true. (He leans back, throws the towel he was shining the chair with at Brennan, and a snapping sound it heard.) Oh, ow. BRENNAN: You okay? BOOTH: Yeah, no, it was just...I think some of the padding in the back here is worn out. When I lean back, it’s... hits. BRENNAN: So Agent Kelton overstated the attributes of the chair. BOOTH: No, no, this thing is great, you kidding me? It’s a...even though it’s an antique, doesn’t tilt back...yet. And it smells like a three hundred pound d*ad guy. BRENNAN: So you like it. BOOTH: Are you’re kidding me? Love it. I’m not giving this baby up for anything, huh? (He touches the lever that raises and lowers the chair. He sinks down almost below the surface of his desk.) Uh-oh. You know, that little up and down thing is a little touchy. (Fade to black, another clanging sound.) Ow. END

{"type": "series", "show": "Bones", "episode": "04x06 - The Crank in the Shaft"}

foreverdreaming

"The He in the She" Episode 4x07 / Production 3x15 Airdate: October 8, 2008 Written By: Karina Csolty Directed by: Craig Ross Jr. Transcribed by: amathyst-eyes Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Beach scene - two hippies fishing on a beach) HIPPIE #2: Oh, I'm so toasted HIPPIE #1: Yeah, me, too. HIPPIE #2: Hey. HIPPIE #1: What? HIPPIE #2: Early morning...Shouldn't it be foggy? HIPPIE #1: Global warming. HIPPIE #2: But it's all good. HIPPIE #1: No, not really. I don't want to be negative, but it's not all good. Just ask a penguin, man. Global warming sucks. HIPPIE #2: (noticing something in the water) What's that? HIPPIE #1: Global warming is when some kind of carbon gasses get built up... HIPPIE #2: No, what's that? (staring at object in water) HIPPIE #1: Just trash. HIPPIE #2: (goes to look closer) No, man. (starts to pull item from the water, sees that it's the hand of a skeleton) Oh! (Cut to Sweet's office - Booth, Brennan, and Sweets are all sitting silently. Booth's phone vibrates) BOOTH: Oh! Look at that - thank God, somebody got m*rder. BRENNAN: Okay, let's go. (Both rush out of the room.) SWEETS: You're supposed to turn your phones completely off during our sessions, you know? Not just vibrate. It's a matter of respect. (Cut to beach scene - Booth and Brennan are walking towards the beach. The scene is surrounded by police tape.) BOOTH: Hi, guys. (two police officers hold up the yellow tape, allowing Booth and Brennan to pass under) MR. NIGEL-MURRAY: (Saroyan and Nigel-Murray walk up from the water line) Oh, hey. Dr. Brennan. BRENNAN: Mr. Nigel-Murray, what are you doing here? CAM: We decided to utilize some of your brighter grad students until we find a full-time forensic anthropologist, remember? BRENNAN: Do you consider yourself one of my brighter grad students, Mr. Nigel-Murray? MR. NIGEL-MURRAY: Yes. And so do you, Dr. Brennan. BOOTH: I am not calling this kid Mr. Nigel...anything. MR. NIGEL-MURRAY: Vincent. Or Vince. Or Vinnie, Vin, Vincenzo. Actually, uh, I had this girlfriend once who used to call me Vino Delectable because of how my, eh... (Booth and Bones stare at him) MR. NIGEL-MURRAY: You don't...need to know that. Uh, what do you need me to do first? BRENNAN: I need you to go back to the lab. CAM: I thought perhaps you might want Vin...cent to shadow you, get a real sense of what you do. MR. NIGEL-MURRAY: Little known forensic fact: tongue prints are as distinctive as finger prints, so...I can be useful in the field. BRENNAN: I need a forensic anthropologist in the lab so I can spend my time aiming Agent Booth in the right direction. BOOTH: "Aiming Agent Booth"? What, like a hose? BRENNAN: Well, here. Take my car. (hands her car keys to Mr. Nigel-Murray) I'll get a ride with Booth. BRENNAN: How were these remains found? BOOTH: Well, let me aim you in this direction, okay, Bones? CAM: Two - let's call them hippies - found these remains this morning. BOOTH: (chuckles and glances at the hippies) Deadheads. CAM: Oh, I sold veggie burritos and followed Phish one whole summer. It was fantastic. BRENNAN: I'm not able to ascertain sex without a pelvic bone. CAM: Well, if this scrap of cloth is a bathing suit, then probably female. BRENNAN: Are you good at estimating time of death for submerged corpses? CAM: Heavily degraded by crab and fish. Two to three weeks? That could be a breast implant. BOOTH: Breasts - that's my department, okay? You give me a serial number, my guys will be able to track that down. CAM: Why is there only half a skeleton? BRENNAN: Because the spine has been severed. BOOTH: So, severed spine equals foul play. BRENNAN: No, not necessarily. BOOTH: Then it was an accident. BRENNAN: No, it was foul play. BOOTH: I just said that. BRENNAN: Mm, this hand has sustained trauma. BOOTH: Shark att*ck. BRENNAN: No. The fingers got smashed from what looks like multiple blows. That suggests foul play and...not by a shark. CAM: We'll have Hodgins take a close look for particulates. BOOTH: Okay, great. So what do we do next? BRENNAN: Find the other half? (Everyone looks to the ocean) (Cut to: Medico-Legal Lab, Forensics Platform - Cam and Mr. Nigel-Murray are examining the skeleton) CAM: What do you see, Mr. Nigel-Murray? MR. NIGEL-MURRAY: Eye sockets. CAM: Anything special about these sockets? MR. NIGEL-MURRAY: There are no eyeballs in them? CAM: We already have Agent Booth to make lame jokes. Let's stick to facts. MR. NIGEL-MURRAY: The rods in the human eye are sensitive enough to detect the light emitted by a struck match from as much as a mile away on a clear night. CAM: Okay, let's stick to relevant facts. MR. NIGEL-MURRAY: These sockets have been ground down. CAM: Okay, that could be useful. Especially if you have an explanation. MR. NIGEL-MURRAY: Plastic surgery. Oh, she had, uh, fake boobs, too. CAM: "Sockets," "eyeballs," "boobs" - I wouldn't use these words when conferring with Dr. Brennan. MR. NIGEL-MURRAY: I know. With her, it's all "supraorbital limbus" and "mammary implants." But you seemed a more colloquial sort. CAM: Well, in that case, what about the backbone? MR. NIGEL-MURRAY: A clean transection between the L1 and L2 vertebrae. Obviously, that would have been fatal if it had happened while the victim were still alive. (looks to computer screen showing victim's skull) This conk to the parietal bone would not have been fatal. And these abrasions are puzzling. (points to computer screen showing victim's ribs) CAM: Postmortem scraping from the remains being washed up on a stony beach. MR. NIGEL-MURRAY: Uh...should I have known that? CAM: Point is, you do now. (Hodgins enters Platform) HODGINS: The remains show traces of fresh water and pelagic sediment common to Chesapeake Bay. (glances at Mr. Nigel-Murray, then looks at Cam) Grad student? CAM: He's done very well so far. HODGINS: (looks back to Mr. Nigel-Murray) He'll disappoint. MR. NIGEL-MURRAY: Why? HODGINS: (chuckles, then looks to a computer screen) I've discovered microscopic tooth shards from the Alosa sapidissima, also known as the American shad, on what flesh there is. MR. NIGEL-MURRAY: In the 1700s the shad was especially valued as a delicacy. HODGINS: Yeah. Fascinating. Based on currents, shad populations, and sheer guesswork... CAM: Don't tell him you're guessing. HODGINS: ...the victim died in the same body of water in which she was found, probably within six miles. CAM: I got a serial number off the breast implant. The FBI's tracking it down now. HODGINS: Traces of copolymer on the vertebrae, nearly microscopic. I'm chasing that down. MR. NIGEL-MURRAY: I...won't disappoint. I graduated with first-class honors from Leeds. Also, I have a retentive memory. CAM: Ah...that would explain the, um...informative tangents. HODGINS: Does Brennan put "Mister" in front of your name? MR. NIGEL-MURRAY: Yes. HODGINS: It's her very subtle way of saying you're not a doctor. (walks off the Platform smiling) CAM: (calls after Hodgins) Don't tell him that! MR. NIGEL-MURRAY: Do you know what large-breasted women and fish remind me of? CAM: Be very careful what you say next, Mr. Nigel-Murray. MR. NIGEL-MURRAY: Topless saleswomen are legal in Liverpool, England, but only in tropical fish stores. CAM: Tangents, Mr. Nigel-Murray, tangents and diversions. Perhaps we could keep those to a minimum. The FBI's traced the breast implant to Baltimore plastic surgeon. He replaced a leaking implant for this woman. (shows Mr. Nigel-Murray a file with a picture of the victim) (Cut to SUV - Booth and Brennan in the car, Brennan is holding the same file Cam had and is looking at a picture of the victim) BRENNAN: So, her name is Patricia Ludmuller, RR#1, Maylor Island, Maryland. BOOTH: Yeah, reported missing three weeks ago. Presumed drowned after she didn't come back from her morning swim. BRENNAN: Very striking facial features. BOOTH: Yeah, well, according to your Mr.... what's his name? BRENNAN: Nigel-Murray? BOOTH: Yeah. Those were mostly artificial, too. BRENNAN: How many people live on Maylor Island? BOOTH: I'd say about a couple thousand--that's one of those end-of-the-world places where the weirdoes flock. BRENNAN: Why go to this much trouble to make yourself look beautiful and then move to the end of the world? BOOTH: Well, the background check on her turned up suspiciously little. All right? There's no credit cards, no driver's license. Officially, she didn't exist before five years ago. BRENNAN: Witness protection? BOOTH: No. Marshals say she's not one of theirs. But, you know, sometimes they lie. BRENNAN: If you really wanted to hide, you wouldn't make yourself look beautiful. BOOTH: Well, if you want to hide, Bones, you'd change your looks as much as you can. (Cut to Maylor Island - Brennan and Booth walking down a street) BOOTH: Talk about low profile. BRENNAN: It's very peaceful. BOOTH: Yeah, well, these peaceful places, they usually have a seething underbelly. BRENNAN: Really? BOOTH: Well, I mean, what do I know? I'm from Philly, where the underbelly's on top. Just focus. Look--our victim's home. (points to victim's house) (Cut to inside of Patricia Ludmuller's house - Booth and Brennan are looking around) BRENNAN: This is a very spiritual person, catholic in her tastes. BOOTH: Oh, what, you can tell she's Catholic? BRENNAN: Not Catholic, catholic. Encompassing, universal. She has a lot of religious books, but they cover a wide range of dogmas and philosophies. She herself seems to be Protestant. There's crosses, no crucifixes. BOOTH: (looking at a picture of Patricia with her congregation) She's a pastor. Yeah. Looks like one of those grassroots community churches. BRENNAN: (looking at Patricia's open bible) She was preparing for a sermon. BOOTH: A pastor with breast augmentation and veneers? BRENNAN: So? BOOTH: A spiritual leader shouldn't be so vain. BRENNAN: The Pope sits on a throne; he wears robes worth thousands of dollars. Isn't that vanity? BOOTH: Really? You're going after the Pope now? BRENNAN: One pastor gets her teeth whitened, and the other drinks wine on Sunday mornings and tells everyone that it's been miraculously transformed into blood. Which of those is more outlandish? (Booth pushes button Patricia's answering machine) MACHINE: You have one new message. JP: (on machine) It's JP again. I'm sorry. I-I miss you. I need to see you--it's important. I really need you, Patty. Please call. Please. BOOTH: Sounds like a lost sheep in need of religious counseling. BRENNAN: Sounds more like a desperate boyfriend. BOOTH: (looking at Patricia's telephone) Nothing here. It's just caller ID's blocked. (Booth's cell phone rings) Hold on. (on phone) Booth. Yeah? Where? (to Bones) Bones. Bones. They found a pelvis and legs in the water about eight miles from here in the Virginia side of the bay. BRENNAN: They should take it to the lab. BOOTH: (on phone) Okay, send it over to the lab, now. (Cut to Medico-Legal Lab, autopsy room - Cam and Mr. Nigel-Murray are looking at the bottom half of the body) CAM: There's more tissue on this half. And just because we have the top of a body and the bottom of a body doesn't mean it's all the same body. MR. NIGEL-MURRAY: This half starts where the other half ends, at the L2 vertebra. Coincidence? I think not. CAM: Based on the lack of hemorrhagic tissue, this victim was already d*ad when cut in half. MR. NIGEL-MURRAY: He's in the water...drowning, maybe, or-or he was pushed from a boat. When he reaches for the boat, his fingers are smashed. He drowns, and then is cut in half later in some maritime mishap. CAM: He? MR. NIGEL-MURRAY: Triangular pubis. No evidence of a ventral arc. The pelvic bone speaks--it says, "I be male." CAM: The pelvic bone can say whatever it wants to say--this part here says female. MR. NIGEL-MURRAY: What part's that? CAM: It's called a vagina. MR. NIGEL-MURRAY: Did you know that women blink twice as often as men? CAM: Which might be useful information if the fish hadn't eaten our victim's eyelids. MR. NIGEL-MURRAY: Ah, relevance. CAM: Well, I can do a DNA comparison to find out if these two sets of human remains come from the same victim. MR. NIGEL-MURRAY: The measurements of the vertebrae match perfectly. I-I'm nearly positive that it's all one victim. CAM: Who is... MR. NIGEL-MURRAY: Male. CAM: And female. We have one victim with two sexes. (Cut to Booth's office - Booth, Brennan, and Sweets are sitting around) SWEETS: A transgender? BRENNAN: Post-op. She had female sex organs. SWEETS: So if she had sexual reassignment surgery, she would be a transsexual. BOOTH: How do they do that? BRENNAN: They split the penis, and then turn it inside out-- carefully, so as not to damage the nerves. And then they use the glans to create a nerve cluster dense enough to achieve orgasm. BOOTH: Okay, new rule. No surgical details, all right? SWEETS: Generally, transgendered people feel that they're the victim of a cosmic mistake. They're certain, from a young age, that they were born into the wrong body. Surgery and hormone treatments are a way to correct that biological mistake. BRENNAN: Which is why Patricia Ludmuller's past only went back five years. BOOTH: Are pastors allowed to think that God makes those kind of mistakes? SWEETS: Do you think God makes that kind of mistake? BOOTH: I think that God expects us to overcome certain things. SWEETS: The term "trans" conveys a meaning of "beyond the cross." Moving further. There's a very spiritual component. BOOTH: Let's say some hyper religious fundamentalist finds out that Sister Patricia used to be Father Paul... SWEETS: And m*rder her. Okay, you mentioned that there was an intense message on Patricia Ludmuller's answering machine, right? BRENNAN: Yes. SWEETS: If, say, she had sex with a man, and then informed him that she was transgender, isn't that a more likely motive for m*rder? BRENNAN: Anthropologically speaking, a male's status in a society is closely connected with what he perceives to be his outward maleness. BOOTH: Look, there's no way the guy on that answering machine knew that he...she... he... knew that she... he...was transgender. BRENNAN: How do you know? BOOTH: Well, because I know an "ain't too proud to beg" phone call when I hear one, all right? He had no idea that she wasn't a real woman. SWEETS: That's very insightful. BOOTH: Thank you. Insightful. See? SWEETS: Except for the "real woman" slip. BRENNAN: Have you made many of these "ain't too proud to beg" calls in the past? BOOTH: What do you say we just stay focused here? SWEETS: Okay, have you ruled out completely that Patricia Ludmuller's m*rder might be because of something that happened before he became a woman? BOOTH: I put a request in to find out his previous identity before he was a woman. That's the best I could do. Okay, from now on, he is always a she. She was a he when she died, so she deserves the respect due to him or her...okay, person! BRENNAN: Okay... I'm a genius, and I'm confused. (Cut to Maylor Island beach - Congregation is meeting by the shore, Booth and Brennan join them.) WADE: Pastor Patricia was our center. Like the best leaders, she drew us together without even trying. BRENNAN: Did you release identity? BOOTH: Their pastor went for a swim and never came back. All right? The body washed up. BRENNAN: Intuitive leap. Right. WADE: Let's pray together. Let's pray that whatever happened to Patricia out there alone came peacefully. That God embraced her as His daughter. That there was no pain, only God's great serenity. CHUCK: A moment of silence for the pastor we loved so much. BRENNAN: What are you doing? BOOTH: I'm praying. Would you keep your voice down? BRENNAN: Sorry. You're not a member. BOOTH: It's not a gym, Bones. BOOTH: Excuse me, Mr., uh... WADE: Wade Schmidt. You're FBI? BRENNAN: How did you know that Patricia Ludmuller was the victim found in the bay? WADE: She's a member of our community, and she's gone--we feel her loss. We're right, aren't we? BRENNAN: Yes. BOOTH: Is there a... a vice pastor? Somebody else we can talk to? WADE: Not really. I take care of the finances. Chuck, over there, he acted as kind of an unofficial assistant to Patricia. BRENNAN: What will happen to the church now? WADE: To be honest, I'm not optimistic that we'll survive Patricia's loss. BRENNAN: Why? You're a community of people with a common superstition. The shared illusion should be enough to bind you. BOOTH: Bones. WADE: Patricia would like you. She'd say, "That's the one that will keep us honest." BRENNAN: See? She would have liked me. BOOTH: She keeps everyone honest--this one. WADE: Hey, Chuck, you got a moment? These people are from the FBI. CHUCK: I thought Patricia drowned. BRENNAN: We don't know the cause of death yet. CHUCK: She went for a swim on a foggy morning. She got cut in half by a yacht propeller or a destroyer returning to Norfolk, okay? WADE: Chuck. BRENNAN: We don't know how the body was disarticulated. CHUCK: What the hell do you know? BOOTH: We know what we don't know, Mr. Kennedy. That's why we're asking questions. CHUCK: Yeah, we do have a few felons in our congregation-- former addicts. Not to mention the less serious sins-lying, vanity, sloth, greed. I, myself, had a meth problem. Would you like to arrest me? BOOTH: Is that a confession, Chuck? CHUCK: Yeah. Yeah, I'm confessing to a past. I have a past, like everybody else. I bet even you do. Of course, God absolved me of my past. How about you? (leaves) BOOTH: See you around WADE: He's taking it hard. The way Chuck sees it, Patricia introduced him to God, and God saved his life. Gave him focus, made him part of a community. BOOTH: Do you have a congregant called JP? WADE: Yes. BOOTH: Could you point him out to us, please? (Wade indicates a man standing on the shore, looking at the ocean) (Cut to interrogation room - Booth and JP are sitting at a table. Angela is just outside the room, wearing a headset so she can talk to Booth. Both Angela and Booth have photos of Patricia.) JP: It's still hard to believe the pastor's gone. BOOTH: I understand she was one hell of a swimmer. ANGELA: Hey, Booth, I'm looking at these pictures you gave me, and body language and facial expressions tell some very interesting stories. BOOTH: Why don't you give me your insights? JP: She swam every single day. Yeah. But you don't need me for that insight. Ask anybody. ANGELA: He holds himself separate from the congregation. What do you think that means? BOOTH: How long have you been a member of the Inclusion Church? JP: Well, I joined about six months ago. ANGELA: He's a latecomer to the church, huh? That's a good one. BOOTH: (TO Angela) Thank you. (to JP) For sharing that. JP: Why would anybody lie about when they joined a church? BOOTH: So what brought you to the church? JP: I had a drinking problem, which gave me problems with the law, which gave me marital problems. BOOTH: You served two years less a day for as*ault. JP: When I got out of jail, I wanted my wife back. I wanted my life back. ANGELA: It doesn't look like things are going so great with the wife. BOOTH: Are you living with your wife again? JP: I got a ways to go before Rita trusts me whole hog, you know? Plus, she's not that excited about the religious aspect. Why is the FBI interested in a pastor drowning? BOOTH: Well, there's more than one way for a person to drown. Did you always call her "pastor"? JP: What else would I call her? (Booth plays answering machine tape) JP: Hey, it's JP again. I'm sorry. I... I miss you. I need to see you. It's important. I really need you, Patty. Please call. Please. JP: You got it all wrong. That call is not what you're thinking. I was calling the pastor about Rita. BOOTH: Really? ANGELA: Hold on a minute. Look at the last photo. He knew. BOOTH: (to Angela) You can't tell that from a photo. JP: I beg your pardon? ANGELA: I can. He knew that she used to be a man. BOOTH: (to Angela) It doesn't show in the photographs. (to JP) You know what I'm saying? JP: About what Patricia was before? ANGELA: I told you he knew. BOOTH: What was your reaction when you found out that Pastor Patricia wasn't a real woman? JP: Don't say Patty wasn't a real woman. It makes you sound ignorant. BOOTH: The pastor came between you and your wife, but she was living a lie. You lost your manhood and your religion all in one go. Or what? Did prison just widen your tastes? ANGELA: You're just pretending to be a jerk to get a rise out of this guy, right? JP: I didn't want to develop feelings for Patricia, but I did, and that didn't change when she told me who she used to be. BOOTH: Who did she used to be? JP: What do you want, a name? I don't know. I never asked. Can't you look it up on some legal name change form? If you'd have ever met Patty, you'd know what I know. What God knows. What she knew. She was not a man. ANGELA: Yeah. I'm with him on this one. (Medico-Legal Lab, autopsy room - Brennan, Cam, and Mr. Nigel-Murray have Patricia's skeleton on the table and are examining test results on a computer) CAM: Bone marrow and liver remnants contain high concentrations of ethanol estradyal etherone acetate and spironolactone, which is an anti-androgen. BRENNAN: Hormone replacement therapy. MR. NIGEL-MURRAY: Very healthy bone mass. High percentages of calcium and vitamin D. BRENNAN: Which indicates... MR. NIGEL-MURRAY: A health nut. CAM: Tox screen shows Stamaril, Havrix Monodose and Engerix-B. BRENNAN: Vaccinations? CAM: Yellow fever, Hep A and Hep B. BRENNAN: All necessary for traveling to the Far East. MR. NIGEL-MURRAY: Did you know that only 20% of Americans have passports? That's not irrelevant. Perhaps that's why there's no record of this guy...woman...having a sex change. It could have happened in, you know, Thailand. CAM: Very good, Mr. Nigel-Murray. BRENNAN: Though conjecture is not really what we do here in the lab. So...But very good, Mr. Nigel-Murray. (Cut to couch rest area - Mr. Nigel-Murray and Hodgins are sitting) MR. NIGEL-MURRAY: Can I ask you something? HODGINS: Is there any way to say no? MR. NIGEL-MURRAY: Whatever happened to whoever it was who used to work here before me? HODINGS: He joined forces with a serial k*ller who was the last in a long line of cannibalistic m*rder specializing in knocking off members of secret societies and building skeletons out of their body parts. MR. NIGEL-MURRAY: Wow, I hope that doesn't happen to me. So he's not coming back? HODGINS: No. He's locked up for the rest of his life. But we all still like him. ANGELA: (approaches) Excuse me. MR. NIGEL-MURRAY: Hello, hello, hello. HODGINS: Are you familiar with the expression, "That's way too much car for you"? MR. NIGEL-MURRAY: I believe that's one of ours, actually, sir. Yes. ANGELA: Hey, I want to show you something. MR. NIGEL-MURRAY: I want to show you something. ANGELA: Vroom, vroom, kid. You're already in my rearview mirror. Booth said the FBI couldn't find any record of an official name change, or anything showing who Patricia Ludmuller was before the sex change operation. HODINGS: It's possible she had her surgery done in the Far East. MR. NIGEL-MURRAY: In England, the Speaker of the House is not allowed to speak. ANGELA: Anyway, what I did was (showing her drawings)...here she is as a woman. MR. NIGEL-MURRAY: Hmm, not bad. I mean, I mean the sketch... Okay. ANGELA: (showing another drawing) Here I made her more masculine. I made the bony prominences more robust, increased the size of the mastoid processes and the nuchal crests. HODGINS: Seldom seen bigger nuchal crests. ANGELA: It doesn't look like anybody you recognize? HODGINS: Should it? ANGELA: I also added facial hair. (showing last drawing) Do you recognize him now? MR. NIGEL-MURRAY: It's that guy. HODGINS: "Oh, evil spirits come out." ANGELA: That's exactly what I thought. (Cut to an office - Cam, Angela, Hodgins, and Mr. Nigel-Murray watching a video of Patrick Stephenson) PATRICK: (on video) Yes, God makes demands of us! This money belongs to God, not me! Who will join me in giving God what is rightfully His? He is asking you now, at this moment. What is your answer? What is your answer to God when He calls your name? Will you deny Him? CAM: Pastor Patrick Stephenson. HODGINS: Disappeared six years ago. MR. NIGEL-MURRAY: Oh, wow, I got it right. He disappeared from, uh, Vietnam or Thailand, one of those places. ANGELA: Yeah, on a world tour. His followers said he was the first of many who'd be taken up in the Rapture. MR. NIGEL-MURRAY: So that guy went from that to being a woman pastor in a cottage on Chesapeake Bay? HODINGS: Some people would call that heaven. CAM: Amazing job, Angela. ANGELA: Yeah, well, check this out. (shows video of Patrick with his wife and son) HODINGS: She had a wife and son before she gave up being a he. (Cut to conference room - Brennan, Booth, and Cecilia Stephenson are talking) CECILIA: The Thai federal police were certain that Patrick had been robbed and k*lled. BOOTH: Yeah, well, uh, it's a lot to absorb. BRENNAN: A sex-change operation in Bangkok, Thailand costs about $25,000. CECILIA: You want me to believe that Patrick stole money and then had himself transformed into a woman? BOOTH: It's a scenario. CECILIA: Patrick was a religious man. He would never offend God in this blatant manner. BRENNAN: The theft, you mean, because it's a sin? CECILIA: A sex-change operation. We are made in God's image, Dr. Brennan. Who are we to alter that image? BRENNAN: Obviously, you dye your hair, there's evidence of plastic surgery. CECILIA: That's different. BOOTH: Bones. BRENNAN: How? BOOTH: It's augmenting God's work, not undoing it completely. How about that, Bones? BRENNAN: We have a DNA match between your husband and the deceased female found in the Chesapeake Bay. (to Booth) Do these people believe in DNA? BOOTH: Look, it seems as though your husband sent a check made out to the church every month. CECILIA: A hundred dollars a month? So Patrick was repaying us for the money he took? BRENNAN: Actually, it's more accurate to say that Patricia was repaying you for the money that Patrick took. BOOTH: During these intervening years, did your husband ever try to contact you? CECILIA: No. I believed the Thai police when they declared Patrick d*ad. BRENNAN: And your son? CECILIA: Ryan would definitely have told me if he'd heard from his father. BOOTH: Oh, we're gonna have to talk to him. CECILIA: The last I heard, he was in California. After his father vanished, Ryan took over preaching the Word of God to our flock...for about a year. Then he had a crisis of faith and left. Ryan is still in the throes of that crisis. I have faith that in the fullness of time, God will lead Ryan back to us. BOOTH: Before your husband... CECILIA: Became a woman? BOOTH: ...disappeared, did he have any reason to fear for his life? CECILIA: A man named Arthur Ford was arrested for as*ault Patrick. BOOTH: Why did he as*ault your husband? CECILIA: He had a son. The boy donated his entire trust fund to the church. His father thought that we'd brainwashed him or some such nonsense. BRENNAN: Did you give the money back? CECILIA: The boy wasn't brainwashed, Dr. Brennan. The Lord touched him. BOOTH: Exactly how much money did the Lord touch him for? (Cut to SUV - Booth and Brennan are riding, Booth is on his cell phone) BRENNAN: $5 million? BOOTH: (on phone) Great, thank you. (to Brennan) $5 million is a ton of moolah, but Arthur Ford is not a good suspect. BRENNAN: Why? What with the ton of moolah they practically stole from his son? BOOTH: That phone call I just had, Arthur Ford died of pancreatic cancer three years ago. BRENNAN: Oh. BOOTH: Yeah,"Oh." BRENNAN: Do you think she loved her husband? BOOTH: Who? BRENNAN: Mrs. Stephenson. BOOTH: Oh, I don't know. She was plenty angry at him. BRENNAN: For getting a sex-change operation? BOOTH: No, no, no, before that. I mean, she only called him by his given name or referred to him as Ryan's father. Never, you know, "my husband." BRENNAN: I call you "Booth," and I like you just fine. BOOTH: Thank you, but we're not married. One angry father might be d*ad, but, uh, maybe there are more. BRENNAN: Patrick Stephenson wasn't m*rder, Patricia Ludmuller was. BOOTH: You think the moment Patricia Ludmuller came to exist, Patrick Stephenson stopped? BRENNAN: When the butterfly emerges, does the caterpillar cease to exist? BOOTH: Okay, what are you, like some kind of kung fu master? Why don't we just figure out who k*lled this guy...gal, person, okay? BRENNAN: Would you like me just as much if I were a man? BOOTH: Oh, yeah, much better. I wouldn't have to be so polite and accommodating. How about you? Would you like me better if I was a woman? BRENNAN: No, I would not. BOOTH: Why? BRENNAN: I'd be jealous that you might be prettier than I am. BOOTH: I would be, too. I'd be hot. Smokin' hot. (Cut to Sweets' office - Brennan, Booth, and Sweets are watching a video of Ryan Stephenson) RYAN: (on video, wearing a white suit) They're not gay, they're not h*m*. They are abominations unto the Lord. They are sodomites. BOOTH: This kid is Patrick Stephenson's son? SWEETS: It would explain why Patrick Stephenson chose to disappear the way he did. RYAN: (on video) Unashamed, they perform deeds that led them into the hands of an angry God. SWEETS: Now this is a fairly well-known moment, even though it was never televised. Watch. RYAN: (on video) It is this ignorance to the light of God that led to their doom. (shaken) I can't do this anymore. I can't. I preach against sins, sins I hate, but other sins such as greed...Greed. This is a palace, and I am a prince. I am not like my father...and I am not like my mother. I just want to do God's work, not perform on television...bilk you for your money. God bless us all. God forgive us all. SWEETS: Ironically, he was just like his father. BRENNAN: You think he switched sexes, too? SWEETS: No, no, they both turned their backs on this kind of commercial worship. They both went out into the world looking for redemption. I assume you're gonna search out Ryan Stephenson? BOOTH: I work at the FBI. That's what we do. It's a big country, and we'll try. SWEETS: Well, concentrate your search in hospitals, halfway houses, uh, rehab centers, jails. BRENNAN: You think things have gone that badly for him? SWEETS: No, no, he's not an inmate or a patient. Ryan Stephenson is literally atoning for the sins of his father. He left the palace for the street. He's following the teachings of Jesus. BOOTH: His mother says he's in California. SWEETS: No, she's wrong. This kid, he's the prodigal son. I'll bet he's within 20 miles of that giant church he fled as a confused adolescent. BOOTH: I'll take that bet. SWEETS: All right, how much? BOOTH: 20 bucks. SWEETS: Deal. BOOTH: Deal. 20 dollars. BRENNAN: Thank you. BOOTH: There you go. BRENNAN: Thank you. If you're making the wager, how come I get the money? SWEETS: You're the bank. BOOTH: You're the bank, lady. (Cut to Medico-Legal Lab, autopsy room - Cam, Hodgins, and Mr. Nigel-Murray are examining Patricia's skeleton on the table and tests on a computer screen) MR. NIGEL-MURRAY: This comminuted fracture on the pelvis is very similar to the blow to the skull. Both blows were inflicted while Patricia Ludmuller was still alive. CAM: She was swimming, she was struck on the head, she drowned. Then how were her fingers damaged and how was she cut in half? MR. NIGEL-MURRAY: Wow, you ask extremely difficult questions. HODGINS: The particulates found in both the skull wound and the pelvis are fiber-reinforced polymers and hydrocarbon secretion of coniferous trees. MR. NIGEL-MURRAY: Which is what, exactly? HODGINS: Fiberglass and resin. CAM: Okay, she was struck by a boat, the keel of a boat. Now we're getting somewhere. Anything on the metacarpals? HODGINS: You mean, could I tell what h*t her fingers? No. It was either something that didn't leave traces or the water rubbed away all the evidence. CAM: We'll show these images to Dr. Brennan. MR. NIGEL-MURRAY: Why? HODGINS: She'll see something you missed. (Cut to FBI Building, interrogation room. Ryan Stephenson, wearing black clothing and tattoos, is sitting at a table. Booth and Sweets are standing outside the room, looking through the mirror.) SWEETS: So that's Ryan Stephenson? BOOTH: Yep. Found him in a detox center in Silver Spring. SWEETS: A patient? BOOTH: Nope, counselor. You called it. SWEETS: You owe me 20 bucks. BOOTH: Get it from Bones. RYAN: (Booth is now sitting at the table with Ryan) Are you sure it was my father? BOOTH: Yes, I'm positive. RYAN: They told me Dad died in Thailand. BOOTH: Well, he, uh...well, she seemed to have found peace up there on the island. (shows Ryan a picture of Patricia outside her church) RYAN: Named his church "Inclusion"? BOOTH: Yeah. RYAN: He welcomed drug addicts, prost*tute, h*m*. BOOTH: According to her congregation, who loved her, your father welcomed everyone. What? You afraid your father's gonna burn in hell? RYAN: No. No, I just wish I had the chance to know the new him...her. I'm a suspect? You thought perhaps I found out my father was a fraud who had a sex change and that God asked me to k*ll him? BOOTH: Did God tell you to k*ll your dad? RYAN: I've changed. Do you believe in redemption? BOOTH: Yes, I do. RYAN: One of God's challenges to us is to see past the surface. (rips off the written-on paper cover of his bible, showing a white one just like Patricia's) To the deeper, essential nature which lies right beneath. BOOTH: You believe our bodies are like dustcovers? RYAN: That's exactly what I think, Agent Booth. Rip them off and see what's underneath. You see, all this time I thought my father was k*lled or...had abandoned me, and that's just not what happened. He didn't want to shake my faith. He was protecting me from the truth. He...he didn't want me to have to choose between him and God, and I love my father for that. I just hope God can forgive me for making him feel that way. Do you think I could have my father's Bible? (Reaches towards Patricia's bible) BOOTH: I'm afraid it's still evidence. But, hey, we figure out who k*lled your father, we'll make sure you get that. RYAN: Thank you. BOOTH: You ever consider returning to the ministry, Ryan? (Cut to Medico-Legal lab, forensics platform. Cam, Mr. Nigel-Murray, Brennan, and Hodgins are standing around Patricia's skeleton.) CAM: Okay, so we know Patricia Ludmuller was run over by a boat. MR. NIGEL-MURRAY: The boat struck her in two places--the skull and the pelvic bone. HODGINS: We found traces of enamel paint and stain filler, specifically Silver Neptune Mahogany and Lead Red Primer. CAM: It was a foggy day, she was out there swimming alone. This death could have been accidental. HODGINS: Or h*t-and-run. BRENNAN: No. It was m*rder. MR. NIGEL-MURRAY: Only one percent of deaths are m*rder. BRENNAN: Hodgins, you found pieces of splintered wood from the keel, both in the skull and the pelvic bone. HODGINS: Yeah, from a wooden-keeled, shallow-hulled speedboat. BRENNAN: The splinters are embedded in the skull from this direction. (indicates on skeleton) SARYOAN: Struck from behind. BRENNAN: And in the pelvic bone from this direction, at a 90-degree angle. MR. NIGEL-MURRAY: The boat h*t her skull from behind, while she was facedown in the water. The second blow h*t her from the side, and she was on her back in the water. CAM: She was struck once, then the boat turned around to make sure she was d*ad. Then hurt, disoriented, she reached up to clasp the g*n? HODGINS: Someone smashed her fingers, forcing her to let go. CAM: Then she floated on her back. BRENNAN: The boat left, then turned around and...struck her again.(on phone) Booth? We know exactly how Patricia Ludmuller was m*rder. (Cut to hall outside autopsy room. Mr. Nigel-Murray walks up to Cam as she exits room.) MR. NIGEL-MURRAY: Excuse me, Dr. Saroyan. CAM: Yes, Vincent. MR. NIGEL-MURRAY: Is there a way to quit working here without losing Dr. Brennan as my grad supervisor? CAM: I see. You'd like to quit this internship without losing your academic standing. MR. NIGEL-MURRAY: Yeah. CAM: Can I ask why? MR. NIGEL-MURRAY: It's absolutely impossible to kiss your own elbow. CAM: And how is that relevant? MR. NIGEL-MURRAY: It isn't, Dr. Saroyan, but, um...I'm someone who loves knowledge, and all of you are very narrowly focused. It's a good focus, I know, catching m*rder, but, um, all in all, I'd rather be like me than like you, so if you can help me out... CAM: I'll take care of it with Dr. Brennan. We'll move on to another intern. MR. NIGEL-MURRAY: Did you know that over 98% of people will respond with "Thank you" if you say, "You're welcome"? CAM: You're welcome. MR. NIGEL-MURRAY: Thank you. CAM: Vino Delectable. (Cut to SUV, Booth and Brennan are riding) BRENNAN: Based on size, wood grain and shape of the keel, Hodgins and Angela narrowed our search down to two models. BOOTH: It's a Lee Shore Island and a Bow Wave Runabout. Okay? So...How'd she end up split in two? BRENNAN: You mean, how did a man become a woman? BOOTH: No, Bones, her spine was severed. BRENNAN: Oh, the polymer Hodgins found was probably fishing line, so she...sinks, decomposes and the fishing line severs the spinal column. BOOTH: Oh, some fisherman thinks a big one got away. You think it means anything? She lived her life split in two, then in death, split in two again. BRENNAN: No. I don't think it means anything. BOOTH: I didn't think you would. (Cut to Maylor Island marina - law enforcement officers and Hodings are examining all the boats, the congregation is watching the activity, and Booth and Brennan are walking down to the boats) (music) There's a black river...It passes by my window...Ooh, late at night POLICE OFFICER: Hey, Dr. Hodgins, over here. Over here. HODGINS: What have you got? CONGREGATION: (quiet muttering) You think maybe it's him? That's JP's? BOOTH: Why is the church group in a tizzy? CHUCK: That's JP's boat. BOOTH: (walking with Brennan, JP, and JP's wife, Rita, to the boat) Wow, JP, this here is one fine vessel. Isn't it, Bones? BRENNAN: Yes. BOOTH: Look at that, huh? Flush mount, single lever control box. Check this out, Bones, huh? He's got a wiring harness under there. Bench seats with marine vinyl seat cushions. This is just classic. (to JP) How long have you had this for? JP: Years. I only started restoring it after I joined the church. The pastor said it'd be a good project for me. BRENNAN: Did you take it out the day Patricia Ludmuller disappeared? JP: No. HODGINS: (examining boat) This is definitely the boat that struck Patricia Ludmuller. JP: What? HODGINS: Twice. BOOTH: Couldn't deal with the rejection, JP? BRENNAN: Our psychological expert says that many men freak out when they find out the woman they've been sleeping with used to be a man. JP: We never slept together. I wanted to. I wanted her. She wanted me. But she refused. I'm still married. HODGINS: That why you ran her down? (examining side of boat) This is where you smashed her hand. JP: No! Will you stop saying these things? BRENNAN: She must have been in a lot of pain when she grabbed the side of the boat. HODGINS: I'm sure we'll find what he used to smash her fingers right here in the boat. (looks at f*re extinguisher) My guess is this. BOOTH: (trying to sit in driver's seat) Bones, these seats--they aren't adjustable. How tall do you think JP is? BRENNAN: 190 to 195 centimeters. BOOTH: Just give me a simple height. BRENNAN: Six three or four? BOOTH: How about his wife? BRENNAN: Oh, perhaps 100 and... 5'2". BOOTH: That's all I need. Thanks. JP, you didn't restore this boat for yourself, did you? JP: Pastor Patricia said I should do something for someone else. Someone I love. RITA: Then you should have built it for her. I waited for you to get out of prison, and I waited for you to get sober. And I waited for you to get tired of this stupid church. And all you did was fall in love with another woman. JP: I never slept with her, Rita. RITA: I don't believe that. I'll never believe that. BOOTH: Rita Gratton, I'm placing you under arrest...for the m*rder of Patricia Ludmuller. (Cut to Inclusion Church - Ryan is standing in front of Congregation, Booth and Brennan are in the audience) RYAN: I think I should begin my first sermon to you as kind of an introduction. My name is Ryan Stephenson. I'm a child of man. I'm a child of woman. But more importantly, I'm a child of God, and as I look around I see others like me. We don't look alike. None of us look alike. On the outside, we are gay and straight, black and white, fat and thin, man and woman, saint and sinner. Should I keep going, or do you guys catch my drift? But inside...inside we are all the same. BRENNAN: That is completely incorrect. BOOTH: Not now, Bones. BRENNAN: Our skeletons are wildly different or I wouldn't have a job. BOOTH: Just listen. RYAN: I am sorry that I didn't get to know my father--Patricia. But I hope I will find him...her...that redeemed human being...both in her old Bible (holds Patricia's bible) and, more importantly, in you, the people who she loved. BOOTH: Redemption through transformation, I get it. What do you believe in Bones? BRENNAN: Always swimming with a buddy. BOOTH: What? BRENNAN: You gather your wisdom, I gather mine. BOOTH: Okay. END

{"type": "series", "show": "Bones", "episode": "04x07 - The He in the She"}

foreverdreaming

"The Skull in the Sculpture" Episode 4x08 / Production 4x03 Airdate: November 5, 2008 Written By: Janet Lin Directed by: Allan Kroeker Transcribed by: tharensolo Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Junk yard. Two drunken guys are climbing a fence with barbed wire) CHUNKY: My dad thinks I'm selfish, so I want to steal him some spare parts for his birthday. DUANE: You're a good son, man. CHUNKY: Hey, dude, I'm not moving. DUANE: Dude, your jacket is caught on the barbed wire. Bounce around a little bit, and you'll come loose. CHUNKY: (falls to the ground. laughs) That worked great. (The two begin staggering around stacks of compressed vehicles) DUANE: So, what kind of car does he have? CHUNKY: Old one. Toyota FJ-40. He loves that thing. More than me, that's for sure. DUANE: Check it out! CHUNKY: Oh, wow! (The two run towards a stack of cars) Can you imagine if I gave him that golden side mirror? I could glue it on his truck. (begins pulling out side mirror) Got to be gentle. It's coming. (Mirror comes off and blood begins to run out of the car) DUANE: The car is bleeding. CHUNKY: There's something back there. (Pulls out sheet of glass to reveal a skull. Both scream.) (Cut to a restaurant bar. Sweets is sitting at the bar. Angela walks up) ANGELA: Okay, look, just to be clear, I asked you out for a drink to talk, not because I'm desperate for male company. SWEETS: You think of me as male company? WAITER: (off camera) Can I get you anything? ANGELA: Vodka up, please. And my grandson here will have another of whatever that is. SWEETS: Oh, sidecar, but no, I'm fine. Okay, one more, one more. I'm cabbing it. (turns to Angela who is now leaning on the bar facing the rest of the room) You just got divorced and broke up with your fiancé. It's totally understandable that you don't feel like sex. ANGELA: I feel like sex. SWEETS: Oh. ANGELA: Sex is what I feel like. Now, I could jump Hodgins, but doesn't seem fair somehow. Do you agree? SWEETS: Well, what matters is that it doesn't seem fair to you. ANGELA: Oh, I hate it when shrinks do that. (both turn back to the bar) ANGELA: Look, I've been alone now for quite a while, which is not like me. SWEETS: Yeah, well, when we open ourselves emotionally and get hurt, we're reluctant to allow ourselves to be that vulnerable again. ANGELA: It's been, like, six weeks. SWEETS: That's a-a... ANGELA: Long time. SWEETS: (looks down uncomfortably) Yes, of course it is. ANGELA: The longest I've gone without since I lost my virginity. At age 16. SWEETS: Hmm. ANGELA: Which is the normal age. SWEETS: Sometimes older is just fine, too. ANGELA: I'm not promiscuous, Sweets. I don't sleep with just anybody. I do require an emotional connection. Spiritual, actually. SWEETS: Mm-hmm. ANGELA: It's spiritual to me. And fun, of course. Who doesn't like sex, right? SWEETS: Hey! Didn't we order these drinks a long time ago? ANGELA: You're right. SWEETS: (looks at Angela in surprise) About what? ANGELA: I have been protecting myself. Without the risk of pain, there can be no possibility of pleasure or joy or love. SWEETS: Yes, yes, and-and regaining that willingness to take a risk-- that can take time. ANGELA: No. SWEETS: No? ANGELA: I am done protecting myself. I'm ready to move on. You're good. SWEETS: Hey. (both turn back to the bar as the waiter brings their drinks) ANGELA: You really are. WAITER: Here you go SWEETS: Thank you. ANGELA: (raising her glass for a toast) To love, huh? And joy. (they clink glasses. Angela raises her voice and looks around) And sex! (Sweets laughs awkwardly) (Cut to the Medico-Legal-Lab - in front of Forensics Platform. Brennan and Hodgins are looking at the crushed car with the skull as Cam, Daisey, and Angela stand behind them. Hodgins is using a flashlight.) HODGINS: Looks like someone with a crooked nose was trying to get rid of our friend here. BRENNAN: There's no way to know that the k*ller had a crooked nose. DAISY: You mean, the mob? It was a mob h*t. CAM: He clearly wasn't wearing a seat belt. HODGINS: We're going to need the Jaws of Life to pry this guy out of here. (Cam and Hodgins begin walking around the car) BRENNAN: No. That could compromise the remains. DAISY: It seems that any viable examination pre-extraction is impossible, unless somebody has X-ray vision. (laughs awkwardly) CAM: (to Brennan) I meant to warn you that Ms. Wick came up in the rotation. DAISY: This time you'll be glad I'm here, Dr. Brennan, I promise. (Brennan and Angela exchange a look of annoyance) DAISY: The height of the nasal root points to a Caucasian. The large brow ridges suggest a male. BRENNAN: We need cause of death. (Angela begins to walk around the car) DAISY: Of the Caucasian male? What can be seen of the temporal, zygomatic and frontal bones indicates that they're in multiple fragments, possibly from the crushing of the car. CAM: We have access to blood and fluids. I'll run a tox screen. BRENNAN: (begins to walk around car. All four are now on seperate sides) Booth is checking the records at the junkyard to see who brought in the car and when it was processed. HODGINS: I'll use an endoscope to retrieve any particulates without disturbing the remains. (Brennan's cell rings. She answers and walks away) BRENNAN: Brennan. ANGELA: (to Hodgins) Hey, have you been seeing anybody? HODGINS: Listen, I don't want to be rude, but I just don't think that's any of your business. ANGELA: I haven't. HODGINS: Me, either. ANGELA: But I'm going to start. HODGINS: Right, yeah. Me, too. I mean, like, right away. ANGELA: Sweets agrees that it's time. HODGINS: Sweets? ANGELA: We shouldn't fear putting our hearts out there. HODGINS: Sweets. DAISY: That's so beautiful. CAM: And so inappropriate over a decomposing body. (Brennan walks by) BRENNAN: Booth found out who delivered the car to the junkyard for crushing. (Cut to sidewalk at night. Booth and Brennan come walking around the corner) BOOTH: Invoice was made out to B & B Enterprises. This was the sixth car that was crushed and sent back to this address. BRENNAN: Oh, so you think there might be five more bodies? BOOTH: Well, you know what? If this is mob-related, and we bring down the big boys... BRENNAN: Yeah. BOOTH:...we will sell the movie rights for a fortune. BRENNAN: But what if it's not the mob? BOOTH: Come on. Do the math, Bones. BRENNAN: Well, the math wouldn't indicate motive or identify a suspect. And you haven't even provided enough variables... BOOTH: It's a figure of speech, Bones, all right? (They stop in front of a building) BOOTH: Here we are. Woah, woah, woah, woah (pulls Brennan back who was walking towards stairs) What goes first? BRENNAN: g*n goes first. BOOTH: That's right. (They start walking up the stairs) BRENNAN: But if you get sh*t? BOOTH: Don't say things like that. You're gonna jinx me, all right? BRENNAN: Well, if you're relying on superstition for safety, perhaps I should carry the g*n. BOOTH: (stopping in front of a set of glass doors) No, you are definitely not carrying a g*n.(pulls out lock pick) Give me some space, all right? (leans down and begins to pick the lock) BRENNAN: Is that legal? BOOTH: Look, if anybody asks, the door was open. BRENNAN: (whispering) No, it isn't. (Booth looks at her and she realizes what he means) Ah... Right. (Booth pulls out g*n and they enter) (cut to the interior of the building. More crushed cars are in the room as they enter. Movement is heard in the background. A woman comes from a room around the corner) BOOTH: Okay, what the hell are you supposed to be? BRENNAN: (pointing at the ground) Booth? BOOTH: What? (camera cuts to show a large blood stain) BRENNAN: Look at this. BOOTH: What is it? HELEN: Blood. (cut to opening credits) (Cut to: In a gallery. Camera pans over more crushed vehicles and an image of Geoffrey. FBI forensics team is working throughout the room. Brennan is looking at a video while Booth looks at a sculpture nearby) BRENNAN: The artist did a series of six sculptures over the past two years. BOOTH: (holding a pamplet) Sculptures? Whoa. These things are going for hundreds of thousands of dollars. BRENNAN: (as they begin to walk through the room) All cultures put a great value on art. BOOTH: Yeah, art. A nice bowl of fruit, uh, dogs playing poker. If I sold all the crap that was in my garage, I could retire. I'd make a fortune. (They stop by a sculpture. Helen is standing in front of them) HELEN: Geoffrey's work is a brilliant examination of consumerism and the destruction of the soul. BRENNAN: I see twisted metal. HELEN: Well, you need to look beneath the surface. BOOTH: Oh, we did, and we found a d*ad body, which is exactly why you're not going anywhere. (FBI tech Marcus Geier walks up) MARCUS: Agent Booth? BOOTH: Yeah. MARCUS: The luminol is showing evidence of blood all over the floor. HELEN: Of course it is. BOOTH: Excuse me? HELEN: Kiko was here. BOOTH: Kiko? HELEN: Kiko, the performance artist. Pig's blood is an integral and crucial part of her work. BRENNAN: Is that even legal? BOOTH: Well, we'll decide what's pig and what isn't. Pull some samples. MARCUS: Okay. (walks away) HELEN: I've already called my lawyer. BOOTH: That's great. Tell him to meet you down at the FBI offices. HELEN:(laughing) Oh, I didn't call him for me. You see how much these works are worth. You are liable for any damages. BOOTH: (laughing) Damage? BRENNAN: They're crushed cars. BOOTH: They're wrecks. HELEN: Fortunately, your ignorance and lack of appreciation of Geoffrey's work don't affect its value. BOOTH: (to the room at large) Okay, all right, guys. Careful handling the junk. Apparently, it is art. All right? ROXIE: (walking into the room and stopping to address Booth and Brennan) Uh, perhaps I could help? I'm Roxie Lyon, Geoffrey Thorne's assistant. BRENNAN: Does the artist make a habit of encasing corpses within his sculptures? ROXIE: Excuse me? BOOTH: Well, we found one of these crushed cars and traced it back here to this address. MARCUS: (walking back over to the group) We've done the best we can without ripping one of these things apart. BOOTH: No accordion-d*ad bodies? MARCUS: The cadaver dogs can identify human blood. They didn't find any. ROXIE: (walking to Helen)Oh, my God. Helen? HELEN: Yes? ROXIE: Do you think Geoffrey might have actually done it? HELEN: No. That was all just depressed artist talk, Roxie. You should know that. You were a depressed artist yourself. BOOTH: (walking over with Brennan) Hello? Do you want to explain this to me? ROXIE: Uh, recently Geoffrey's been talking about finding a way to make himself part of the art. BRENNAN: Do you mean literally? HELEN: The ultimate artistic act. ROXIE: Geoffrey was depressed, and he said he felt like he'd reached his limit as an artist. BOOTH: We'd like to show you a picture of the remains, only if you're up for it. BRENNAN: I suggest you don't look at the person, but rather this distinct ring. HELEN: That's Geoffrey. ROXIE: I know that ring. I designed it myself. It's Geoffrey. HELEN: (looking up and speaking as if to herself) Bravo, Geoffrey. BRENNAN: You are an extremely unlikable woman. BOOTH: Mr. Thorne have any enemies? HELEN: Why? It's obvious he did this himself. BRENNAN: To you, perhaps, but we actually require evidence. ROXIE: Anton DeLuca. (Booth looks at her meaningfully) ROXIE: He's an artist and a rival of Geoffrey's. They had a pretty big argument here the other night. BOOTH: About what? HELEN: What all artists argue about-- money. (Cut to the Medico-Legal forensics lab. Cam is working at a desk, Hodgins walks in carrying a large piece of machinery) HODGINS: You know what this is? CAM: Jaws of Life. HODGINS: 23,000 pounds per square inch of raw prying power. CAM: You really want to be the one to use that, don't you? HODGINS: It's not displaced sexual frustration. CAM: Of course not. (turns to look at Hodgins) HODGINS: I am totally cool if Angela wants to date already, or, I mean, again. CAM: pointing to the other room) Right. You do know the point is to remove the human remains from inside the car with minimal disruption of the evidence? (Hodgins puts the Jaws of Life on a table) CAM: (turning back to her computer) Though, these tox results are suggesting su1c1de. HODGINS: (walking over to her desk) You got these from the tissue samples? CAM: Mostly skin, some brain matter. (camera shows computer screen with data on each drug listed) CAM: Clonazepam, lamotrigine, quetiapine, venlafaxine, (turns to look at Hodgins) hydrocodone, oxycodone and codeine. HODGINS: Wow. Anti-anxiety drugs, mood s*ab, anti-psychotics, antidepressants and painkillers. CAM: He was under psychiatric care. Even spent a week in the psych ward last March. HODGINS: So, our victim could very well have been d*ad from an overdose before he was crushed. CAM: Can't tell for sure. Long-time abusers build up a tolerance, so, this could have been a typical Wednesday night for the guy. HODGINS: Best way to find out is to crack her open, baby. (picks up Jaws of Life. Cam looks at him with a questioning look) HODGINS: I didn't mean "baby." CAM: Carefully, Dr. Hodgins. Like removing a baby bird from an egg. (cut to the floor in front of the forensics platform. Hodgins puts on safety glasses) HODGINS: Stand back, ladies. This is about to get medieval. (Angela smiles as Daisey looks uncomfortable. Caroline walks in as Hodgins is about to begin work. She is followed by Helen, Roxie, and a man, most likely the lawyer.) CAROLINE: Ah, ah, ah, ah, ah. Sorry, cheri. Apparently, this is an historic piece of art. HODGINS: It's a hard car shell with a gooey corpse filling. DAISY: I've already collected textile, tissue and bone samples. CAROLINE: That was before I got here. (begins walking around the sculpture) CAROLINE: Here on in, this is an historic piece of art. These fine people persuaded a judge of that and got a temporary injunction. HODGINS: Oh, this sucks. ANGELA: Roxie? ROXIE: Angie? ANGELA: Roxie! (the two walk to each other and hug. Cam walks past and over to Hodgins and Caroline) ANGELA: My God... ROXIE: Hi! What are you doing here? CAM: What's going on? HODGINS: Those two are old friends from college-- if that's the same Roxie. (Angela and Roxie walk off) DAISY: Luckily, I took initiative and got those samples before the injunction. CAM: Injunction? HODGINS: This heap is considered art. CAM: Well, it's... gorgeous. Where does this leave our investigation? CAROLINE: You can still examine it. You just can't disrupt it in any way. Don't worry. This is only temporary. We'll see how artistic people are feeling when it starts stinking. Just don't scratch it. CAM: Don't scratch the crushed automobile, which encases a rotting, d*ad body? CAROLINE: Good! We understand each other. (loud noise as Hodgins puts the Jaws of Life back on the table) (cut to a warehouse that's being used as an artists studio. Anton Deluca is working on a sculpture) ANTON: Geoffrey Thorne d*ad? This is a... great day for the art world. (Booth and Brennan turn to follow him as he works throughout the scene) BOOTH: Yeah, well, last time you were seen together, you were arguing. ANTON: Well, we never saw each other without arguing, so... BRENNAN: You disliked Geoffrey Thorne? ANTON: Well, let's just say between his work and his guts... I don't know which I hated more. BOOTH: Yeah, well, artistically speaking, crushing him up in his own work, that would be very, uh, symbolic. ANTON: Is that what happened? (launging) Oh, that, that's hilarious. He crushed himself inside one of his stupid car sculptures? An exhibitionist right to the bitter end. ANTON: How Po-Mo. BOOTH: Po-Mo? BRENNAN: Uh, Post Modern. ANTON: Let me tell you, Geoffrey's hermetic aestheticism was choked with tawdry pastiche. He had plastic intentions and weak enterprise. BOOTH: All right, someone I understand less than you. BRENNAN: This is asymmetrical and yet still pleasing to the eye. BOOTH: Okay, I take that back. Why don't you just say it's... pretty? ANTON: I don't do pretty. BOOTH: Okay. Simmer down there, Picasso. You get a compliment, you be polite. ANTON: I don't do polite either. BRENNAN: Maybe that's why you're broke. ANTON: Who gave you my name? Was it that Kabuki ghoul, Helen Bridenbecker? BRENNAN: Shouldn't you be trying harder to look innocent? BOOTH: Yeah. How long have you and Thorne hated each other? ANTON: You can write down, since before the big bang. BRENNAN: Oh, no. There was no "before" before the big bang, because time didn't exist. If there are no organizing properties... BOOTH: Bones, I'm just going to write down, it's been a while. All right? So, why were you arguing at the gallery? BRENNAN: We heard it was about money. ANTON: Well, I might have said he was a sell-out. Usually do. But I didn't think to k*ll him. Now it's too late, right? BOOTH: Well, if you didn't k*ll him, then, uh, who did? ANTON: I'd look at his girlfriend if I were you. (Brennan and Booth confused) BRENNAN: No one has mentioned a girlfriend. ANTON: Roxie. His "assistant." He said he was gonna leave all his money to her. I mean, this is kind of basic stuff you guys should know, right? (cut to the sculpture in the medico-legal lab. Daisy is standing behind Cam, who is inserting a scope into the sculpture) DAISY: Did you have like buckets of coffee this morning? You're very shaky. CAM: Could you take a step back, please? (Cam begins using the scope as Daisy watches the video feed) DAISY: A little more. Just a little more. Like tip-toeing mice. CAM: Oh, rats. DAISY: Do you want me to try? Let me try. I'm very dexterous. (Brennan walks over looking around the room. Cam sighs and hands Daisy the scope) DAISY: Oh, you won't be sorry. (Brennan empties the bucket over the sculpture. Beetles crawl through the sculpture.) BRENNAN: I was going to say that I had an accident over here, but I don't like lying. CAM: You dumped a bucket full of domestic beetles onto this work of art. They'll strip the flesh off our victim in no time. BRENNAN: Within 30 hours. Am I fired? CAM: Au contraire Remind me of this moment around Christmas bonus time. DAISY: I'm in! BRENNAN: Uh, good work, Ms. Wick. (Brennan and Cam walk over to where Daisy is working) DAISY: Well, we could've been here hours ago if Dr. Saroyan would have given me the endoscope sooner. CAM: Thanks for mentioning that. DAISY: There's too much flesh to really get an idea of the bone damage. BRENNAN: 30 hours. (walks away) (cut to an interrogation room. Booth is inteviewing Roxie as Sweets observes and talks to Booth through an earpiece) ROXIE: I was Geoffrey Thorne's assistant for almost four years. SWEETS: Okay, I suggest you start with the mundane, and then work yourself up to the sexual stuff. BOOTH: So did you have a sexual relationship with your boss? SWEETS: Okay, that's the total opposite of my suggestion. ROXIE: No. No. BOOTH: So what was the nature of your relationship? ROXIE: I assisted Geoffrey. I handled the details of his day-to-day life. Are you sure it's Geoffrey? SWEETS: Prevaricate, keep her guessing. BOOTH: Yes, we're positive. SWEETS: (sighs) Why am I here? BOOTH: As his personal assistant did you get him his drugs? ROXIE: If you mean his prescriptions, then... yes, I picked them up for him and I reminded him to take them. SWEETS: Ask her if Thorne was clinically depressed. BOOTH: He was depressed, right? ROXIE: Yes. He was... suicidal. Seeing a shrink. BOOTH: (looking towards the one-way mirror) That's why you're here. ROXIE: Because you think Geoffrey took an overdose? BOOTH: If he k*lled himself, I mean, wouldn't he have left a su1c1de note? ROXIE: Yeah, I would think that he would have... left me a message. BOOTH: (flipping through papers) Look, if you weren't sleeping with Thorne, then why did he name you the sole beneficiary of his estate? ROXIE: Geoffrey's will? BOOTH: Yeah, it's... about one million dollars. Look at that. (Booth puts a page in front of her) ROXIE: I had no idea that he was going to do that. SWEETS: Perhaps jealousy is her motive for k*lling Thorne. Why else would she deny sleeping with him? BOOTH: I don't think so. ROXIE: I swear. BOOTH: No, there was another reason why you weren't sleeping with Thorne.mIsn't that right, Roxie? ROXIE: Angela told you, didn't she? SWEETS: Told us what? BOOTH: Why don't you tell me. ROXIE: I'm gay. I'm a lesbian. I've never been with a man in my life and I never will. SWEETS: oh, that changes everything. (the medico-legal lab. Booth, Brennan and Angela are walking down the stairs to the main floor) BRENNAN: So, according to his will, Roxie stands to inherit Thorne's entire estate. ANGELA: She said they were close. BOOTH: Well, people usually leave money like that to a wife or a lover. ANGELA: I don't think so. (they continue walking through a hallway) BOOTH: Because? ANGELA: Because Roxie's an old friend and she'd have told me. BRENNAN: Well, she says she's a lesbian. BOOTH: Delicacy, Bones. BRENNAN: What? It's not an affliction, Booth. ANGELA: Yes, Roxie is gay. At least she was when we were together. BOOTH: In school? ANGELA: Yes. BOOTH: Oh, you heard rumors. ANGELA: No, I have firsthand knowledge. BOOTH: Oh, you walked in on her, that's awkward. ANGELA: (stopping in front of a station and turning to address Booth) No, we were together, for over a year. BOOTH: Wow. You and, uh, Roxie? BRENNAN: You have a problem with that? BOOTH: No. I was just processing the information there, that's all, and in doing so, I was envisioning you and her, you know, together, and, well, not to... well, together, but... Really? BRENNAN: Women tend not to be as rigid in their sexual identities as men. BOOTH: Weren't we talking about m*rder, here? BRENNAN: Did she ever show any interest in men? ANGELA: No. And she would never k*ll anybody. BRENNAN: You haven't been close in a long time. ANGELA: She hasn't changed. BRENNAN: Except that now she's rich. BOOTH: Yeah, and before Thorne was k*lled, she wasn't rich. ANGELA: Roxie never cared about money. (looking at Brennan) I thought that you didn't speculate. BRENNAN: That doesn't preclude pursuing a logical line of inquiry. ANGELA: We still don't even know that it was m*rder. Thorne wrote about the need to become one with his work. He was ill. The logical signs point to su1c1de, don't they? BOOTH: You're right. Ange, we're sorry. We didn't mean to upset you. ANGELA: (sighs) I have work to do. Okay? (walks off) (cut to the main floor of the medico-legal lab. Daisy is examining the skull within the sculpture using a scope) DAISY: Here's the C2 axis. A little further, the C1 atlas. We're almost to the cranium. CAM: (standing behind Daisy) Nice. Now maybe you'll be able to rescue the princess. DAISY: (laughing) That's funny. Everyone here is so nice. You know, I think I may have initially come off as a bit too needy. My family was pretty dysfunctional, so... I tend to want a work environment to fulfill certain needs. CAM: (cutting Daisy off) Perhaps some therapy might help. DAISY: What a thoughtful suggestion. I always wanted a sister. CAM: (turning to look off camera) Dr. Brennan, Ms. Wick and I were just observing the handiwork of your beetles. (Brennan walks over) DAISY: They did a beautiful job of cleaning the bones, but half of the remains are still obscured by the metal. BRENNAN: The victim's right iliac crest shows a simple fracture. DAISY: I also found microfractures, extending from his right ribs, five through ten, down his right greater trochanter. BRENNAN: Very good. DAISY: Really? And they were really small. BRENNAN: Microfractures are by definition small. (Cam rolls her eyes) BRENNAN: What does this damage indicate? DAISY: A test. Okay... The damage is inconclusive. Um, the fractures could easily be explained by the crushing of the car, but some could be the result of an att*ck or a fall. BRENNAN: I agree. DAISY: (whispering to Cam) She agrees. (Cam smiles and nods. Hodgins walks down the stairs from the forensic platform) HODGINS: The victim's clothing shows traces of calcium oxide, ferric oxide and magnesium oxide. (he walks over to a computer station. Cam, Brennan, and Daisy follow) It wasn't found on the car seats or the carpet, just pressed into the fabric of his shirt, front and back. CAM: From what? HODGINS: It could be from stone if he was sculpting. It could be he was lying on gravel or about a hundred other things. We can't say without getting further access to the interior of the car. CAROLINE: (walking over to the group) Which access you were expressly denied by a federal judge, a federal judge who turned red and then blue and then some other color I have never seen before when he heard that flesh-eating beetles had somehow infested said work of art. BRENNAN: Domestic beetles were not specifically forbidden on the injunction. CAROLINE: I don't suppose "spirit of the law" means anything to you? (the four shrug and shake their heads) That little Kabuki lady started screaming like you peed on the Mona Lisa, that you compromised the integrity of the piece. That little stunt turned good opinion from the judge against us. CAM: How long have we got? CAROLINE: Two days to find evidence of foul play. HODGINS: And after that? CAROLINE: The question goes to the court and we grow old and die before a decision is made. And if there is a m*rder, that m*rder walks around free. Ideas? DAISY: I will think about it until my head explodes. CAROLINE: This one's a keeper. (cut to Angela and Roxie in an art studio. They wander about as Angela looks at various paintings) ROXIE: Geoffrey let me use part of his studio. ANGELA: Roxie, these are wonderful. ROXIE: Thanks, Angie. ANGELA: What does Helen say? ROXIE: We're talking about an exhibition. ANGELA: That's great. When was your last show? ROXIE: Eight years ago, when we were together. (they laugh) ROXIE: I don't know, is it too sappy to say that you were my muse, or perhaps my entire source of self-confidence as an artist? (Angela turns to look at her and then goes back to looking at a painting) ROXIE: Your people think I k*lled Geoffrey. ANGELA: I can't talk to you about an ongoing m*rder investigation. ROXIE: If you can't prove it was a su1c1de, I'm going to spend the rest of my life being Geoffrey Thorne's m*rder. ANGELA: That could jack up the price of your work, right? Sorry. Roxie... (Angela pulls out a painting of herself) ROXIE: Yeah, that's actually the first piece that caught Helen's eye. She wanted to buy it from me for herself. ANGELA: Why didn't you sell this? ROXIE: Some things aren't for sale. (they playfully brush their shoulders for a moment) ANGELA: I remember sitting for this. ROXIE: Happiest time of my life. ANGELA: Oh, my God. Oh, my God. I have to go. ROXIE: Why? (Angela grabs her purse) ANGELA: I know how to prove that Geoffrey Thorne committed su1c1de. (cut to the floor of the medico-legal lab. Angela, Daisy, and CAM are standing in front of a giant machine that is set up over the sculpture) ANGELA: This type of device can be used to scan boxcars, shipping containers, anything metal where items can be hidden. DAISY: Amazing it is, this machine you have. (Cam and Angela look at her) DAISY: Star Wars? CAM: Youth doesn't excuse everything, Ms. Wick. So, you're feeding the scans into the Angelator? ANGELA: Every crease and fold, yeah. DAISY: We have less than 40 hours, you know. CAM: We're well aware of the time, we don't need a countdown. ANGELA: Then, I'll recalibrate and get a digital rendering of the bones inside, which I can enhance. DAISY: You've found out how to show what bone damage came from the actual crushing of the car. ANGELA: Factoring in the pounds per square inch of force exerted by the car crusher. DAISY: Oh, I hope you've included the car's frame and the tensile strength of the victim's skeletal structure. ANGELA: I'll make a note. CAM: Well, I programmed my phone to get the five-day forecast. (cut to the Angelator. Angela is showing Booth and Brennan her simulation of the crushed car) ANGELA: Okay, take a look at this. Here we have our car, right? It had a low-carbon steel frame with a yield strength of 22,450 psi. So, since I know the hydraulic crusher imparts 163 tons of force, first horizontally, then in a 32-degree curling motion, I was able to verify the source of every single ripple on the surface of the crushed car, which then gave me the data to play the crushing backwards. BOOTH: How did you do that? ANGELA: Daisy provided me with the approximate tensile strength of each of Geoffrey's bones, plugged in the bone fragments' final positions, and based on those, correlated each injury as the body was moved through the car as it was crushed. BOOTH: God, I really hope that guy didn't know what was happening to him. ANGELA: His bones sustained 88 fractures, all of which can be explained by the crushing in the car. BOOTH: su1c1de. ANGELA: Most likely, yeah. (a buzzer is heard) BOOTH: What's that? ANGELA: Um... this run included the last of the data. (she looks disappointed) Oh, no. BOOTH: What? BRENNAN: There's an 89th fracture. (a cut in the skull is highlighted) BRENNAN: The fracture there on his occipital... it was not caused by the car being crushed. BOOTH: What caused it? BRENNAN: I need to examine the skull. ANGELA: It wasn't supposed to be this way. I wanted to prove it wasn't m*rder. BRENNAN: But it is. The 89th fracture proves that Geoffrey Thorn was m*rder. (An office break room. Caroline is pouring a cup of coffee and talking on her cell phone) CAROLINE: Okay, I got the injunction removed. You are free to crack open the car and remove the remains. (Booth and BRENNAN are in Booth's SUV. Booth is driving and has his cell on speaker phone) BOOTH: Thanks, Caroline, you are da b*mb. BRENNAN: Why is she a b*mb? BOOTH: No, da b*mb. BRENNAN: Wait, what changed? It was a million dollar piece of art yesterday, and today, it's a piece of junk. CAROLINE: Cherie, you proved m*rder. That changed it from a work of art into a crime scene. BRENNAN: This is crazy, I don't understand. And I'm not used to not understanding things. BOOTH: Legally speaking, all that matters is that it's a crime scene. Isn't that right, Caroline? CAROLINE: That's right. Get in there and solve the m*rder, just like always. BRENNAN: That I understand. BOOTH: Thanks. (cut to the Medico-Legal lab floor. Hodgins prepares to cut into the sculpture with the Jaws-of-Life while Cam, Daisy, and Brennan observe) HODGINS: Stand back. I am going in. (he peels back enough of the car to reveal the skull. He pulls out other parts of the car) BRENNAN: Careful. Okay. Now, what we want to do here is remove the skull very carefully. (Daisy goes to pull out the skull) BRENNAN: Carefully. (Daisy puts too much pressure on the skull and it shatters in her hands. They all stare in horror) CAM: I can't believe you did that. HODGINS: Bummer. DAISY: Usually, when you say "we", you mean me. I'm so sorry. I'll put it together. I will stay up all night. BRENNAN: (looking very angry) I'll do it. DAISY: Well, I will assist you every step of the way. I will not leave your side. BRENNAN: I would prefer to do it alone. (cut to the interior of Booth's vehicle. He and Angela are driving) ANGELA: Am I under arrest? BOOTH: Nope. You're one of the good guys, all right? Look up Anton DeLuca on the FBI database. ANGELA: That's Geoffrey Thorne's big rival, huh? (she pulls up a list of information) He's a forger? BOOTH: You got to be kidding me. Under the alias of Lucas Danton? I mean, this guy really loves himself. ANGELA: Yeah, two years in prison. Forging Francis Bacon, Lucien Freud. Must be pretty good. BOOTH: All right, so I got a d*ad artist and a forger who hates him. That's got to cheer you up. I mean, your friend is no longer our prime suspect. ANGELA: Thanks, Booth. BOOTH: Ah-ha, Any time. ANGELA: So, does it freak you out? BOOTH: What? ANGELA: You know, that Roxie and I were a couple. BOOTH: No. I mean, come on, you had feelings for somebody. ANGELA: I'm surprised. BOOTH: Why, because you think I'm some kind of lunkhead cop? ANGELA: No, I just... BOOTH: All right. Uh... look, my Aunt Ruth had a roommate, okay? She was my favorite aunt. She and Franny, they'd take me to the ballpark, to the movies. And I heard talk when I was a kid. b*at up my friend, Pete, because of it. Then, I found out it was true. ANGELA: And...? BOOTH: I already said she was my favorite aunt. And Franny... well, you know, she had box seats for the Phillies games. I mean, come on, it doesn't get any better than that, right? ANGELA: Right. BOOTH: So, you and Roxie... hey. You know what I mean? ANGELA: Yeah. So, you brought me along. What can I do to help you? BOOTH: I want you to be an artist, okay, and, uh, keep me from looking like an idiot. ANGELA: I'm not positive I can do both. (they exchange grins) (cut to Anton DeLuca's studio. Booth is leaning on a pole while Anton sits at a table) BOOTH: So, we subpoenaed your bank records, and you're not exactly a starving artist. Where did you get the money? ANGELA: (looking at some paintings) Hey, Booth. BOOTH: Yeah? ANGELA: The brush strokes on this painting match the brush strokes on Thorne's car sculptures. BOOTH: Hmm, so you were forging Thorne's work. That's why you two were arguing. ANGELA: I didn't say these brush strokes are like the ones on the car sculptures. I'm saying that they are the same brush strokes. ANTON: You have a good eye. ANGELA: Brush strokes are like fingerprints. You can't fake them. DeLuca here is the guy who painted Geoffrey Thorne's car sculptures. (Booth turns to Angela slightly confused) BOOTH: You're positive? ANGELA: I'm positive. BOOTH: Okay, I can roll with this. (turns back to Anton) You want recognition for your brilliant work. Thorne says no, (raps the table for emphasis) you k*ll him. ANGELA: Oh, so good--cuff him. BOOTH: Right. ANTON: What, so Roxie can walk? BOOTH: Hey, watch it. ANTON: A) That work is anything but brilliant. Painting Thorne's cars was like a day job to subsidize my real art, and B... why would I k*ll my main source of income, you lummox? BOOTH: Yeah, a lummox who's got enough to hold you for 24 hours, pal. (cuffs Anton) ANTON: (to Angela) When this case falls apart and I get out tomorrow, you want to grab some dinner or something? ANGELA: (laughing) You're kidding. ANTON: Well, I hear the gate swings both ways. Maybe we can get a little threesome action. ANTON: You, me, hot Roxie? BOOTH: Hey! (slams Anton's head down on the table) Okay, all right. If you're gonna h*t on Angela, you should do it with a little respect. Okay, let's go. (walks him out of the studio) (cut to a room in the Medico-Legal lab. Brennan is working on the skull at a table. Angela walks in) ANGELA: Is that Geoffrey Thorne? BRENNAN: Yes. (sighs) Nearly done. ANGELA: I honestly didn't think it would be m*rder. BRENNAN: Which makes your conclusions all the more credible. ANGELA: Only you would find that comforting. Booth is questioning DeLuca again. He seems to have a motive. BRENNAN: So, there's still a chance that your friend is not a m*rder. ANGELA: Yeah. BRENNAN: We'll know more when we identify the m*rder w*apon. ANGELA: It wasn't Roxie. BRENNAN: Do you still have feelings for her? ANGELA: No. BRENNAN: Booth tells me that sometimes people say the exact opposite of what they mean. ANGELA: I do still have feelings for her. BRENNAN: Are you saying the opposite of what you mean now or before? ANGELA: (sighs) We had a very intense relationship in college, and she fell in love with me-- way in love with me. When I broke it off, she was really hurt. BRENNAN: That happens with you. Look at Hodgins. ANGELA: This was worse than Hodgins. This was, "I'm gonna run away to Europe and stop being an artist" hurt. BRENNAN: Oh ANGELA: I don't really think that I have the right to open up that can of worms again just because some feelings are rising to the surface. BRENNAN: It's too bad there isn't a way to experiment with sexuality. ANGELA: That's how I got into this whole mess in the first place. BRENNAN: Well, I meant... ANGELA: I know what you meant. I'm just... BRENNAN: On the bright side, if she did k*ll Geoffrey Thorne, you won't have to think about any of that. ANGELA: Thanks, Brennan. How long is it gonna take you to identify the w*apon? BRENNAN: I can do it right now. I've seen this injury many times. I'm almost certain that the death blow came from a common f*re ax. (a room in the Medico-Legal lab. Cam is working as Hodgins walks in) HODGINS: There's also limestone and silicon oxide on his clothes. (he goes to a computer and keys something in. Cam comes over to look) HODGINS: Mix them all together, and poof, we've got a match with the concrete floor at the gallery. CAM: Well, it turns out that not all the blood on the floor of the gallery came from that performance with the pig. (she shows Hodgins a large screen at which she has been working) This is human. HODGINS: Is any of it Thorne's? CAM: Someone worked very hard to clean it up. It's making things difficult. (cut to Helen's gallery. She and Booth are standing by one of the sculptures as FBI techs work in the room) HELEN: First you destroyed Geoffrey's finest work, and now you are destroying my business. BOOTH: Yeah, well, you know what else got destroyed? Geoffrey Thorne. HELEN: My grief and my business are two separate things, Agent Booth. FBI TECH: Sir, look at this. HELEN: Is that my f*re ax? BOOTH: Yes. BRENNAN: Booth. BOOTH: Yeah? BRENNAN: Cam said there was human blood mixed in with the pig's. (Booth walks over to where Brennan is standing by another sculpture) MARCUS: (walking around Brennan looking at the floor) I think we found it. There are definite blood stains here, but they're underneath a layer of what we think is turpentine. BRENNAN: Could I borrow your lighter? BOOTH: Why do you want my lighter? BRENNAN: Just... BOOTH: (handing the lighter to Brennan and turning to Marcus) Sure, here. Okay, so what do we know about that? MARCUS: Not much. I doubt we'll be able to identify the bleeder. (Brennan uses the lighter to start a f*re on the floor) BOOTH AND MARCUS: Woah! (Booth jumps to get out of the way of the flames) BOOTH: Sheesh! Hey Bones, you know, you almost lit my butt on f*re BRENNAN: (standing) Well notice that the flames leapt from the center room towards the loading dock. BOOTH: Wait. So, you're saying that Thorne was k*lled here and then dragged there. MARCUS: Can we get the UV lights over here, please? BRENNAN: (using a UV light) Not dragged, Booth. Rolled. BOOTH: I got to tell you, that was a great trick there, Bones. MARCUS: Yeah, remove the turpentine, reveal the blood soaked into the concrete. BRENNAN: The blood stains show up approximately every 35 centimeters. BOOTH: That would explain why Hodgins found the cement particles on the front and the back of the clothing. MARCUS: Yeah, but why rolled instead of dragged? BOOTH: Thorne was a big guy. Okay, whoever k*lled him could not pick him up and carry him to the loading dock and put him in the car. They had to roll him. (mimes rolling as he walks) You understand? Roll. BOOTH: (pointing to Helen) Excuse me, tiny little woman. HELEN: (walking over) Yes. BOOTH: Can you account for your whereabouts the night that Geoffrey Thorne was k*lled? HELEN: Yes, I was at home. I was reading. That was a lie. I was watching The Real Housewives of Orange County. I find it a brilliant postmodern performance piece. BRENNAN: So, no alibi. HELEN: Geoffrey's work was selling. I was making money. Why would I k*ll the golden goose? I wasn't going to inherit anything. Not like Roxie. BRENNAN: It all seems to come back to Roxie. BOOTH: Angela is not going to like that. (cut to a table at the bar from earlier in the episode. Sweets and Angela are eating.) SWEETS: It's exactly the same situation as the last time we were sitting here. Except, you know, you're quieter. ANGELA: No, that was about Hodgins. This is about Roxie. SWEETS: (loudly in shock) You want to have sex with Roxie. (a man at the bar turns to look at them) ANGELA: What was that about quieter? SWEETS: I'm sorry, I'm not certain that you're being guided by your brain, that's all. Need can be confused with love. Fantasy can convince us that what we are feeling is love. ANGELA: So, you're saying that this is all rebound? SWEETS: (taking a sip of his drink) Yeah. ANGELA: No. You don't understand love, Sweets. SWEETS: I'm not as innocent as you might think. ANGELA: You have this bourgeois notion... SWEETS: (laughing) Bourgeois? ANGELA: ...that in order for love to be real it has to be permanent. Nothing is permanent. That's just a fact. We move in and out of loving other people, but that doesn't make the love any less real. SWEETS: Mm-hmm, perhaps you're saying this because you've never met the love of your life. ANGELA: (nodding) I have, actually. Many times. Fine. SWEETS: It seems to me that you always leave yourself an escape hatch in your relationships. Because you're afraid of commitment. ANGELA: Nice try. But no. Actually, I commit to every person I love. SWEETS: You marry a man and then conveniently forget that you married him because you got zonked on Kava Kava. That compromises your relationship with Hodgins so that ends, along with the marriage. Now you say you have these intense feelings. . . (Angela begins to look more and more serious) SWEETS: . . . for an ex-lover whose heart you've already broken. Don't you see the potential disaster here? ANGELA: Look, you said that, without the possibility of pain, there can be no joy, no real love. SWEETS: I said that? (Angela sighs) SWEETS: That's beautiful. ANGELA: Look... I don't want to hurt Roxie again. SWEETS: Then don't. Don't. Put her welfare first. Let Roxie decide if she's ready to pursue this relationship. ANGELA: Okay. And what if she doesn't? SWEETS: Then I'm afraid you'll have to live with that pain. (cut to the medico-legal lab. Hodgins is using a mass spectrometer as Daisy watches) DAISY: I used a mass spectrometer during my summer internship at Johns Hopkins. I even taught my friend how to use it. HODGINS: Excellent. Next you should learn the concept of personal space. (Cam walks up as Hodgins tries to get past Daisy to the computer) CAM: What'd you get off the ax? HODGINS: It was wiped clean with turpentine, no signs of blood. (he holds out a folder) DAISY: And he also checked the handle. HODGINS: Sodium chloride and odorants. DAISY: Sweat. Most likely human. CAM: What was the eccrine pH? HODGINS: Seven. DAISY: It was a woman. What you should have him do next is match the DNA from the sweat to Angela's lesbian lover-- see if there's a match. HODGINS: Do you ever listen to yourself? CAM: Yeah, but it's a good idea, Hodgins. You might want to prepare Angela. (Sweets' office. Cam is sitting on the couch as Sweets walks in) SWEETS: Doctor Saroyan? CAM: Thank you so much for seeing me. SWEETS: I didn't agree to see you. How come none of you people ever book an appointment? Frankly, it's annoying. CAM: (pointing vigorously) Ah. Annoying. That's exactly why I'm here. I... (Sweets sits) CAM: I've done an unofficial, confidential survey of my people and... SWEETS: And they find me annoying? No, it's worse. They hate me. You know why, don't you? It's because Dr. Brennan undervalues psychology and all of you have picked up her vibe. Now, I know that sounds paranoid... CAM: And the word "vibe" is a little dated. SWEETS: But it's true. CAM: I'm not here about you being annoying. It's Daisy Wick. SWEETS: Daisy? CAM: Yes, she's very smart, very able, and she has a knack for turning reasonable people into flaming gas balls of fury. SWEETS: You want me to talk to her? CAM: No, no. I need your advice on how to tell Daisy we can't have her at the lab anymore. I'm very comfortable with incompetence, but when it's just a matter of personality... SWEETS: I'll do it. CAM: What? Really? SWEETS: Yeah, I'll talk to her. CAM: Well, as the boss, it's kind of my job to f*re people. SWEETS: And as a boss, you know that sometimes it's better to delegate. I'll do it. Let's just hope she doesn't turn me into a flaming gas ball of fury. CAM: Well, I'm no psychologist, but I think you should be flattered that we all drop in on you and ask your advice. (she walks out) SWEETS: Thank you. (cut to the medico-legal lab. Brennan walks up to Hodgins who is working at a station. Cam is also present) BRENNAN: Okay, I'm ready for you to blow up my mind. HODGINS: Okay, now first off, I almost missed this so, don't praise me too much. CAM: The point is, you didn't miss it. HODGINS: Yeah, but only because Angela asked for a personal favor. And I am powerless to resist. (He puts a slide under a microscope. He then walks past a set of tables pointing out objects) Okay, now, this is the victim's clothing. And this is the ax handle of the "presumed" m*rder w*apon. As you know, there were traces of sweat on both of them. But not the victim's sweat. BRENNAN: Female sweat, yes. CAM: Presumably the m*rder sweat on the ax handle then perspired while rolling the victim's body to the car. HODGINS: Yes, now, upon further analysis, I discovered other traces in the sweat. BRENNAN: Imatinib mesylate, hydroxyurea, busulfan. Do you have any idea where these chemicals might have come from? CAM: Medicines. Treatments for cancer. HODGINS: I looked them up. This is treatment for chronic myelogenous leukemia. CAM: Then Roxie is not our m*rder. BRENNAN: You can't necessarily tell if someone has leukemia from looking at them. CAM: No, but this drug here, busulfan, it causes highly visible skin discoloration. BRENNAN: Oh, then that is very good for Angela. Not that we are swayed by those considerations. (she smiles and walks off) CAM: What's that look? HODGINS: She knows who did it. (cut to an interrogation room. Helen is on one side of the table with Booth and Brennan facing her) HELEN: I had no reason to k*ll Geoffrey. BOOTH: Oh, you own several of his art pieces. We all know that art increases in value when an artist dies. HELEN: Anyone could see that Geoffrey Thorne wasn't long for this world. I'm a very patient woman. BRENNAN: Except you're dying, Ms. Bridenbecker. HELEN: Nonsense. BRENNAN: Would you please remove your makeup? HELEN: I will not. I want a lawyer. BOOTH: Really? (picks up some papers and begins looking at them) Because, you know, the phone records-- they indicate that you contacted a cancer clinic in Mexico City. And we do know that that clinic costs a small fortune. BRENNAN: If it's any consolation, it wouldn't have worked. Their "treatment"-- it's not legitimate. HELEN: (on the verge of tears) You don't know that. BRENNAN: I'm afraid I do. Places like that are set up to prey on the hopes of people like you. HELEN: Geoffrey was going to die anyway. (begins wiping off her makeup) Anyone could see that. I did him a favor. I gave him his start. Geoffrey would much rather have been remembered as a fully committed artist than as a common m*rder victim. BOOTH: Really? Maybe he preferred to live. HELEN: Well... well, so would I. I guess none of us get what we want. (cut to the gallery. Roxie is watching the video of Geoffrey Thorn as Angela walks in) ANGELA: Hey, Roxie. ROXIE: Now what do I do? ANGELA: Well, you have money, and you have a studio. I think what you should do is your own art, full time. ROXIE: That's not what I mean. Did you ever, even for a second, think that it was me? ANGELA: No. Not for a second. ROXIE: Why? ANGELA: Because we... we really knew each other once and I don't think that... you've changed much since then. ROXIE: Have you changed? ANGELA: Uh, I don't, I don't know, Roxie. Um... maybe I have. But I'm not, I'm-- I haven't changed... (Roxie kisses her and Angela kisses back) (cut to the Medico-Legal lab. Cam and Hodgins are on the balcony watching Daisy on the forensics platform) CAM: How do you think he's going to do it? HODGINS: He'll convince her that it's best for her to move to another job. (Booth walks over with Brennan) BOOTH: What's going on? HODGINS: Sweets is f*ring Daisy for us. CAM: We're wondering what his method will be. BRENNAN: He'll explain to her logically (Sweets walks up the platform stairs) that this environment is not conducive for either her or us and, as a scientist, she'll realize that he's right. BOOTH: No, Sweets is a lot sneakier than that. He'll use some kind of psychological Jedi mind trick to make her think it was her idea to quit. SWEETS: (walking over to Daisy) I've got some good news and some bad news. Which would you like first? DAISY: The bad first. SWEETS: You're toast here. Nobody wants to work with you. DAISY: Why? SWEETS: You know why, Daisy. There are some things that you have to work on when it comes to interpersonal relations. DAISY: Does anybody like me? SWEETS: No, I'm afraid not. DAISY: What's the good news? SWEETS: There's absolutely no reason for us to be discreet about our relationship anymore. DAISY: Really? SWEETS: Yeah, why'd you ask me that? DAISY: Because I thought we were being discreet because you're a little bit ashamed of me. (Sweets looks up at the balcony and then kisses Daisy. They make out for a moment.) HODGINS: I'm totally shocked. BRENNAN: Yeah. They should not be doing that on the forensic platform. CAM: That's a method of termination I've never tried. But bravo, Dr. Sweets. (Cam and Hodgins walk off) BOOTH: They'll never work. They're like complete opposites. BRENNAN: I agree. For all her faults, she's a woman of science, Sweets bases his life on the vagaries of psychology and emotion. (Booth scoffs) BRENNAN: You know, there's no common ground. BOOTH: Right. BRENNAN: You need common ground. What else is there? BOOTH: Absolutely. (Daisy and Sweets walk off together) END

{"type": "series", "show": "Bones", "episode": "04x08 - The Skull In the Sculpture"}

foreverdreaming

"The Conman in the Meth Lab" Episode 4x09 / Production 4x04 Airdate: November 12, 2008 Written By: Karine Rosenthal Directed by: Allison Liddi Transcribed by: Jingeljangel Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open on a State Police training ground, an old quarry. A State Police Instructor stands facing a class of cadets) STATE POLICE INSTRUCTOR: Alright Cadets, listen up. What I am cradling, lovingly, in my arms is an M203 40mm canister launcher. (He holds it up to show the cadets). What's it for? Cadet Williams. CADET WILLIAMS: TEAR GAS. STATE POLICE INSTRUCTOR: That's right. That, (indicates a trailer nearby) is a meth lab, our boys took it three days ago. How do you think they did that? CADET WILLIAMS: TEAR GAS. STATE POLICE INSTRUCTOR: WRONG. And that is why we are here. I'm gonna demonstrate for you why we DON'T f*re tear gas into a meth lab. (Aims w*apon at trailer, fires sh*t through a window) (The trailer explodes in a fireball; something is flung from the trailer by the expl*si*n and lands on the windshield of a vehicle in front of them. It is a charred body) STATE POLICE INSTRUCTOR: (hesitantly) We're gonna need a, er a f*re extinguisher, then maybe some sort of ... trauma counselor. (Cut to: The Hoover building. Int. Sweets' Office. Sweets sits facing the door, waiting. Booth enters.) BOOTH: Hey 'm sorry I'm late. (We see Brennan sitting opposite Sweets. Booth sits next to her.) BRENNAN: Well according to Sweets chronic lateness is a way of asserting control. SWEETS: That's right. BOOTH: So you believe that? DR BENNAN: No, I figured there was traffic or something kept you at work. BOOTH: Exactly, work. Work Bones okay. I was putting the final touches on a case that's about to propel me into FBI legendary status. BRENNAN: Ah the big RICO case (Booth glares at her) ...that I'm not supposed to know anything about. SWEETS: Why don't I know about this case? BOOTH: (Whispers) Bones, its top secret. SWEETS: But you told Dr Brennan. BOOTH: She's my partner okay. (Turns to Brennan) Indictments any minute followed by a pay raise, possible parade and most definitely my face on a coin. (Indicates his face.) SWEETS: Just in time for your birthday. BOOTH: Which I will be spending in, Ha-wai-i. Uh look at that, ha, shark adventures. (Hands Sweets and Brennan brochures.) BRENNAN: Sharks? (Booths cell phone rings.) SWEETS Oh, I really wish that you wouldn't... BOOTH: (Answers phone) Booth. SWEETS: ... answer your phone. BOOTH: (Into phone) Jared. (He stands. To Sweets) Oh god, give me that. (Booth snatches the brochure from Sweets hand). BRENNAN: That's his brother. SWEETS: Booth has a brother. BOOTH: (Into phone) Sounds good. I'll see you then. (Closes phone and sits down) BRENNAN: Don't feel bad, I've never met him either. SWEETS: At least you knew he existed. (Booth and Brennan's cell phones ring simultaneously) BRENNAN: (To Sweets) Yeah. (Booth and Brennan stand and look at their phones. They turn to leave.) SWEETS: Okay that's enough for today because obviously you have to go look at some horribly dismembered... (Door slams behind Booth and Brennan) ...human remains. (Cut to: The training ground. Brennan is examining the remains on the vehicle's windshield. The State Police Instructor approaches Booth who is nearby. FBI personnel are working in the background.) BOOTH: Any idea how the body got in there. STATE POLICE INSTRUCTOR: I guess anyone could have done it anytime in the last three days. BRENNAN: Male, 45 to 50 years old. Do we know where the rest of the remains are? STATE POLICE INSTRUCTOR: Yes, uh, one leg is over there, the other's over there and the arm is over there (he nods his head to indicate locations). Did I k*ll this man? BRENNAN: No. STATE POLICE INSTRUCTOR: Okay. BRENNAN: This man was sh*t in the chest. STATE POLICE INSTRUCTOR: Would you be all upset if I had a little cry? (He turns away). BOOTH: Yeah, take your time. (To Brennan) Uh, what's that there on the inside of his pocket? BRENNAN: (Removes a charred notebook and leafs through it) This man was obviously some kind of technical designer or engineer. BOOTH: Squint huh, one of your own. (Titles) (Cut to: The Jeffersonian. Int. Medico-Legal Lab. Hodgins and Angela are walking through the lab looking at several laminated sheets). HODGINS: So these are from the notebook found in our victim's windbreaker? ANGELA: Blueprints, schematics, sketches. HODGINS: a*t*matic toilet scrubber, looks like those little vacuum cleaners that move around on their own. ANGELA: Things in a toilet bowl should not move. Alright, look at this, this is a, a snow shovel with an attached heating device. HODGINS: Wow, our victim was an inventor. (Clark appears and clears his throat) ANGELA: Clark, hey. (She runs up and hugs him) CLARK: Oh god, here we go. ANGELA: Really, you came back, huh? HODGINS: You said you didn't want to work with us anymore. CLARK: No, I said my preferred working style tends towards the professional. See my tie? That's an indicator. ANGELA: Mmm-hmm, so why'd you come back then? (Angela turns to walk into her office, Hodgins and Clark follow). CLARK: Because this is the finest forensics facility in the world. HODGINS: Wanna fly MiGs, you fly MiG alley right. CLARK: A Korean w*r reference. You do know that we have a brand new w*r right? It's, uh, been in the news. (Angela looks closely at one sheet and puts the rest down). ANGELA: Yeah, I got a form letter here from the Patent Office. CLARK: Ah, good, work. (He reaches for the sheet, Angela pulls it away). ANGELA: Aren't you the least bit curious about whether Hodgins and I are back together or not? CLARK: And... not work. Am I the only one that can tell the difference here? Is there a name on that letter? ANGELA: No, there's a patent application number. We can find out who filed it. HODGINS: Coleoptera just started feeding on the Diptera larva meaning our victim died about three days ago. CLARK: Thank you. (He leaves the office). HODGINS: (Calling after Clark). Aren't you impressed that Angela and I can still work together so well? (Clark turns and pulls out his tie). (Cut to: Medico-Legal Lab. The forensics platform. The remains are laid out on a table Brennan is examining them. She lifts the head up to look underneath). BRENNAN: Ah... there's no obvious exit wound. (We see Cam also looking at the remains.) CAM: That suggests a .22 or .25 caliber. I'll keep my eyes open. (Clark arrives at the platform). CLARK: Multiple points of possible ante-mortem in-bending with concomitant fracture. (He brings up x-rays on a screen) CAM: These abrasions are patterned. Repeated blows with a perforated surface? (Booth and Jared Booth ascend steps to the platform) JARED: Camille. (Cam approaches Booth and Jared). CAM: Jarhead, it's really you. JARED: Jarheads are marines. I'm a Lieutenant Commander in the Navy, not an acceptable mistake. CAM: He's getting so big. Soon he'll be wanting a later curfew and a car of his own. BOOTH: Jared, this here is my partner Dr. Temperance Brennan, that back there (indicates Clark) is a squint. Bones, this is my little brother. (Brennan removes her gloves and approaches Jared). JARED: Bones. BOOTH: (To Jared) Dr. Brennan. (Jared and Brennan shake hands). BRENNAN: Ah it is nice to meet you Jarhead. I can see the family resemblance. (She looks closely at his face). Your facial structure is even more symmetrical than Booth's. JARED: (To Booth.) Is she coming on to me? BOOTH: No it's just the way she talks. JARED: Right. CAM: So, the Pentagon huh? JARED: You're looking at the new head of Strategic Plans and Policy. BOOTH: Basically he runs the place. So, uh, Cam, Jared has a favor he'd like to ask. JARED: I can ask my own favors Seeley. BOOTH: Okay, go ahead. (Brennan moves away). JARED: There's a cocktail party tonight. I'm in need of a beautiful woman on my arm, preferably a very smart one. BRENNAN: I'm quite intelligent. BOOTH: No. Not that you're not intelligent, I mean you are intelligent. CAM: I would be delighted. (Angela comes to the platform with some papers) ANGELA: I've got a h*t on the patent application, filed by somebody named Paul Stegman. (She hands Booth a document). I've got an address, there. Whoa, there's more than one Booth. I'm Angela. Montenegro. JARED: Jared Booth. ANGELA: Hi. BOOTH: Okay, uh Jared, uh Bones and I have to work on a case so... JARED: Yeah, no problem. I will, uh, grab a cab and get settled into my new place. BOOTH: Okay JARED: It was very nice to meet you all, and Cam I will pick you up at your place, say seven. CAM: Sounds good. JARED: Alright. (He leaves the platform). BRENNAN: (Aside to Angela.) Are you thinking of leaving lesbianism behind? ANGELA: I prefer not to be labeled, okay. BOOTH: (To Clark) Well, since you were last here Angela ran into her ex-girlfriend, who is now her ex-ex-girlfriend. CLARK: Well, the only ex I care about are X-rays. BOOTH: Right. CLARK: Apologize for the pun. (He leaves). BOOTH: Yeah, don't give up your day job kid. Okay Bones, what say we go and solve a m*rder, huh? Come on. (Cut to: Int. the Stegman House. Paul and Lily Stegman sit on the couch. Booth and Brennan sit opposite) BOOTH: The remains are those of a man in his fifties, bearded. BRENNAN: Five foot ten, approximately 195 pounds. PAUL STEGMAN: That matches the description of my father. LILY STEGMAN: Was the, uh victim wearing a blue windbreaker with yellow piping? (Booth hands over a photo) PAUL STEGMAN: Yeah, that... that's my windbreaker. (He stands). LILY STEGMAN: He borrowed it Paul. One of your notebooks must have been in the pocket. BOOTH: When was the last time you saw your father? PAUL STEGMAN: Er... er, three days ago. LILY STEGMAN: Was he drunk? He used to go on binges. PAUL STEGMAN: Lily! BOOTH: How often did your, uh, father go on drinking binges? PAUL STEGMAN: We don't really know. LILY STEGMAN: Jim had just come back into our lives. He said he quit drinking. PAUL STEGMAN: He walked out on me and my mom when I was a kid. LILY STEGMAN: His father wrapped his car round a tree drunk driving, Paul was injured and so was his mom. PAUL STEGMAN: He broke both his legs, but, soon as he got crutches he was gone. BRENNAN: How did he find you again? PAUL STEGMAN: There was an article about me in this magazine. Dad read it, called me, said he had cleaned up his act, wanted to reconnect. (Lily Stegman passes a framed copy of the article to Brennan.) PAUL STEGMAN: So we invited him to stay with us. BOOTH: Did your father have any run-ins recently? PAUL STEGMAN: (Now seated again). Was my father m*rder? BRENNAN: We think it may be foul play, yes. (Lily Stegman looks nervous) BOOTH: Mrs. Stegman? LILY STEGMAN: The day before your father disappeared I came home from school, I teach fifth grade, I'm sorry I didn't tell you. I, I saw Mike leaving the house, he looked upset. BRENNAN: Who's Mike? PAUL STEGMAN: Mike Campbell. We used to be business partners, but we're still friends. LILY STEGMAN: Your dad said he caught Mike taking something from your workshop. PAUL STEGMAN: Yeah, we loan each other tools all the time. I mean I bet dad just didn't understand that. BOOTH: Well I'm gonna need Mike's number. (Cut to: Int. Mike Campbell's workshop. The door opens, Mike Campbell enters followed by Brennan.) BOOTH: (His voice is heard from outside.) So there, is it true that you borrowed his tools? (Booth enters. Brennan is looking around). MIKE CAMPBELL: What? I didn't borrow anything. BOOTH: Well then Mr. Campbell what were you doing at, uh the Stegman house? MIKE CAMPBELL: I went to confront his dad. BOOTH: 'Bout what? MIKE CAMPBELL: When I get stuck on one of my projects I like to do a little off track betting. Making predictions based on statistical models clears my head. (Booth looks to Brennan) BRENNAN: Makes complete sense. MIKE CAMPBELL: Yeah. So, uh, that day I go in and there's Paul's dad. He's placing bets and taking hits off of a flask. BRENNAN: Indicating that he hadn't really stopped drinking. MIKE CAMPBELL: I confronted him and then the old geezer slammed me against a wall and told me to mind my own business. BOOTH: So then you left? MIKE CAMPBELL: That's right. But then he disappeared so I figured why should I spoil Paul's last memories of his old man. BRENNAN: Your inventions are much more industrial than Paul Stegman's. MIKE CAMPBELL: Yeah, uh that's why we stopped being partners. Paul's more into toys and gadgets. (Brennan looks at a grating) Oh that is part of a pressurized industrial sieve. Its application's in the sewerage industry. BRENNAN: This grating could have caused the damage to Jim's face. (Cut to: Int. Booth's car. Booth is driving Brennan is in the passenger seat. His cell phone rings) BOOTH: (Answers cell on speaker) Booth. (Cut to: Medico-Legal Lab. Int. Cam's office. Cam sits at her desk, Jared leans. The scene cuts between speakers during the phone conversation.) JARED: Did you catch the m*rder? BRENNAN: We subpoenaed a possible m*rder w*apon. CAM: Not a bad day's work. JARED: More important than catching a m*rder, I'm dateless tonight. BOOTH: What happened to Cam? CAM: Oddly I think it's more important to catch this m*rder. I'm working. JARED: So who else you got for me Seeley? BOOTH: What am I, your pimp? JARED: Don't think I'm not appreciative. BRENNAN: Clark has everything under control so I could go. BOOTH: What? JARED: Really? BOOTH: Huh. JARED: Thank you. BOOTH: No. JARED: Wha... w, wait this is Bones, right? Not some ugly FBI woman with a moustache. BRENNAN: I don't have a moustache Jared. JARED: Seeley would you mind? BOOTH: Mmm No, why would I mind. 'S alright. JARED: Which means this is a great time to hang up. BOOTH: Um-hmm. (He flips his phone closed). (Cut to: Medico-Legal Lab. Int. Bone Room. Brennan enters in evening wear. She is fiddling with her earring) BRENNAN: What did you find? CLARK: It's what I didn't find that's interesting. (He notices her outfit) You have got to be kidding me. BRENNAN: What? CLARK: Oh nothing nothing, nothing Dr. Brennan, I just er didn't know that you were so er... The m*rder victim was supposed to be a long term heavy drinker, yet his bones show no signs of alcoholic osteoporosis. (We see that Clark is viewing X-rays on a large screen.) BRENNAN: There's no damage to the cancellous structure of the long bones either. CLARK: Furthermore, he was supposed to have broken his legs in a car accident approximately 25 years ago. BRENNAN: There's no signs of remodeling. CLARK: No. These legs were never broken. We misidentified the victim. He is not Paul Stegman's father. (Cut to: The Whitehouse: The Rose Garden. A cocktail party is underway. Jared in Naval uniform, drink in hand, stands talking to a group of other uniformed officers.) JARED: Thank you General, appreciated. Would you gentlemen excuse me please? (Jared leaves the group and moves towards a seated Brennan. A waiter passes and holds out a tray.) WAITER: Champagne? JARED: (Takes a glass) Thank you. (He hands champagne to Brennan.) Don't tell me you're sorry you came? BRENNAN: No, not at all. (Jared sits and clinks her glass.) It is not often I get to observe people this powerful in a relaxed situation. JARED: Don't be fooled, it's a school of piranhas in here. (They both laugh.) BRENNAN: You're good at this. They listen to you when you speak. JARED: You wanna know the secret? (He leans in close to her.) You have an incredibly beautiful, incredibly intelligent scientist slash novelist sitting alone waiting for you to bring her a drink. (Brennan laughs.) Nah, it's too corny. BRENNAN: Definitely. (Jared laughs) I was thinking how Booth would be bored, at a function like this. JARED: This kind of event would make Seeley very nervous. I don't mean he's incapable, my brother's very very capable. It's just, it's like Seeley's afraid of success. He stays in his comfort zone. Drove our dad nuts. (He sips his drink). BRENNAN: Really? JARED: Maybe that's what made him a good sn*per. He doesn't like to be visible above the ridge line so he keeps his head low - instinct. Me on the other hand, well I cannot help but run that ridge. BRENNAN: Can you give me an example? (Jared leans in and kisses her) JARED: I bet you Seeley never took that risk. BRENNAN: Nope. JARED: (They clink glasses.) To a good night. BRENNAN: Yes, so far. (Cut to: Int. Medico Legal Lab. Cam is at her desk talking on speakerphone) CAM: I found a match for our victim's DNA on the felony database. BOOTH: (His voice over speakerphone) Have you seen Bones this morning? CAM: No, I think she and Jared had a late night. Open the attachment I just sent you. (Cut to: The Hoover building. Int. Booth's office. Booth is sat at his desk. He clicks and a mug-sh*t opens on his computer screen. The scene cuts between speakers during the phone conversation.) BOOTH: 'Kay, Anthony Pongetti, multiple fraud convictions. CAM: That's our victim. BOOTH: Right so, Pongetti pretends to be Stegman. Why? CAM: Reads that article on the inventor and figures there's something to cash in on. BOOTH: You know, Bones never gets in this late. CAM: You're the one who said you didn't mind them going out together. BOOTH: (Sighs) Bye. (Cam rolls her eyes.) (Colonel Wolchuck knocks and enters Booth's office). COLONEL WOLCHUCK: Special Agent Booth? BOOTH: Well look at that, a full Colonel from the State Police. COLONEL WOLCHUCK: Ryan Wolchuck. (They shake hands). BOOTH: How are you? COLONEL WOLCHUCK: Mind if I sit? BOOTH: No, please have a seat. You know if this is about the RICO investigation I've been keeping you guys in the loop just like I promised. (They both sit). COLONEL WOLCHUCK: Well I'm here about the meth lab body. BOOTH: Okay. COLONEL WOLCHUCK: It's extremely embarrassing for the State Police that this homicide victim was blown up during a training exercise. BOOTH: Uh huh. COLONEL WOLCHUCK: And the Superintendent, the Governor, various movers and shakers would look kindly on it if you, well if you simply neglected to give that small detail to the press. BOOTH: And if the press digs up that the bodies were b*rned and blown into several pieces it makes the FBI look sneaky. COLONEL WOLCHUCK: Well, the FBI is sneaky. (They both laugh) BOOTH: (Stands) Right. Not today sir. COLONEL WOLCHUCK: (Stands) Careers are made when men of good intent help each other. BOOTH: I'll tell you what. Why don't we just tell the truth and take our lumps when we have to. (Cut to: Int. Medico-Legal Lab: Brennan's office. Brennan sits at her desk, Clark stands by her shoulder.) BRENNAN: No signs of remodeling (CAM appears at the door) CAM: Did you just get in? BRENNAN: I haven't been to sleep. (CAM enters) CAM: Can I offer you a little insight into Booth's little brother. CLARK: Oh god, why am I always standing precisely in the wrong place? BRENNAN: I didn't have sex with him Cam. (Angela enters) ANGELA: Didn't have sex with who? CAM: Jared Booth. ANGELA: Good. (She hands a file to Clark, he leaves the room). BRENNAN: Why good? CAM: Because... because... ANGELA: Because he's Booth's little brother and it would just be a creepy way to have sex with a Booth without having sex with the real Booth. CAM: Kudos Angela. I would not have had the guts to say that aloud. BRENNAN: N... Jared is a real Booth. ANGELA: Hmmm. Jared's Booth lite. Booth is the real Booth. BRENNAN: W... what if Booth is Booth lite? (Clark re-enters the room with a file) CLARK: Angela found the real Jim Stegman. BRENNAN: Where? (Clark places an open file on her desk, they all move to see.) ANGELA: Here, in the Jeffersonian cold storage. (She takes a photo from the file and places it on top.) Only, he's known as John Doe 100803. CAM: Looks like a drowning victim. ANGELA: Only if he drowned after being sh*t in the heart. CLARK: How did you find him? ANGELA: The real Jim Stegman has DNA on file stemming from an as*ault charge twelve years ago. I ran a search and this popped up. BRENNAN: He's been a John Doe right here in the Jeffersonian, since last week. CAM: (reading from file) Washed up at Anacostia Naval Station. Last known address: Bowie, Maryland. (Cut to: Int. a garage apartment: Jim Stegman's home. The door opens slowly to reveal Sheriff Wilkinson, Brennan and Booth outside.) SHERIFF WILKINSON: Well this is Jim Stegman's place. Landlord says nobody's been in here since he went missing. (They duck under the opening door and enter.) BOOTH: This guy's gone missing twice and nobody reports it. SHERIFF WILKINSON: You say Jim ended up sh*t and dumped in the river? BOOTH: That's right, sh*t and dumped. (He looks around). SHERIFF WILKINSON: Old Jim did not deserve that ending, what with quitting drinking and quit betting. BOOTH: Well, it looks like he fell off the, uh gambling bandwagon. (He is looking through a pile of betting slips) No sign of booze anywhere. Here. (He hands the slips to Brennan). BRENNAN: Booth. BOOTH: Yeah. BRENNAN: One of these is made out to Anthony Pongetti. SHERIFF WILKINSON: Pongetti, well that old boy's another whole earful of wax. BOOTH: Bad egg? SHERIFF WILKINSON: Black-hearted son of a bitch yeah. Had him in custody, oh, two months ago. BOOTH: For what? SHERIFF WILKINSON: Running a bogus roof repair company. He'd give an estimate, 'n take a deposit then skedaddle. Mind I ask what's going on here in my own town? BOOTH: Yeah, the real Jim Stegman, he was sh*t, k*lled, dumped in the river a week ago. Pongetti sh*t and k*lled four days ago after pretending to be Jim Stegman. SHERIFF WILKINSON: Sounds like maybe Pongetti k*lled Jim then committed, whatd'yamacallit, identity theft. (Booths cell phone buzzes. He has a text message: From: Jared Booth I'm in trouble Jared) BOOTH: Yeah uh, (He flips his phone closed). Thanks, Bones you know what? I gotta get you back to the lab okay? Thanks, ah Sheriff. (Cut to: Int. Medico-Legal Lab. We see a large industrial looking machine.) HODGINS: Paul Stegman had 66 inventions in his notebook and this one was marked with a star. (Hodgins and Clark come into view. Hodgins tips a bin full of bottles and cans into the machine). CLARK: All it needed was a little more torque. HODGINS: Yeah well, if the gears can handle it. (Clark switches the machine on. It makes a loud noise as it processes the cans and bottle through 3 chutes. Brennan enters) BRENNAN: (Loudly over the noise) Clark I was wondering if you had a chance to look at the gr... (A bottle sh**t from the machine and hits the wall close to where Brennan is standing. Clark winces and switches the machine off). BRENNAN: Is this one of Stegman's inventions? HODGINS: Yeah, it's a garbage sorter. And thanks to Clark it works. CLARK: I only indulged in this, uh diversion after he asked for help. I wasn't wasting time. I came in for the uh... the grating you got from Mike Campbell was not the w*apon used to strike Anthony Pongetti in the face. (He picks up the grating and holds it out for Brennan.) The zygomatic bones were fractured. The screen, while it resembles stainless steel, is actually a rather malleable magnesium alloy. So for it to cause that much damage... BRENNAN: Yes, it would have been bent from the impact. CLARK: Yes. So what we're looking for is something heavier. (Cut to: Street. Several police vehicles are parked with lights on. Jared Booth is stood leant against his car which has been in a crash. Booth's vehicle pulls up lights flashing and siren on. Booth gets out and approaches Jared.) VOICE OVER RADIO: ...dispatch. ...Jared Booth US Navy Lieutenant Commander over. Copy, notify will stand by for transport now... BOOTH: You alright? JARED: Yeah, yeah Seeley. I fell asleep at the wheel but, I'm okay. BOOTH: Yeah. Fell asleep. JARED: Local trooper here says he knows you. (State Police Colonel Wolchuck approaches) COLONEL WOLCHUCK: Agent Booth. (Booth turns to face Colonel Wolchuck.) BOOTH: Colonel Wolchuck. Is that what we're going with here, he fell asleep at the wheel? COLONEL WOLCHUCK: I'm sure you'll agree it's best just to tell the truth, take our lumps when we have to. JARED: They get me for DUI, I lose my job Seeley. I mean, I lose my whole career. BOOTH: (He turns back to Jared) Shut up. Shut up. Please. (To Colonel Wolchuck) Can I talk to you for a second? (Cut to Int. the Stegman House. Paul is seated at the dining table Lily stands behind him.) PAUL STEGMAN: The first body you found wasn't my father, but the second was? (We see Booth and Brennan are stood facing Paul Stegman.) LILY STEGMAN: So the man we actually met, the one who said he was Paul's father... BRENNAN: Was not, that's correct. PAUL STEGMAN: This Pongetti guy, did he k*ll my father? BOOTH: We don't know that yet. LILY STEGMAN: Were we in danger? BRENNAN: Well, Anthony Pongetti was... BOOTH: He was harmless. He was a conman, that's all. BRENNAN: Did Pongetti leave anything behind? Luggage, or papers? LILY STEGMAN: He left a duffel bag in the coat closet over there. BOOTH: Hey Bones, lets check it out. (They all move to the closet) PAUL STEGMAN: What did this man want from us? BRENNAN: We think it's possible he wanted to profit off of your inventions. (Brennan puts on latex gloves and reaches for the bag) PAUL STEGMAN: He'd be the first one that ever did that then. LILY STEGMAN: Don't do that to yourself. BOOTH: Well look at this thing, man, what is this thing, a robot? (Booth pulls something heavy out of the closet) PAUL STEGMAN: That's a battery operated electrostatic dust trap. BOOTH: Ha Ha. PAUL STEGMAN: I gave up on it months ago. Uh, it's... hold on, (he opens the dust trap to reveal a brown paper bag.) Oh... that's not supposed to be in there. (He removes the bag.) BOOTH: Oh ho ho, what is that? (Brennan takes the bag and takes out two thick wads of cash) LILY STEGMAN: Oh my god. BRENNAN: Twenty grand give or take. (Booth whistles) PAUL STEGMAN: Do we get to keep that? LILY STEGMAN: Paul, he wasn't even really your father. PAUL STEGMAN: So what? BOOTH: That is the best motive we've seen for m*rder yet. Right there. (Cut to: Hoover building: Int. Booth's office. We see a TV, on screen Colonel Wolchuck is giving a press conference.) COLONEL WOLCHUCK: My name is Colonel Ryan Wolchuck of the State Police Bureau of Criminal Investigations. I have the great pleasure of announcing today that the Grand Jury has handed down 62 indictments following the State Police crackdown on organized crime. (The sh*t pulls back and we see Booth sat on his desk watching the TV). COLONEL WOLCHUCK: This victory is the result of a six month RICO investigation by our department. The State Police would like to acknowledge the very fine support work of several FBI field officers. (Booth switches off the TV. He removes what we assume are travel tickets from his jacket pocket.) BOOTH: Yeah. Support. (He rips the tickets and throws them in the bin. He takes the Hawaii books from his desk and throws them in the bin too. He sighs and sits at desk. His cell phone rings, he checks it and flips it shut.) Cut to: Int. Medico-Legal Lab: The Autopsy Room. Cam is working with some remains. Booth enters.) BOOTH: Hey Cam, what's up? What's so urgent? CAM: Your people found a fingerprint on the bag of money. BOOTH: I know, W... we don't have an ID. What, why is that so urgent. What's going on? CAM: What happened? (Booth looks puzzled. Cam returns the look) I watch TV, State Police getting all the glory for that big RICO case. What the hell? BOOTH: Relax, okay it's political. It came down way far above my head, right. CAM: Don't you lie to me big man, I'm your friend. I know where this came from, and it wasn't from on high. BOOTH: Cam, just let this one slip by. (She looks down, then nods. He leaves). (Cut to: The Hoover building. Int. an elevator. Jared is inside. The elevator doors open to reveal Sweets waiting. He enters, the doors close) SWEETS: You must be Agent Booth's brother. JARED: Yeah I'm Jared. You FBI? SWEETS: FBI? Uh yeah, yeah. Lance Sweets. JARED: Nice to meet you (We see Jared holding tickets for a Capitals hockey game.) SWEETS: Capitals. JARED: Yeah, I know Seeley's a Flyers man, but hey, when in Rome right? (The elevator doors open, he motions Sweets to exit first). Please. (They exit the elevator and walk towards Booth's office) SWEETS: Yeah, I still haven't gotten him anything for his birthday. JARED: Oh my brother doesn't like birthday presents. Anyways these are more like a thank you. Or, an apology. You know what it's like with brothers right? SWEETS: No, only child. (They enter Booth's empty office, Sweets waits in the doorway, Jared approaches the desk) JARED: Oh well having a big brother is like having an extra dad, only a dad who protects you from your real dad, and always thinks of you as a kid. (He leaves the tickets on Booth's desk, and turns back to Sweets). SWEETS: I have the same problem with Booth. JARED: There is nothing worse than somebody who always thinks they're right, and then they're right. Right? It's a pleasure Agent Sweets (they shake hands. Jared leaves) SWEETS: Doctor, not Agent. (Cut to: Int. Medico Legal Lab: The Bone Room. A skeleton is laid out on a light table. Clark walks around the table, Brennan stands at the skull end). CLARK: Jim Stegman was sh*t four times. I postulate that each g*n was both precise and deliberate and did not occur in a rapid f*re succession. BRENNAN: There's no way to tell that from the bones. CLARK: No, not from the bones, close range injuries. Middle of the foot, middle of the knee, middle of the shoulder, d*ad centre on the heart. (He points to indicate each injury). Small caliber w*apon. BRENNAN: You believe this was done on purpose. CLARK: Yes, t*rture. Someone was trying to get information from this man. BRENNAN: Pure conjecture Dr Edison. But it has logical integrity. (Cut to: Int. The Hoover building: A corridor. Brennan and Booth are walking). BOOTH: So, three years ago Stegman and Pongetti, they were arrested. They were working some scam together. BRENNAN: Well, we already knew they were accomplices. BOOTH: Yeah well, there was a third guy involved. They ratted him out, he went to jail for five years. BRENNAN: Five year sentence, Three years with parole. Is the stool out? BOOTH: Is the stool out? No, you mean stoolie and the third guy wasn't the stoolie, Stegman and Pongetti were, 'kay. You go in there, I'll be in here. (Booth opens a door) (Cut to: Int. Interrogation Room. Steve Jackson is sat at the table. Booth enters). BOOTH: Steve Jackson. What the hell are you wearing? STEVE JACKSON: I'm on parole - they won't let me work on Wall Street. Course I'd make less there. What's this about? BOOTH: Stegman and Pongetti. STEVE JACKSON: Parole officer already told me to stay away from 'em. (Booth, still standing leans down on the chair opposite). BOOTH: But you didn't stay away from them did you Steve? STEVE JACKSON: Fine, I met with Stegman. BOOTH: Why? STEVE JACKSON: He was making amends, apologizing, in the program. One small parole violation and the FBI get involved. BOOTH: Stegman and Pongetti are both d*ad. STEVE JACKSON: You gotta be kidding. BOOTH: sh*t. 'S okay, you can take a moment to rejoice in the death of your enemies. Go ahead. STEVE JACKSON: Pongetti's d*ad good, I'm glad. Stegman, he was okay. BOOTH: He ratted you out. STEVE JACKSON: Pongetti ratted me out. Stegman backed him is all. I don't begrudge. I have an alibi anyway. BOOTH: I didn't tell you when they died. (Jackson lifts his leg onto the table. He is wearing an electronic tag). STEVE JACKSON: Tracking device, somebody somewhere knows where I am 24 hours a day since I got out for the next two years. (Booth smiles then exits) (Cut to: Int. Observation Room. Brennan watches Steve Jackson through a two way mirror. She turns as Booth enters). BRENNAN: Do you think he did it? BOOTH: No, we'll check his whereabouts but, you know, I don't think so. Nice hat huh? Come on I'll take you back to the lab. (He turns to go). BRENNAN: What happened with your RICO bust? (Booth turns back to her). BOOTH: Nothing, why? Huh, you been talking to Cam? BRENNAN: No. Did you do something wrong? BOOTH: What d'you mean? BRENNAN: Well you didn't get the credit you deserve. What did you do? BOOTH: Life is not always about credit. BRENNAN: Well that's not what you said before. You said life was all about credit and you were going to Hawaii and they were going to put you on a coin. BOOTH: Uh, you know what, let's just forget about it. Okay Bones, forget about it. (He turns to go again). BRENNAN: Jared warned me that you tend to sabotage yourself. (Booth turns back). BOOTH: Jared said that? BRENNAN: Mm-hmm. He said that you were afraid of success. BOOTH: Mmm, so basically I'm a loser. BRENNAN: No, he never said the word loser. BOOTH: Do you think I'm a loser, like that guy in there. Some clown in some dumb-ass uniform who basically can't do any better? Is that what you think? BRENNAN: Well, anthropologically, males tend to rank themselves into a hierarchy. There's no shame in not being at the top of the hierarchy. BOOTH: You're not answering the question Bones. Answer my question. (His cell phone rings, he answers). Booth. (Cut to: Int. Cam's Office. Cam is sat at her desk) CAM: Your forensic techs got an ID for the fingerprint on the money bag. BOOTH: Is it Stegman or Pongetti? CAM: Stegman, but not the one you're thinking of. BOOTH: The son? CAM: Nope, the wife. The fingerprint belongs to Lily Stegman. (We see her picture on Cam's computer screen.) BOOTH: Thanks. (He closes his cell phone). (To Brennan) The fingerprints belong to Lily Stegman. We know that because she works with kids. BRENNAN; She acted like she'd never seen that money before. BOOTH: Well, she was lying. (He turns to go). BRENNAN: Booth... BOOTH: Bones, lets just go and do our work. (He exits; she grabs her bag and follows.) (Cut to: Booth's office. Lily Stegman is sitting in front of the desk, Booth and Brennan are standing.) LILY STEGMAN: I thought he was Paul's father I would never hurt him. BRENNAN: We found your fingerprints on the money. BOOTH: Can you explain that. LILY STEGMAN; I'm ashamed. BOOTH: Well, whatever you're ashamed of believe me m*rder is worse. (He sits at his desk). LILY STEGMAN: The day after Jim, the man we thought was Jim, the day after he disappeared a package arrived for him. When he didn't come back I started thinking he meant for us to open it. BRENNAN: That doesn't make any sense. BOOTH: No, I understand. He's gone, it's sitting there, maybe he meant for you to have it. LILY STEGMAN: Yes. BOOTH: Plus, you have a family to take care of. We do whatever we can for family. LILY STEGMAN: I Opened it. It was full of cash... (She opens her bag and removes a piece of paper. Brennan takes it) and, a note. BRENNAN: (Reading from the note) Jim do me a big favor. Hold onto this until I can get it back from you. Help yourself to whatever you need. P. BOOTH: P. Pongetti. LILY STEGMAN: I know I should have called the police and when you came I should have told you, but by then... BOOTH: You needed the money and in a way you felt like you earned it for taking an old man in. Family. LILY STEGMAN: My teaching salary barely pays the bills and we're trying to have another child. BRENNAN: So you were the one that hid the money in the dust trap thing. LILY STEGMAN: Yes. BOOTH: What does your husband know? LILY STEGMAN: Nothing. I promise. BRENNAN: She could just be protecting him. LILY STEGMAN: I am, by not letting him know about the money you found, or the... rest of it. BOOTH: The rest of it? BRENNAN: There's more? LILY STEGMAN: Yes, I put it into our safety deposit box. BOOTH: (He leans forwards.) Okay, how much? LILY STEGMAN: 150 thousand dollars. (Booth and Brennan exchange a look). (Cut to: Int. Booth's car. Booth is driving; Brennan is in the passenger seat.) BOOTH: So I figured what happened is that Pongetti got his cash in some, you know, illegal way. Maybe in a way that could get him k*lled. Stegman, he's about to go visit his son. BRENNAN: So Pongetti sends the cash to his friend for safety. BOOTH: Then Stegman gets k*lled. So to go get that cash Pongetti decides to pretend to be Stegman. BRENNAN: People make stupid irrational decisions. (Her cell phone rings. She answers). Brennan. BOOTH: They act from the heart sometimes Bones, 's not a crime. BRENNAN: (Into phone) Okay I'll be right there. (She ends call. To Booth.) Cam needs me. (Cut to: Int. Medico-Legal Lab: The Mezzanine. Cam leans on the balcony waiting.) BRENNAN: Hello (Brennan arrives). CAM: Dr. Brennan. I don't want you to think this is an intervention. BRENNAN: I don't know what that means. (Sweets arrives with a tray of coffee cups) SWEETS: An intervention is when a group of loved ones bands together to help one of their own make a difficult decision. CAM: Oh, then, then it is an intervention. BRENNAN: Are you my loved ones? SWEETS: I was troubled by a conversation I had with Jared Booth. CAM: Sweets came to me with some theories about Booth's family life, and he pretty much nailed it. BRENNAN: Nailed what. SWEETS: Sit down. (They all sit; he places the tray on the table.) Booth and Jared are children of a physically abusive alcoholic father. CAM: Booth's been digging Jared out of trouble since they were kids. Jared always comes up smelling like a rose and Booth takes the h*t. SWEETS: He's denying his brother the opportunity to take responsibility and learn from his own mistakes. BRENNAN: You have no evidence of that. CAM: I've known the Booth boys for 15 years. SWEETS: Now it's natural to be protective of a younger sibling. Of course Jared is a grown man, an intelligent, talented, capable adult. BRENNAN: I like him very much. CAM: Yah? Well, cut it out. BRENNAN: Booth shouldn't be thr*at by the fact that his brother is more successful. CAM: I am absolutely certain that however it is Booth lost all the credit for that RICO bust, it's because of Jared. BRENNAN: We're all scientists here, right? Well, not you. (She points to SWEETS). What is your evidence? CAM: How about this, the last time I told Booth what I thought of Jared, he didn't speak to me for six months. BRENNAN: That is an anecdote. CAM: We're saying maybe Booth deserves the benefit of the doubt here, until all the evidence is in. BRENNAN: Evidence, I am comfortable with evidence. CAM: Okay, here's some evidence. The b*ll*ts that k*lled both Stegman and Pongetti were fired from the same g*n. BRENNAN: Which suggests they were k*lled by the same person. Thank you. CAM: Should I tell Booth? BRENNAN: No, I'll do it. (She stands and leaves). (Cam and Sweets look after her.) (Cut to: Int. The Founding Fathers bar. Jared sits on a barstool sipping a drink. Brennan enters, they kiss on the cheek.) BRENNAN: Thanks for coming Jared. JARED: When a beautiful woman asks me out for lunch... (Brennan's cell phone rings. She looks - the call is from Booth) JARED: Something wrong? (She cancels the call) BRENNAN: I need to know the truth. JARED: I've heard that about you. BRENNAN: Do you know anything about Booth losing credit on the RICO case. JARED: No. What, I mean that's the first I've heard of it. BRENNAN: People are telling me that somehow all the credit went to the State Police because of you. Is that possible? JARED: (He sighs) Oh. BRENNAN: So, it is possible. JARED: What did he say to you? BRENNAN: Nothing. JARED: I think this is something between brothers. No offense. (Brennan starts to leave) JARED: Tempe. (Brennan turns back to him). BRENNAN: You took advantage of him. You know you made me think that he's a loser. And what really makes me angry is that I believed you. You know I wouldn't blame Booth if he never spoke to me again. You're the loser. (She leaves.) (She comes back and pushes Jared completely off his bar stool. She leaves. Jared gets up.) BARTENDER: You alright? (Cut to: Int. Booth's car. Booth is driving; Brennan is in the passenger seat.) BOOTH: 'Kay look, why didn't you pick up? Were you in the bathroom or something? BRENNAN: To be honest I was sp... BOOTH: Okay never mind, just never mind alright. Agents recovered the rest of the cash from Lily Stegman's safety deposit box, right. The bills were bundled with evidence bands. BRENNAN: What does that mean? BOOTH: Well the money is from the County Sheriff's Headquarters in Bowie. It was confiscated during a drug bust. BRENNAN: Oh, so drug money. BOOTH: It was scheduled for transfer to the Federal Reserve two weeks ago. A driver from the Reserve shows up, he flashes his credentials, drives off with the dough. Forty minutes later the real driver shows up. BRENNAN: Oh, so the fake one was Pongetti? BOOTH: Well it had to be, right? I mean jeez, he got away with over 200 grand. BRENNAN: But he was in custody there, how come no one recognized him? (Booth looks at her) BRENNAN: What? It's a logical question. BOOTH: Ah, you know what, you are a genius, hold on for a second. BRENNAN: Why am I a genius? (He does a u-turn) BOOTH: Why? Because I let that big Sheriff know that we found 20 thousand dollars at Stegman's house. BRENNAN: Why is that bad? BOOTH: Because if he was in it with Pongetti then he thinks he knows where the rest of the money is. Thinks. (Cut to: Int. The Stegman's entrance hall. Lily and Paul Stegman are stood together.) LILY STEGMAN: We turned everything over to the FBI. PAUL STEGMAN: All the money, everything the guy touched. (The view pulls back to reveal the Stegman's son stood with his father and Sheriff Wilkinson stood by the front door.) SHERIFF WILKINSON: Well, probably just a break down in jurisdictional communication. I'll check with the FBI. (Sheriff Wilkinson exits the house onto the front porch.) BOOTH: (We hear his voice from outside.) Why don't you check with me right now, huh? (We see Booth standing on the sidewalk with his hands behind his back.) BOOTH: Better yet, (he brings a g*n from behind his back) why don't you just come with us now? (In the street outside the Stegman's home Brennan is peering through the window of Sheriff Wilkinson's patrol car, where she sees a grill) BRENNAN: The grating is what h*t Pongetti in the face. BOOTH: Old school, huh? Perp was handcuffed in the back, sped up, slammed on breaks, slam, sped, slam, sped. BRENNAN: He couldn't protect his face. (Sheriff Wilkinson pulls Lily Stegman towards him and grabs her around the neck. He draws his g*n. Booth aims his g*n at Sheriff Wilkinson) PAUL STEGMAN: No, stop, let her go. STEGMAN BOY: Mommy. BRENNAN: Mr. Stegman, take your little boy inside. (Brennan draws Booths sidearm from its holster.) LILY STEGMAN: Do it Honey, please. (Paul Stegman enters the house with his son and shuts the door.) SHERIFF WILKINSON: Now this is what's gonna happen. You're gonna get in your vehicle and drive away, and I'm gonna do the same thing, and everybody lives and everybody's happy. BRENNAN: Well, th... that sounds like a good idea. BOOTH: No, not a good idea, huh. You drive off with the evidence. Not gonna happen. (Paul Stegman opens the door and starts towards Sheriff Wilkinson, who punches him in the face, he falls down.) LILY STEGMAN: Paul! Oh god! (Sheriff Wilkinson begins to descend the porch steps pulling Lily Stegman with him.) SHERIFF WILKINSON: Agent Booth... you are... by far... the worst hostage negotiator, I have ever run into. (He starts walking backwards with Lily Stegman towards his car) Don't you know you're supposed to talk? Disorient, distract the perpetrator. (Booth and Brennan advance towards Sheriff Wilkinson with their g*n raised.) BRENNAN: Booth. BOOTH: Not now Bones. BRENNAN: You want me to try and sh**t him. BOOTH: No. BRENNAN: Why? I'm a good sh*t. BOOTH: You are not a good sh*t. BRENNAN: Wha...? You are. (She turns to Booth.) You know, maybe if we switched w*apon you could h*t him right between the eyes. (Sheriff Wilkinson sh**t his g*n. Brennan falls to the ground clutching her arm. Sheriff Wilkinson drags Lily Stegman into his car leaving the drivers door open.) BOOTH: Bones, Bones are you okay? (Sheriff Wilkinson, starts the car and begins driving away. Booth looks back to Brennan as he starts to chase the car.) BOOTH: Bones? BRENNAN: I'm okay. (Sheriff Wilkinson pushes Lily Stegman from the moving vehicle, she rolls on the ground. Booth chases the car sh**ting at it four times. The car crashes into a parked vehicle. Paul Stegman runs from the house towards Lily Stegman.) PAUL STEGMAN: Lily! LILY STEGMAN: I'm okay. (Booth approaches Sheriff Wilkinson's car with his g*n still raised. We see Sheriff Wilkinson slumped over the steering wheel with b*llet wounds in his back. Booth looks over at Brennan who is now standing.) PAUL STEGMAN: Are you okay? Huh? (PAUL and LILY STEGMAN hug. They walk towards their house). LILY STEGMAN: I'm okay. (Cut to: Int. The Founding Fathers Bar. Jared stands by a pillar watching Brennan as she begins a toast. Booth sits at the corner of the bar. Brennan's right arm is in a sling, she holds a glass of wine). BRENNAN: I would like to propose a toast, to my partner, Seeley Booth. (We see the backs of Angela, Clark and others sat at a table facing Brennan). ALL: To Booth. BRENNAN: I know who he is, but I forget sometimes, because... because, he never shines a light on himself. He shines it on other people. BOOTH: Yeah, right after I conked them on the head with it. (There are quiet chuckles from the table of friends.) BRENNAN: Anthropology teaches us that, the alpha male is the man, wearing the crown, displaying the most colorful plumage and the shiniest baubles, he stands out from the others. But I now think that anthropology may have it wrong (Booth looks puzzled.) In working with Booth... (She turns to face him.) I have come to realize that the quiet man, the invisible man, the man who is always there for friends and family, that's the real alpha male. And I promise, that my eyes will never be caught by those... shiny baubles again. Happy birthday. (She clinks glasses with Booth). ALL: Happy birthday Booth. (They raise their glasses). BOOTH: Thanks Bones, Thank you. (Brennan pulls Booth from his seat.) BOOTH: Uh Bones, alright. What are we doing? BRENNAN: C'mere. BOOTH: What. BRENNAN: Just c'mere for a second. (She leads him to a quieter area further along the bar.) What you're doing for your brother, isn't fair. BOOTH: Come on Bones, don't get me mad... at you, after that great speech right. Not after I got you sh*t. BRENNAN: You didn't get me sh*t, I got me sh*t. BOOTH: (He sits). I don't wanna talk about my brother. BRENNAN: Would you prefer Sweets do it? (They look along the bar to see Sweets. He raises his glass to them. Booth turns back to Brennan.) BOOTH: I'm listening. BRENNAN: Well I forgot all the psychological stuff but basically, when you... rescue somebody all the time. If you keep getting them out on bail... BOOTH: Bail them out Bones, if you bail them out. BRENNAN: You're thwarting their ability to help themselves. Now you're angry. BOOTH: Come on Bones, you have to admit, getting a psychological lesson from you is like... BRENNAN: Getting and anthropology lesson from you. BOOTH: The RICO case, I traded my one sh*t at glory to keep my brother from being arrested....... for drunk driving. BRENNAN: Booth! You know, what if he does it again? What if he kills someone next time? You shouldn't have done that. BOOTH: Right. Says the woman who got her father off m*rder charges. (He sighs.) Face it, we do things for family. BRENNAN: You're right, you're totally right. (We see Jared at the bar chatting and laughing with a young woman.) BOOTH: No, I'm not BRENNAN: What? Why? (Booth stands) BOOTH: There's no risk that your father will k*ll again. (He walks through the bar towards Jared) Jared. (Jared stands and follows Booth. They exit the bar) JARED: You uh, bringing me out here to give me advice on your partner, because I think that ship has sailed. BOOTH: Well no. It's, uh what I gotta do. I, uh, I gotta stop. Do you understand? JARED: Stop? BOOTH: Yeah, and you should stop too. JARED: I gotta stop what? BOOTH: The drinking: Stop it. JARED: I'll take that under advisement. (He turns to re-enter the bar). BOOTH: I'm serious Jared. No more stepping in to make things go away. JARED: (Angrily) I carry my own water, Seeley. Now you should go back inside and enjoy your birthday party. (He drains his drink and waves the glass in Booth's face) BOOTH: Right. JARED: Cheers. (He re-enters the bar) BOOTH: Yeah, happy birthday to me. (He punches the side of a nearby bus shelter. He sits at the bus shelter). (Brennan appears holding a plate of cake with her good arm. She stops in front of Booth). BRENNAN: Okay? You gonna come back in for cake? BOOTH: Bones, I just need some time. BRENNAN: Do you need time and space? BOOTH: (Smiling) Just some time. (Brennan sits next to Booth. She holds up the plate and they each take a fork and a forkful of cake.) BOOTH: My dad drank. (He takes a bite of cake). END

{"type": "series", "show": "Bones", "episode": "04x09 - The Con Man in the Meth Lab"}

foreverdreaming

"The Passenger in the Oven" Episode 4x10 / Production 4x05 Airdate: November 19, 2008 Written By: Carla Kettner Directed by: Steven DePaul Transcribed by: mirandler Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Airplane exterior; night. Interior of airplane. Camera pans through first class; BRENNAN’s chair is reclined, and she is sleeping with a smile and wearing an eye mask. Pan through coach shows BOOTH sitting in the middle of the plane between two elderly women, one sleeping with her head on his shoulder. BOOTH looks at the sleeping woman, then to his right; the other woman is reading.) BOOTH: Excuse me— CHARLOTTE: (interrupts) Just a minute. BOOTH: (sighs) Ma’am, this woman is asleep next to me and I really have to get out. CHARLOTTE: (laughs and closes book) It’s just that this book is so exciting. Do you like mysteries? BOOTH: Well, I-I’m an FBI agent, so mysteries are sort of my thing. CHARLOTTE: (whispers) I’m an aficionado myself. I’m here with NADINE. (points to sleeping woman) She’s plotting the perfect m*rder. For years now. But just for fun. BOOTH: Right, you can tell me all about it later; I’ve really got to get out. I gotta go. CHARLOTTE: Oh, right. When you gotta go, you gotta go. BOOTH: Yeah. (eases NADINE’s head off of his shoulder and stands, then stands and shuffles toward CHARLOTTE.) Sorry. (steps over her legs quickly and walks toward first class) (Cut to first class; a boy is stealing small bottles of liquor from a serving cart. BOOTH walks through curtain separating classes and, seeing the boy, walks up to his seat.) BOOTH: Hey. How old are you? (shows boy his badge) ELI: (sighs) Come on, we’re at thirty-six thousand feet, that’s outside the three-mile limit. BOOTH: This is American soil until we touch down in Shanghai, alright? So come on, hand them over. (ELI gives the bottles to BOOTH. ELI’s father turns in his seat and looks back at them.) ARTHUR BILBREY: ELI, what are you doing now? You know your mother isn’t feeling well. (to BOOTH) Is he bothering you? (BOOTH and ELI exchange looks.) BOOTH: No. We were just talking. That’s all. ELI: Yeah, you can sleep, Dad. It’s all good. (BILBREY grunts and sits back in his seat. BOOTH walks backward while pointing two fingers towards his eyes and one finger toward ELI. ELI raises his hands in mock surrender. BOOTH walks to empty seat next to BRENNAN, looks around, and sits down. He opens a plastic bag of complimentary items and removes a slipper. He looks at BRENNAN, smiles, and puts the slipper over his hand before reaching across BRENNAN’s reclined seat and moving his fingers like a puppet in her face and making a barking noise.) BRENNAN: Huh? What? Booth...(removes eye mask) BOOTH: Wow, look at this. I don’t even get a hot meal, and you get pajamas and slippers? (waves hand with slipper on it) BRENNAN: The basic amenities. The flight is over thirteen hours. BOOTH: Yeah, I know, I spent the last eight of them back there in Gitmo. (makes excited noise as he reclines his seat) Yes! BRENNAN: You know you aren’t allowed up here. (takes slipper from BOOTH) BOOTH: What? We’re, uh, we’re a team, okay? This is government business. You shouldn’t have paid for your own ticket, you know. (BOOTH’S seat starts vibrating) Ooh, a massager! (BOOTH makes buzzing noises.) FLIGHT ATTENDANT KATE MCNUTT: (walks up to BOOTH) Sir, you need to return to coach. (Booth opens his eyes and looks at MCNUTT, who nods.) BOOTH: (buzzes) See, we’re partners, we like being together. MCNUTT: Your sexual relationship’s not relevant, sir. This is first class. BRENNAN: Why does everyone else think we have a sexual relationship when we barely even touch each other? BOOTH: Oh, I got it. (stands) All right, here we go. (brandishes badge) FBI Special Agent Seeley BOOTH, this here’s my partner, Dr. Temperance BRENNAN, and, uh, she is actually going to China—well, we’re going to China, and she’s going to help the Chinese government help identify some real old Chinese dude. BRENNAN: (is sitting up fully) Bones were found in a wuhan cave, over forty thousand years old. BOOTH: According to title eighteen, section eighteen thirty-one, I must protect the proprietary American technology Dr. BRENNAN will be using. So, it is my patriotic duty to be right next to her, (sits down) here, like a bodyguard. (reclines) BRENNAN: This trip is taking me back to my real passion. (reclines) Prehistoric anthropological discoveries. MCNUTT: Fascinating. Sir. (BOOTH looks at BRENNAN, confused.) MCNUTT: You have to go back to your seat. BRENNAN: Sorry. (pulls down eye mask) (BOOTH turns off the vibrator and sits up.) MCNUTT: Right now. BOOTH: Right. (stands up and walks back toward coach, then quickly leans over seats and pokes BRENNAN) Bones. Bones! (BRENNAN removes eye mask) BOOTH: What do you mean, your "real passion"? I thought us working together was your real passion. MCNUTT: You two can take up this fight again after we land. BOOTH: (sighs) All right. (takes complimentary bag) MCNUTT: Watch your head. BOOTH: (hits head) Ow... MCNUTT: (weak laugh) BRENNAN: You okay? BOOTH: Yeah, I’m fine. (rubs back of head and walks backward toward curtain, MCNUTT following.) (Camera pans to ELI stealing another bottle and drinking from it.) BOOTH: (in background) Kicking me back to the cattle class. You know, that’s not right. MCNUTT: Enjoy your flight, sir. (curtain closes) (Cut to: The Jeffersonian’s Medico Legal Lab—just outside HODGINS’ area. SWEETS, HODGINS and ANGELA are walking toward the building’s entrance, coats and bags in hand.) SWEETS: So, the cat’s away and it’s TGIF, huh? (Camera sweeps to CAM, who converges with the group) CAM: I’m right here. I’m the cat. SWEETS: (puts on his coat) Well, in this case I think that Dr. BRENNAN is the cat. CAM: I’m the cat, who’s giving the mice the rest of the day off. SWEETS: Hey, so, Daisy and I were wondering if anyone would like to join us for a little competitive karaoke this evening. Huh? Some pre-weekend fun, huh? (slaps HODGINS on the shoulder) I’m singing "Lime in the Coconut." HODGINS: Sorry, I’m going to be biking the Virginia Creeper Trail. ANGELA: Roxie and I are going to an artists’ retreat in Pond View. CAM: And I’m driving ANGELA to the train station. ANGELA: You are? CAM: Yes, I am. ANGELA: Oh. (Roxie walks up to group and puts a hand on ANGELA’s shoulder.) ROXIE: Ready to go, Angie? ANGELA: Hey, yeah, I’m all set. ROXIE: I haven’t been to one of these retreats since we were in school. ANGELA: Well, I’ll see you all on Monday. CAM: Have a good weekend! (walks away with ANGELA and ROXIE) (SWEETS waves and starts to walk away. HODGINS lightly slaps the back of his hand against SWEETS’ chest and stops him.) HODGINS: What do you think? SWEETS: What do you think? HODGINS: Oh, don’t, don’t do that, the whole "answer a question with a question" thing. SWEETS: Why does whatever’s going on between ROXIE and ANGELA matter to you? HODGINS: Because ANGELA and I were engaged. And now she’s with a woman. It matters because...(SWEETS nods) what? It just matters. SWEETS: Well, don’t you feel that both of you are entitled to your own private lives? HODGINS: Stop asking me questions. SWEETS: Do you feel thr*at? HODGINS: Okay, that’s it, I’m out of here. (walks away) SWEETS: I...You know, a little karaoke might help you unwind. Especially when I’m singing. I’ve got a beautiful tenor. (Cut to: Airplane interior, coach.) BOOTH: (turns to CHARLOTTE) Excuse me. (stands and exits row) CHARLOTTE: You should get your prostate checked. (BOOTH peeks through curtain. MCNUTT is at the flight attendant station.) MCNUTT: Uh, this damn thing. (walks downstairs) (BOOTH walks through curtain and toward BRENNAN. He takes a bottle from ELI as he passes, then sits down next to BRENNAN.) BOOTH: (whispering) Bones. Bones. BRENNAN: (takes off eye mask and headphones) Huh. You’re going to get in trouble. BOOTH: She’s downstairs. You didn’t answer me before. You tired of working with me? BRENNAN: (sitting up) No, it’s not that. But the identification and analysis of ancient remains, that’s why I became a forensic anthropologist. BOOTH: You’re bored. Hm. Spark is gone. BRENNAN: I’m a scientist first. BOOTH: Right. (small laugh) Yeah. Scientist first. I, I get it. I understand. (makes a "whew" noise and starts putting on an eye mask) BRENNAN: Hey. If you get caught up here, does that make me an accessory? BOOTH: An accessory to an upgrade. (pulls eye mask down over eyes and whistles as he reclines and seat vibrates) Oh ho, yeah! That is heaven. (BRENNAN smiles, reclines and pulls down her eye mask. A scream is heard, and BOOTH and BRENNAN sit up quickly and remove their eye masks before standing.) BOOTH: Bones. Down there. (BOOTH and BRENNAN run down the stairs into the kitchen galley.) BOOTH: Oh my God. (MCNUTT is standing next to a large microwave oven and pointing into it at a victim’s body.) BOOTH: That’s a, uh, it’s a body, right? (Opening credits) (Cut to: Airplane exterior; airplane interior, attendant station) BOOTH: Can you account for all your people, Captain Blake? BLAKE: Me and the co-pilot, yeah. Cabin crew, you’d have to Miss MCNUTT. BRENNAN: Well, she isn’t speaking. BOOTH: Bones, not everyone brushes off these horrible experiences, okay? Let me try this, okay? (walks over to MCNUTT, who is sitting and staring ahead blankly) BOOTH: What’s your name? (MCNUTT doesn’t reply. BOOTH looks at BRENNAN, then BLAKE, before leaning down.) What’s your first name? MCNUTT: Kathryn. KATE. BOOTH: KATE! ‘Kay, KATE. What you saw down there, you don’t ever have to see again. Are you missing any people? MCNUTT: (holds BOOTH’s tie and pets it, then shakes her head) I can still smell— BRENNAN: (interrupting) It’s very much like roast pork. BOOTH: Bones...(hands MCNUTT a bottle of water) Just want you to relax, have a little water. We might need your help. BLAKE: Need her help? For what? We fly to China and call the cops. BOOTH: No, no, no, you’re going to have to turn this puppy around. We’re going to head back home. BLAKE: No can do. We passed the point of no return fuel-wise twenty-three minutes ago. BRENNAN: The polar route takes us over Greenland. Can we land there to refuel? BLAKE: Not with the weather they’re having. I’m sorry, but our next stop is Shanghai, China. Don’t worry, they have cops there. Lots of them. BOOTH: Well, until these wheels touch down, this plane is sovereign US territory. BLAKE: Look, FBI guy, you do whatever you want, as long as it doesn’t this flight. But in four hours, we’re on sovereign Chinese territory. (walks away) BRENNAN: (walks over to MCNUTT) Excuse me. Before you become completely catatonic, can you tell me how to access the internet? I—I need to contact my people. BOOTH: Bones, you don’t have to shout. She’s in shock, not deaf. (Cut to: The Medico-Legal Lab entrance. HODGINS is walking quickly inside, carrying a bike helmet, wearing a backpack and removing ear buds.) HODGINS: (to CAM, who is waiting near entrance) What? What, are you kidding? Because the message I got, that could not be correct. CAM: I’d rather brief everyone at once. (SWEETS walks in, wearing a white polo and plaid shorts.) SWEETS: What’s going on? HODGINS: Wow, is that what you really look like? SWEETS: Cam said an emergency, I didn’t have time to—(to CAM) I think maybe your message was garbled? CAM: I’d rather brief everyone at once. (ANGELA and ROXIE walk in, ANGELA pulling one suitcase.) ANGELA: There was a m*rder on BRENNAN’s plane to China? CAM: Good, we’re all here. ANGELA: (to SWEETS) What are you, like, sixteen? SWEETS: (looks down) Aw, I love these shorts. CAM: A body was found roasted beyond recognition in a large convection microwave oven on BOOTH and BRENNAN’s flight to China. ANGELA: (turns to ROXIE) Maybe you should... ROXIE: Yeah, I’m gonna... ANGELA: Thanks. ROXIE: (takes suitcase) Call me when you get to the bad guy. (ROXIE walks away. HODGINS watches her exit the building.) SWEETS: And I’m here because? CAM: You were on my speed dial. SWEETS: Okay...(walks away) ANGELA: Okay. (walks away in a different direction) HODGINS: Uh, Dr. Saroyan? Um...two people, they, uh, they go away together and they pack one bag, that, that means something, right? CAM: (struggles for words) You mean, ANGELA and ROXIE...Well...Yeah, it means something. (walks away quickly) (Cut to: Airplane interior, coach. BOOTH is walking toward CHARLOTTE. He stops at her seat.) BOOTH: Excuse me. CHARLOTTE: What’s going on? BOOTH: (whispering) Listen. Would you happen to have a measuring tape and tweezers? CHARLOTTE: (gasp) There’s been a m*rder. NADINE, NADINE. They need tweezers for an autopsy. Code red, code red. BOOTH: (over the top of her) Shh! No! No! Shh! No code red. Don’t wake NADINE up. I will explain everything to you later, I promise, Charlotte. I just need those things, do you have them? CHARLOTTE: (rummages through her bag) Well I didn’t hear a g*n. So it must have been a knifing. I saw Dr. Temperance Brennan, the mystery writer, in first class. I bet she’s doing the autopsy. (whispers) Listen, I was awake the whole time, and anyone who went that way (points toward first class), they came back again. So if the victim is a passenger, he or she is in first class. Probably she, because most m*rder victims are women. BOOTH: Wow, you really are into m*rder, aren’t you. (CHARLOTTE produces items and hands them to BOOTH.) Thanks. CHARLOTTE: Wait! (pulls knitting needle from her bag) Dr. BRENNAN will need this. BOOTH: What’s that for? CHARLOTTE: It’s a probe! (hands it to BOOTH) This is the best flight I’ve ever been on. (Cut to: Airplane interior, kitchen. BRENNAN is taking pictures of the oven.) ANGELA: (via BRENNAN’s laptop) Okay, sweetie, we have a solid link here, audio and visual, so you should be able to beam us all the digital photographs you can. BRENNAN: Okay, we’ve isolated the crime scene, and we’ll try to compromise the forensics as little as possible. BOOTH: (walks into kitchen and holds knitting needle out to BRENNAN) Look what I got. BRENNAN: Oh, a probe! That’s great, I didn’t think of that. BOOTH: Yeah, lucky I did. ANGELA: (through laptop) Hey, Booth. Good flight so far? BOOTH: Yeah, I’m having trouble sleeping. (Cam walks into picture on BRENNAN’s laptop.) CAM: (through laptop) Looks like you managed to get the remains out of the oven. BOOTH: Yeah, they’re, uh, they’re kind of, uh, well, they, they’ve fallen apart, a little bit there. Hey Bones. (walks over to other side of kitchen and points his pen at the phone, dangling from the cradle by its cord) Did you knock the phone off this cradle? BRENNAN: No. (BOOTH uses a piece of cloth to pick up the phone and visually inspect it.) (Cut to: Airplane interior, attendant station. BLAKE, BOOTH, MCNUTT and flight attendant MING MING are talking.) BLAKE: I’ve informed the FAA, the NTSB and the Chinese that we have a d*ad body on board. BOOTH: Hey, who else has access to the galley down there? MCNUTT: All of us. MING: It’s kind of our getaway place. To chill out from passengers. BOOTH: Who was the last person who made a call from the satellite phone down there? BLAKE: I can get you the number called. MING: It was me. BOOTH: You? What are you, a spy or a smuggler? MCNUTT: No, (stands) she’s in love, Agent BOOTH, and her boyfriend works for this airline at the Shanghai airport. BLAKE: It’s against the rules. MING: So’s having sex with passengers in the bathroom. BLAKE: (looks around awkwardly) Okay, I think we’re all under a lot of stress here. MING: I used the phone right after dinner. There was no d*ad body cooking in the microwave. BOOTH: Tell you what. Why don’t you two go do a seat count, tell me what passengers are missing, okay? (Everyone walks away, BOOTH and BLAKE exchanging awkward glances before they do so.) (Cut to: The Medico-Legal Lab, Forensics Platform. CAM, ANGELA and HODGINS are working on the case in front of TV screens displaying BRENNAN’s photographs.) CAM: A macro photo of the victim’s follicle suggests brown hair, maybe red. BRENNAN: (through TV) I estimate her height to be a hundred and fifty-seven centimeters. ANGELA: Ooh. HODGINS has that meerkat look on his face. (Cut to: Airplane interior, kitchen galley.) HODGINS: (through laptop) What’s going on with her fingernails? BRENNAN: (examines a hand) Are you referring to the spots around the phalanges? CAM: (through laptop) What would cause those kinds of burns? HODGINS: (through laptop) False fingernails. ABS plastic and ethyl cyanoacrylate glue. Like torches. (Cut to: The Medico-Legal Lab, Forensics Platform.) CAM: So, a petite brown- or red-haired woman with fake nails. (Cut to: Airplane interior, kitchen galley; BRENNAN nods. Camera sweeps length of remains.) (Cut to: Airplane interior, attendant station. BOOTH, MCNUTT and MING are standing by the curtain to first class.) BOOTH: Five foot two, three, small, brown, uh, red hair. Fake nails. MCNUTT: Fake nails...seat three B, ELIZABETH JONES. BOOTH: Seat three B. (BOOTH and MCNUTT walk through curtain into first class and stop at seat three B. MCNUTT closes the curtain.) BOOTH: (to the seat’s neighboring occupant) Hey buddy. (shakes him) Buddy, buddy. Wake up. Excuse me, I’m sorry to bother you but do you remember the person who was sitting right here next to you? MAN: No, (sigh) I took a sleeping pill. Are we in China? (MCNUTT shakes her head.) BOOTH: Wait a sec, you spend seven grand on a flight and you sleep through the whole thing? You don’t even eat first? BILBREY: (stands from seat and walks toward BOOTH) Excuse me, Agent BOOTH? BOOTH: Yeah. BILBREY: I’m ARTHUR BILBREY, my wife ANN is very ill. I’d appreciate it if she could get some rest before we landed? ANN: I’ll be fine. Relax. (ELI stands from his seat behind BOOTH.) ELI: You’d better be really quiet, or, (sways drunkenly) I’ll take you down, FBI! (laughs) BILBREY: ELI. Please. (to BOOTH) This is my son. ELI: (drops back into his seat, laughing.) I got your back, Mom. (ANN smiles at ELI. BOOTH glances between the two.) (Cut to: The Medico-Legal Lab, Forensics Platform. CAM is working in front of the TV screens, and CAROLINE is approaching as she talks on her cellular phone.) CAROLINE: You got a name? BOOTH: (in background, from phone) Yeah, ELIZABETH Jones, seat three B, first class. The sooner you can get us a background...(BOOTH’s voice echoes as CAROLINE approaches the screens, where BOOTH’s voice is also being projected from. BOOTH sees her and takes his phone away from his ear)...check, uh, the better for us. (BOOTH hangs up.) CAROLINE: (hangs up) Well, now, that’s just strange. (waves at screen) Um, let me, uh...(lifts phone back to her ear)...let me make a call and get back to you. (walks away) CAM: ANGELA and HODGINS noticed a shadow in the exposed part of the sternum. (cut to: Airplane Interior, kitchen galley) BRENNAN: Yes, I saw that. I...(shakes head)...there is something here, but I--I, I can’t identify it. CAM: (through laptop) ANGELA suggested that you take as many photos as possible at your highest resolution. BRENNAN: All right. (takes off gloves, picks up camera and takes two pictures. Close-up of one picture is shown.) (cut to: The Medico-Legal Lab, Forensics Platform.) BRENNAN: (through TV) It’s not bone, (BOOTH sighs) it’s inorganic. (CAROLINE walks up from behind CAM.) CAROLINE: This quick enough for you? Your victim is ELIZABETH Joy Jones, she’s a travel writer for DC Voyager Magazine. BOOTH: (through TV) Well, you got to get over to that magazine. CAROLINE: (hangs up phone) Why? BOOTH: (through TV) Why—they might know why she got m*rder. CAROLINE: You got this backwards, cherie. I am not an investigator. BRENNAN: (through TV) Neither am I, and here I am, taking apart another m*rder victim. BOOTH: (through TV) Look, just go talk to the boss, the secretary, pretend they’re on the stand. Take SWEETS with you. CAROLINE: If you want me to do this, you have to make a good case. BRENNAN: (through TV) Want you to do what? CAROLINE: If you want me to take on the Chinese government, the State Department, the FAA, and the NTSB, and for all I know, the UN, you make me a damn, fine, solid case. (cut to: Airplane interior, kitchen galley. BOOTH and BRENNAN exchange glances.) (Cut to: Airplane interior, kitchen galley. Close-up on victim’s skull as camera pulls back; BRENNAN begins to peel layers of dermis off of the skull, and BOOTH is standing a few feet away with his back turned.) BOOTH: Ugh. Bones, can you (whirls a finger in the air) turn her around so she’s not looking at us? BRENNAN: (is placing bits into a stainless steel bowl) She’s deceased, BOOTH, she can’t see. BOOTH: Oh, man. (BRENNAN pours hot water into the bowl. BOOTH peeks into the bowl, where an eyeball floats up.) BOOTH: (looking away from the bowl quickly) I am definitely not a squint. Woah. BRENNAN: Well, I’ve always known that. You have no training in the field of forensic science. BOOTH: Really don’t want any. (shakes head) BRENNAN: Okay, to make an arrest, we need time and cause of death, as well as something (pulls a piece of dermis out of the bowl with tweezers) that can ID the k*ller. BOOTH: What do you need? BRENNAN: Magnifying lens. BOOTH: Okay. (begins to walk away) Right. (Cut to: Airplane interior, coach. BOOTH is walking down the aisle towards CHARLOTTE and stops at her seat.) BOOTH: (to another passenger who’s seat he bumps) Sorry. (to CHARLOTTE) Look, I, uh, I need a magnifying glass. I thought you might have one for, you know, the fine print. CHARLOTTE: My eyes are perfect. (whispers) Is the magnifying glass for examining the victim’s corpse? (Camera sweeps to NADINE, who is still sleeping and is wearing reading glasses around her neck.) BOOTH: You don’t think that, uh, NADINE would mind if I, uh...(steps into row and takes glasses off their chain) CHARLOTTE: She’d be thrilled if she were awake. She sleeps like a log. (BOOTH grunts, holds glasses up and returns to the aisle) CHARLOTTE: Now, what equipment would Dr. Brennan normally use in this situation? BOOTH: I don’t know. I’m more of a people person. (walks away) CHARLOTTE: Oh. (watches him walk away) (Cut to: The Medico-Legal Lab, ANGELA’s office. Computer screen shows pictures of victim’s remains, and camera sweeps from screen to ANGELA, who is standing in front of it and typing.) ANGELA: I’m using interpolation software with a blending edge algorithm. (HODGINS is standing beside her.) Kind of like what I’d do if I were restoring a painting. HODGINS: So, did ROXIE go to the retreat without you? ANGELA: Uh, no, we’re gonna do something here. HODGINS: Right. (nods) ANGELA: (looks at HODGINS and laughs) Don’t say it like that. HODGINS: Like what? (ANGELA looks away) I know. Sorry. ANGELA: What do you think? Candle wax? HODGINS: Well, judging by the burn characteristics, some kind of thermoplastic, but what (leans closer to screen) is that? (Screen, zooms in on picture) Like something reflective. ANGELA: Yeah. (types) I’ll get the computer to find the all the pixels that are within a couple shades on the color wheel. HODGINS: Cool, and just, zap it to my computer? ANGELA: Yeah. (HODGINS straightens and walks away. ANGELA watches him, then turns back to the computer screen with a sigh.) (Cut to: Airplane interior, kitchen galley. BRENNAN is wearing the reading glasses as she works.) BOOTH: (walks in) Bones—(sees glasses and smiles) All right, what I want you to do is take off your glasses, (steps closer) shake out your hair and say, "Mr. Booth, do you know what the penalty is for an overdue book?" BRENNAN: Why? BOOTH: Never mind. (steps back) BRENNAN: This notch mark, here on the occipital, is what knocked her unconscious. The hairline fractures weakened the integrity of the cranium and caused it to burst when heated. BOOTH: So she was h*t. With what? BRENNAN: Well, I’ll have to take an impression to find out. BOOTH: How? BRENNAN: W—I need denture cream. (BOOTH starts walking away) And, uh, baby powder. BOOTH: Baby powder. BRENNAN: And a-a butane lighter, please? BOOTH: Is that it? BRENNAN: Uh, I think so. Yes. (BRENNAN watches BOOTH walk away, then takes off her gloves and glasses and shakes out her hair. Looking confused, she puts back on the glasses and ties her hair back.) (Cut to: Airplane interior, coach class. BOOTH is standing by CHARLOTTE’s seat.) CHARLOTTE: Sorry, dear, but these are my real choppers. And NADINE’s are real, too. Is Dr. Brennan making a cast of an injury? That’s what she’d do in her books. BOOTH: (to MING) h*t the lights. (MING turns on lights and picks up phone.) MING: (over speakers) Ladies and gentlemen, sorry to disturb you, but Agent BOOTH of the FBI would like to address you. (BOOTH takes phone) BOOTH: Attention, everyone, I need to requisition some denture cream, baby powder, and a butane lighter. MING: (to BOOTH) Lighters are strictly forbidden on the aircraft. BOOTH: (to MING, covering phone and whispering) So’s m*rder. (over speakers) Denture cream? OLD MAN: Here, sonny. (BOOTH walks over and takes denture cream.) There you go. BOOTH: Okay, how about some, uh, baby powder, face powder? Anybody have any baby powder, face powder? (Woman raises hand.) There, great. Okay, how ‘bout a lighter? Butane lighter. (The plane is silent.) Come on, no one has a lighter? (MING covertly hands BOOTH a lighter.) (whispering) Woah. MING: I confiscated it. BOOTH: (whispering) Obviously. (Cut to: Airplane interior, kitchen galley. BRENNAN is mixing a paste.) BRENNAN: This is good. The powder contains hydrated silica and calcium carbonate. (applies paste to skull) BOOTH: (sitting at the foot of the stairs) Come on, isn’t this a lot more fun than the wuhan cave and the forty-thousand-year-old skeletons? (BRENNAN looks at BOOTH, and BOOTH shrugs and makes a vague hand gesture. BRENNAN turns back to her work.) BOOTH: Is this gonna work? BRENNAN: (uses lighter to heat paste) Should. This should— BOOTH: (standing) Bones, you’re—you’re just, you’re filling me up with confidence right now. (sighs and walks over to BRENNAN) Whoa. BRENNAN: (turns off lighter) There. Now, all we need to do...(peels up the cast)...is find the item that matches this, and we have our w*apon. BOOTH: Right. That’s all, huh? (sighs) BRENNAN: Well, at least we know it’s on the airplane. (BRENNAN’s laptop beeps, and CAM appears on the screen.) CAM: (through laptop) Any luck with cause of death? BOOTH: Yeah, someone knocked her on the head and it exploded on the cranium thing. CAM: (through laptop) We’re looking at the margins of the b*rned flesh around the rectus abdominis... BRENNAN: I dislike the occlusive nature of tissue. CAM: (through laptop) Look, just think of it as bone wrapping. From the photos, it looks as if there’s a pinkish coloration. Is that correct? BRENNAN: "Pinkish" is a subjective term, and I’m not comfortable applying, uh, subjective evaluation to evidence that’s not even— BOOTH: (interrupts) It’s pinkish, and gross-ish. CAM: (through laptop) Okay, that indicates presence of blood flow at the time she was cooked. BOOTH: (looking between BRENNAN and CAM) She was still alive in the microwave? How long was she in there? CAM: (through laptop) Since the oven temp was set at maximum and she was approximately one hundred and ten pounds...uh, can you describe the breast tissue? BRENNAN: I’m not sure how to qualify what I see in descriptive terms. BOOTH: Well, if she was a turkey, she’d be dry and overdone. CAM: (through laptop) Okay, that means she had to be cooking for about six and a half hours. BRENNAN: Giving us time of death. Huh. (BOOTH starts walking slowly around the galley.) CAM: (through laptop) If I were you, I’d get some tissue samples. BRENNAN: Sometimes flesh can be quite informative. (cuts a piece of flesh from the body and puts it in a glass) (BOOTH holds the cast up against a latch of an appliance.) BOOTH: Ha! Bones? Think we got a match. (BRENNAN walks over to BOOTH and looks at the cast and the latch.) BRENNAN: Someone slammed her head against the latch. BOOTH: And shoved her in the oven and cooked her. (makes a noise) Wait a second. (nudges over a cart, which reveals a band-aid on the floor. BRENNAN takes off her gloves, picks up the camera and takes a picture. (Cut to: FBI Conference Room. SWEETS, CAROLINE and HOWARD KENDALL are sitting down at the conference table.) KENDALL: Are you sure it was ELIZABETH? CAROLINE: Of course, they’ll have to do a DNA- or dental-match when they land, but they’re pretty sure, yes. KENDALL: Man, I can’t believe she’s gone. Liz was one of the best, uh, travel writers in the country. CAROLINE: How would you characterize her relationships with others? KENDALL: Uh, warm, friendly, outgoing. N-not an enemy in the world. CAROLINE: (looks at SWEETS) Jump in anytime, Dr. SWEETS. SWEETS: No, no, I’m cool. CAROLINE: Oh. As long as you’re cool...(turns back to KENDALL) Was Miss Jones on assignment? KENDALL: No, no. This was a, uh, a pleasure trip. She had just finished a piece for us on airline safety. CAROLINE: Ironic. KENDALL: It was an expose on pilots that have hid drunk driving convictions from their employers. (CAROLINE glances meaningfully at SWEETS, who is looking at KENDALL.) (Cut to: Airplane interior, attendant station. BRENNAN is pulling small bottles of liquor from a cart, and BOOTH is standing next to her.) BOOTH: Bones, what is that? BRENNAN: Oh, tissue samples. BOOTH: Oh no, don’t...(quickly closes curtain) Don’t let people see that. BRENNAN: (circles around cart) Well I need vodka. BOOTH: Yeah, well I do too, Bones, but you know what? We’re working. BRENNAN: No, to preserve the tissue samples. All they’ve got left is bourbon and scotch. BOOTH: Hold on. (walks through curtain and into first class) (Cut to: Airplane interior, first class. BOOTH walks to ELI’s seat, where ELI is still drunk.) BOOTH: Come on. ELI: What? BOOTH: Okay. Hand it over. Hand the vodka over. Come on. (ELI sighs, pulls two bottles out of his pocket and gives them to BOOTH.) BOOTH: Thought so. Look, (looks at ANN) obviously your mom is sick, and you love her. And that’s probably why you’re acting badly. But what you gotta do, is you gotta think, really think, how to help her. ELI: She’s gonna die, okay? What am I supposed to do about that? BOOTH: (stands as satellite phone beeps) Make her proud of you. (walks away and answers phone) Yeah. (looks back at ELI). CAROLINE: (through phone) I just got a copy of ELIZABETH JONES’ next article. (Cut to: FBI, outside of the conference room. CAROLINE is holding a stack of papers.) CAROLINE: It’s about pilots with DUI convictions. (Cut to: Airplane interior, first class. BOOTH is walking through the curtains and into the attendant station.) BOOTH: All right, is there a link to anything on this flight? CAROLINE: (through phone) I have a search team looking for her research, but I do know the airline you’re on is singled out as the worst offender. (BOOTH gives vodka to BRENNAN) (Cut to: FBI, outside of the conference room.) CAROLINE: And the pilot on your plane there? He’s got a past. (Cut to: Airplane interior, attendant station. BOOTH is looking at the pilot’s and co-pilot’s name plaques outside the cabin’s doors.) BOOTH: Thanks, CAROLINE. (Cut to: Airplane exterior. Airplane interior, cabin.) BLAKE: (sitting in pilot’s seat) You do realize that by sending my co-pilot out, you broke about forty laws, legal-wise. BOOTH: Yeah, well I thought we might have a, uh—(sits down in co-pilot’s seat, and chair sinks down)—woah! A private man-to-man conversation about, uh, ELIZABETH Jones. BLAKE: Her name does not ring a bell. BOOTH: So, is this how you slow this plane down? (reaches forward for a lever) BLAKE: Please, don’t touch that. Don’t touch anything. BOOTH: ELIZABETH JONES was a journalist. BLAKE: I do not know her. BOOTH: Well, she knows you. She wrote an article about alcohol and, uh, pilots. BLAKE: And what’s that got to do with me? BOOTH: 2002, DUI, never reported that to the FAA. You know, that is a two hundred fifty thousand dollar fine and, uh, five years in jail. BLAKE: That DUI charge, it was the day of my dad’s funeral. I know it’s not stylish, but I happen to love my old man. BOOTH: Well, it’s still a motive. Legal-wise. BLAKE: I did not k*ll her. I didn’t even know she existed. BOOTH: I need you to slow this plane down. BLAKE: Why? BOOTH: Well, to give us time to find out who did, unless it was you, and in that case, time, that doesn’t matter. BLAKE: (shakes his head , looking aggravated) I can report electrical issues, maybe give you an extra hour. BOOTH: Great. I’ll take that as a sign of cooperation, captain. (stands) Oh, it’s a beautiful view. Look at that. (claps BLAKE’s shoulder) (Cut to: FBI conference room. KENDALL and SWEETS are sitting around the table.) KENDALL: How long do I have to stay here? SWEETS: (standing and removing his jacket) I was interested in some of the things you were saying earlier. KENDALL: Hey, I answered every question the scary woman asked me. SWEETS: (sits down in a closer chair) Yeah. Well, the thing is, she’s a lawyer, so she’s very direct. KENDALL: Scary. SWEETS: She has a knack for putting people into federal prison. I believe she likes to do it. I have a more psychological mojo. KENDALL: You don’t look like you have a mojo. SWEETS: I’m interested in what you know about ELIZABETH JONES’ personal life. KENDALL: (weak laugh) I did not have sex with that woman. SWEETS: But you wanted to. KENDALL: Yeah, but I didn’t. SWEETS: Was she the type to have affairs? KENDALL: Yes. SWEETS: Have you got a name? (KENDALL looks at SWEETS) I can go get Miss JULIAN again if you’re more comfortable with her. KENDALL: Artie. All I know is Artie. SWEETS: Artie. Okay, well let’s talk about ELIZABETH and Artie. Now, (leans forward) how resentful were you? (jerks thumb backwards, over his shoulder) ELIZABETH slept with him, and not with you. (points at KENDALL) KENDALL: Well. He’s married, I’m not. So yeah, maybe I’m a little resentful. (SWEETS nods) (Cut to: The Medico-Legal Lab, ANGELA’s office. The computer screen is displaying a photo of the band-aid. ANGELA is puzzling over it, and HODGINS walks in.) HODGINS: Band-aid? (picks up a book off of the coffee table and sits down on the couch) ANGELA: Oh, yeah, thanks. I was totally flummoxed. So the clean part here must be where it overlapped, and the darker part must be where it came in contact with the skin. HODGINS: I’m not an expert, (flips through book) but I’m pretty sure even you can’t get a DNA result from a digital photograph. ANGELA: No, but, what about a finger size? HODGINS: Oh. Wow. (shuts book and puts it back on table before standing and walking toward ANGELA) Right, that’s kinda brilliant. ANGELA: Eighty-two millimeters in circumference. HODGINS: All right, well, (picks up a measuring tape from desk and loops it around his finger) mine’s sixty-two, so it’s a pretty big guy. ANGELA: Or overweight. HODGINS: Look at the perforations. (points at screen) Vertical stretching along the pad. ANGELA: I see it, but I have no idea what it means. (laughs) HODGINS: It was locked, in a (hooks finger) bent position. ANGELA: Oh, that would explain the creases. (moves mouse and clicks) So if I highlight the parts where the adhesive wore off, it was bent more than ninety degrees. I really love (straightens and faces HODGINS, then seems to catch herself) working, with you. HODGINS: Me too. We’re really good together. At these things. ANGELA: Yeah. (HODGINS walks away, then stops before doorway and turns back to ANGELA.) HODGINS: Gotta ask you something, ANGELA. ANGELA: Yeah, I—I got that from the fast double back. HODGINS: This thing with ROXIE... ANGELA: It’s real, yeah. HODGINS: No, I get that. I see that. Is that what got between us? ANGELA: I’d love to say yes to that, because I think it would make you feel better. HODGINS: But you can fall in love with a man. ANGELA: I’m sorry, but, yes. (nods) (HODGINS nods back with a small smile, then leaves the office.) BRENNAN: (through computer) Ang? (ANGELA turns back to computer) ANGELA: Sweetie. God. (rubs a hand over her forehead, then laughs) Totally forgot you were there. I guess you heard everything, huh? BRENNAN: (through computer) Yes, it was fascinating. ANGELA: Well, what do you think? (Cut to: Airplane interior, attendant station.) BRENNAN: Well, the only joint that will bend over ninety degrees is between the proximal and intermediate phalanges. ANGELA: (through laptop) Right. Finger stuff. BRENNAN: We’re looking for a large person, probably male, with inflammatory flexor tenosynovitis. ANGELA: (through laptop) That’s great, sweetie, but what about the rest of the conversation? BRENNAN: Oh, I’m sorry, Ang, I wasn’t paying attention. I need to go find a passenger with trigger finger. ANGELA: (through laptop) Thanks for the talk. (BRENNAN walks away from the laptop.) (Cut to: Airplane interior, coach class. The lights blink on, and BRENNAN’s voice comes over the speakers as she speaks into the phone) BRENNAN: Excuse me, if I could have your attention, please. My name is Dr. Temperance BRENNAN. NICK DEVITO: The writer? BRENNAN: Yes. What we need to do now is find a passenger with a laceration locked proximal interphalangeal joint, so if everyone can look at their neighbor’s proximal interpha— (BOOTH takes phone) BOOTH: I tell you what, who would like a free signed copy of Dr. BRENNAN’s new book? Raise your hands. Look at that, huh? BRENNAN: Ah, (lightly hits him on his arm) I see what you’re doing. BOOTH: All right, so keep your hands up nice and high so Dr. BRENNAN can count the number of books we need. Hey, does anyone have a, a question for Dr. BRENNAN? CHARLOTTE: Are you working on anything right now, Dr. BRENNAN? BRENNAN: Yes. Keep your hands up. NADINE: What is that delicious smell? BRENNAN: Roast pork. BOOTH: Oh, no, that delicious smell is the difference between first class and coach. How’re we doing there, Bones? BRENNAN: (grabs DEVITO’s hand) BOOTH? BOOTH: (in background) Hold that. BRENNAN: Over here. DEVITO: Uh. Hi. BRENNAN: Hi. BOOTH? BOOTH: (walks over quickly) Yeah. (BRENNAN shows him DEVITO’s hand.) Uh, what’s your name? DEVITO: Uh, just sign it to Awesome NICK DEVITO. Uh, what is the big deal? I just got a little trigger finger. I—I injured my tendon. BOOTH: You like sh**ting a lot? DEVITO: Yeah, I love sh**ting. Doesn’t mean I’m not a reader. BOOTH: Yeah, I tell you what, why don’t you come with us, come on. (gestures for DEVITO to stand) (DEVITO, BOOTH and BRENNAN start to walk out of coach.) (Cut to: Airplane interior, attendant station. DEVITO is being questioned by BOOTH and BRENNAN.) DEVITO: I don’t know anybody named ELIZABETH JONES, no. (Satellite phone beeps. BOOTH answers.) BOOTH: Hey, SWEETS. (Cut to: FBI conference room. SWEETS is standing and has a phone to his ear, and KENDALL is sitting at the table.) BOOTH: (through phone) Are you still with ELIZABETH JONES’s editor? SWEETS: Yes, and I have— (Cut to: Airplane interior, attendant station) BOOTH: (interrupts) All right, ask him if he knows someone by the name of NICK DEVITO. DEVITO: Is this like a question, to get my free book? BRENNAN: Where’s your band-aid? (Cut to: FBI conference room) SWEETS: (leans down across table) Do you know NICK DEVITO? (Cut to: Airplane interior, attendant station) DEVITO: Must have come off while I was asleep. I twitch. I’m (shakes head) twitchy. (Cut to: FBI conference room) KENDALL: I had lunch once with Danny Devito. SWEETS: He says no. (straightens) I have information. (Cut to: Airplane interior, attendant station) SWEETS: (through phone) ELIZABETH JONES was having an affair with a man known only as "Artie". (Cut to: FBI conference room) SWEETS: The relationship’s been going on for over a year, but it went bad in the last month or so. (Cut to: Airplane interior, attendant station) SWEETS: (through phone) He’s married. His wife is sick, and his kid is a pain in the ass. BOOTH: (looks through curtain into first class and looks at BILBREY) You know what, SWEETS, you are the man of the hour. I owe you a beer and a rye chaser, my friend. (Cut to: FBI conference room) SWEETS: ...sounds like it would make me sick. (Cut to: Airplane interior, attendant station) BOOTH: (hangs up; to DEVITO) You can go back to your seat. BRENNAN: Why? (DEVITO walks between BOOTH and BRENNAN and back into coach.) BOOTH: Well, we have a much better suspect. (BOOTH and BRENNAN look through curtain at BILBREY.) (Cut to: Airplane interior. Close-up sh*t of the flight progress map on a television screen in first class. BILBREY walks over to ELI and pulls his blanket up over his body. BOOTH walks up to BILBREY.) BOOTH: I think you know why I’m here. BILBREY: Look, I’m sorry about my son. He’s a teenager. His mother’s very ill. BOOTH: It’s not about your son, Artie. It’s about ELIZABETH JONES. (BILBREY looks over at ANN, then jerks his head forward and walks toward the front of the plane. BOOTH follows.) BILBREY: My wife doesn’t know about EJ. I would like to keep it that way. BOOTH: Did ELIZABETH JONES ask you to leave your wife? BILBREY: From the very beginning, I told ELIZABETH that would never happen. You see the shape that ANN’s in? My first priority is to be a good husband and a good father. BOOTH: By dragging a dying woman to China? BILBREY: No, to stand on the Great Wall of China has been ANN’s dream since she was a little girl. Our last chance to do something amazing as a family together. BOOTH: So ELIZABETH JONES followed you? BILBREY: Obviously. BOOTH: Huh. And you k*lled her. BILBREY: Of course not. (An attendant says "excuse me" and walks between BOOTH and BILBREY.) BILBREY: I am a lawyer. BOOTH: Hm. Your wife didn’t know about her? BILBREY: She knows that there was someone. BOOTH: Did you talk to ELIZABETH? BILBREY: Yes, I begged her to leave us alone. ANN was asleep. As I said, Agent BOOTH, I’m an attorney. You have no evidence and very little time before we land in Shanghai. If you want to find out who k*lled EJ, I suggest you not waste any more time on me. (walks away) (BOOTH sighs.) (Cut to: The Medico-Legal Lab, ANGELA’s office. ANGELA, HODGINS and CAROLINE are present and communicating with BOOTH and BRENNAN via the internet.) ANGELA: I enhanced the photographs of the sternum. Light was reflected off of this area here. (points to picture on screen) Skin wouldn’t do that. There were tiny metal shards imbedded in the bone. HODGINS: And silicon melted into it as well. (Cut to: Airplane interior, attendants quarters. BOOTH is walking in.) BOOTH: Fake boobs? How does that help? BRENNAN: Silicon, not silicone. HODGINS: (through laptop) It was a chip of some kind, a SIM card from a phone, a memory chip from a camera, but we need to see it to make a positive ID. CAROLINE: (walks closer to ANGELA’s computer) How did it go with BILBREY? BOOTH: Ah, he’s an attorney, he’s not saying much of anything. (Cut to: The Medico-Legal Lab, ANGELA’s office) CAROLINE: And the g*n nut, DEVITO? BRENNAN: (through computer) Most likely, his band-aid was stuck to the wheel of a food cart. CAROLINE: Find me the smoking g*n, cherie, or that k*ller disappears into a billion people when you land. (Cut to: Airplane interior, attendant station) BRENNAN: One point two nine billion, approximately. Are you pressuring us? (Cut to: The Medico-Legal Lab, ANGELA’s office) CAROLINE: Have a lovely flight. (walks away) (Cut to: Airplane interior, attendant station) BLAKE: (walks up to BOOTH and BRENNAN) I was just contacted by Shanghai International. They’ve arrested a man named FELIX CLOSSEN, a Dutch national who works for the airline. He was passing stolen credit card numbers. BOOTH: That’s fascinating, but we’re more interested in solving a m*rder investigation right now. BLAKE: All the credit card numbers were from passengers on this plane. And CLOSSEN is our flight attendant’s boyfriend. BRENNAN: MING. (Cut to: Airplane interior, kitchen galley. MING is being questioned by BRENNAN and BOOTH.) BRENNAN: Your call to CLOSSEN was made within minutes of the victim being placed in the oven. BOOTH: Minutes. MING: I got the credit card numbers off the computer, and called them in to my boyfriend. BRENNAN: And ELIZABETH JONES caught you? MING: Yes. I mean, no. BOOTH: Well, which one is it? MING: I didn’t know who it was. I heard them coming and figured it was KATE, so I hid in the aeronautics compartment. BOOTH: Well who was with ELIZABETH? MING: I couldn’t hear because of the engine noise in the compartment. All I could see was their feet. BRENNAN: Male or female? Uh, what kind of shoes? MING: They were wearing slippers, the ones we give out in first class. They’re all the same. They walked by me and I ran upstairs. I didn’t k*ll anyone. (Cut to: Airplane interior, attendant station. BOOTH and BRENNAN are walking up the stairs.) BRENNAN: Whoever k*lled her has to have traces of blood on their slippers. That could cause the g*n to smoke for CAROLINE. BOOTH: No, Bones, you’re going to need an ALS light. Not even those dotty old mystery buffs carry that in their giant purses. BRENNAN; We can make one. BOOTH: How’re you going to make one? BLAKE: (approaches from behind) Hope you can do it fast. We’re going to be landing very soon. BOOTH: Oh, no, no, no. You’re not landing this plane until I tell you you land this plane, okay? Remember, you’re still a suspect. BLAKE: It’s not about me or you. We’re going to run out of fuel in twenty minutes. (BOOTH and BRENNAN exchange looks.) (Cut to: Airplane exterior.) BRENNAN: Okay, BOOTH? We need the blue lamp out of the overhead projector. (Cut to: Airplane interior, coach. BOOTH is removing the blue lamp from the projector.) BRENNAN: (to DEVITO) Do you, by any chance, have any yellow-tinted sh**ting glasses? DEVITO: Sure, (reaches under seat) what do you need? Daylight, artificial light, or, uh, moonlight? (pulls out case and opens it) BRENNAN: Let’s see. (picks up a pair) These will do. (puts on the glasses) Thanks! CHARLOTTE: This is brilliant. They’re making an ALS emitter. DEVITO: What’s that for? NADINE: To find blood! BOOTH: Ready? BRENNAN: Got ‘em. BOOTH: (to MCNUTT) h*t the lights. (The lights dim.) Oh. (BOOTH and BRENNAN enter first class, shining the blue lamp in front of them.) BOOTH: Easy, Bones. You see anything? BRENNAN: No...no...nothing. (BOOTH shines the light at BILBREY’s feet.) BOOTH: How ‘bout over here? Right there. BRENNAN: Mm-mm, nothing. BOOTH: (groan) Oh, geez. (BOOTH and BRENNAN move away from BILBREY. BRENNAN looks at the ground in front of ELI.) BRENNAN: Booth. BOOTH: Yeah? BRENNAN: Over there. BOOTH: You got something? (BOOTH shines the blue lamp on ELI’s slippers, and spots appear.) BRENNAN: Yes, there. BOOTH: You’re sure? BRENNAN: Yes, BOOTH. BOOTH: (yanks blanket away from ELI, where it was covering his face; to MCNUTT) Turn the lights on. BILBREY: (standing) What is going on, please? BRENNAN: Your son k*lled ELIZABETH JONES. BOOTH: (to MCNUTT) Okay, how long ‘til we land? MCNUTT: Uh, we’re on our final descent. BILBREY: ELI, that’s impossible. BOOTH: Oh, why, you can’t think of a motive like maybe, he loves his mother? Huh? He wants to keep his family together? (lifts phone to his ear) You probably just think he’s some dumb-ass kid. CAROLINE: (through phone) I beg your pardon? BOOTH: Hey, I’m, lis-listen, CAROLINE, I’m ready to make an arrest. (Cut to: The Medico-Legal Lab, CAM’s office) CAROLINE: You’re more than sure, right, cherie? You’re damn sure? BOOTH: (through phone) Well, it’s circumstantial... (Cut to: Airplane interior, first class) BOOTH: ...but it’s, uh, compelling. So do you have a warrant to sign? CAROLINE: (through phone) Yes. BOOTH: Well sign it so I can make the arrest. BILBREY: Just a minute, please. CAROLINE: (through phone) That’s the lawyer, right? (Cut to: The Medico-Legal Lab, CAM’s office) CAROLINE: You can always tell a damn lawyer. (Cut to: Airplane interior, first class) BILBREY: I represent my son, who is also minor... (Cut to: The Medico-Legal Lab, CAM’s office) BILBREY: ...incidentally. CAROLINE: Minor? (Cut to: Airplane interior, first class) BRENNAN: A minor m*rder! MCNUTT: (through speakers) Ladies and gentlemen, we are making our final descent into Shanghai International Airport. Please return your seats to their upright position and turn off all... (Cut to: The Medico-Legal Lab, CAM’s office) MCNUTT: (through phone) ...electronic devices. CAM: BOOTH, you’re cutting it pretty close, there. (Cut to: Airplane interior, first class) BOOTH: Yeah, I know. ELI: What’s going on? BRENNAN: We know you k*lled ELIZABETH JONES. BOOTH: Probably why you wanted to get so drunk, huh, ELI? BILBREY: Don’t say a word, ELI, not a word. (to BOOTH) You’re making this arrest on the strength of blood stains... (Cut to: The Medico-Legal Lab, CAM’s office) BILBREY: ...that could belong to anyone in first class. CAROLINE: BOOTH. (Cut to: Airplane interior, first class) BOOTH: Okay, motive. The father was cheating on the dying wife with the victim. ANN: Arthur? BOOTH: (to BILBREY) You thought the family was safe by getting away from the woman... (cut to: Airplane exterior. Airplane is approaching runway.) BRENNAN: BOOTH... (Cut to: Airplane interior, first class) BRENNAN: We’re really close to the ground. BOOTH: She shows up on the plane, in first class. BILBREY: Not a word, ELI. (Cut to: Airplane exterior. Airplane is closer to the runway.) BRENNAN: BOOTH, I can see people. (Cut to: Airplane interior, first class) BRENNAN: We have less than thirty seconds. (Cut to: The Medico-Legal Lab, CAM’s office) CAROLINE: BOOTH! (Cut to: Airplane interior, first class) BOOTH: CAROLINE, you gotta trust me on this. (Cut to: The Medico-Legal Lab, CAM’s office) CAROLINE: Make the case, Agent BOOTH. (Cut to: Airplane interior, first class) CAROLINE: (through phone) Something more than motive. (BRENNAN grabs a case away from ELI) BOOTH: Bones... BRENNAN: BOOTH? BOOTH: Yeah. BRENNAN: If this missing video game turns out to be the computer chip imbedded in the victim’s sternum... (BOOTH grabs the video game away from ELI and looks into card slot, which is empty) BOOTH: Where’d you lose the cartridge, ELI? (ELI is silent.) We got forensic corroboration. (Cut to: Airplane exterior. Airplane is feet away from touching down on the runway.) BILBREY: "If", she said... (Cut to: Airplane interior, first class) BILBREY: ..."if"! (Cut to: The Medico-Legal Lab, CAM’s office) CAM: Just sign it. (Cut to: Airplane exterior. Airplane is feet away from touching down on the runway.) BOOTH: (through phone) The moment this plane touches down, I lose jurisdiction. (Cut to: The Medico-Legal Lab, CAM’s office) CAROLINE: This better be a good— CAM: (interrupts) Sign the warrant. (CAROLINE glares.) Please. (Cut to: Airplane interior, first class) CAROLINE: (through phone) Okay, make the arrest. BOOTH: (lowers phone; speaks quickly) ELI BILBREY, I am placing you under arrest for the m*rder of ELIZABETH JONES, anything you say can and will be used against you in a court of law because this is the United States of America! (Cut to: Airplane exterior; airplane touches down on runway. Airplane interior, first class. BOOTH and BRENNAN stumble as the plane touches down. The airplane is filled with applause.) BRENNAN: (waving) Thank you. Thank you very much. Thank you. Thank you. Thank you. BOOTH: Bones. The applause is for the landing. BRENNAN: Oh, yes. I always wonder why people do that. (Cut to: A bar. ANGELA is carrying two drinks to a table where ROXIE is sitting. They "clink" their glasses together.) ROXIE: Did you catch the m*rder? ANGELA: Yeah. ROXIE: That’s great. (ANGELA sighs) It’s not great? ANGELA: He was sixteen. ROXIE: Oh. ANGELA: Dying mom, cheating father. He just wanted to make it stop. ROXIE: I’m sorry. That counts as a crappy day. (small laugh) You should probably just go home and draw a bath. ANGELA: I want you to come with me and stay. ROXIE: Of course I’ll stay. ANGELA: (smiles and sighs) I mean, I-I want you to, move in with me. ROXIE: This isn’t just because you’ve had a bad day, right? Because... ANGELA: No. It isn’t. ROXIE: You’ve never done that before, asked someone to move in with you. ANGELA: No. (shakes head) ROXIE: You’ve lived with people at their place. ANGELA: (laughs) With my bag packed by the front door, yeah. (looks hopefully at ROXIE, then smiles) Why aren’t you saying anything? (ROXIE is quiet) Right. Because you’re gonna say "no". ROXIE: Yeah, I am. I’m saying "no, thanks". ANGELA: Why? ROXIE: It’s too soon. You aren’t ready. I’m not ready. Let’s just see how things unfold, okay? ANGELA: (laughs) Okay. ROXIE: What? ANGELA: I’m always the one to say that. (Cut to: Airplane exterior, in hangar. Airplane interior, first class. BOOTH walks into first class holding a bottle of champagne and two glasses, already full.) BOOTH: Look what I found, huh? There’s that smile. (hands a glass to BRENNAN) BRENNAN: Thank you. BOOTH: Mm-hmm. BRENNAN: We don’t even get to get off the plane? BOOTH: Nope, they’re refueling, and finding us another pilot, and (makes a swoosh noise, then "clinks" his glass against BRENNAN’s) go back home. (BOOTH and BRENNAN take a drink. BRENNAN looks back into coach, where ELI is sitting and is handcuffed to his seat.) BRENNAN: What about his parents? BOOTH: They gotta fly back on their own dime. ELI is in federal custody now. (BRENNAN nods, then half-smiles. BOOTH looks at her closely.) BOOTH: You want to get off the plane, to see those old Chinese bones. I’m sorry. BRENNAN: It’s not your fault. BOOTH: Yeah, it is, because I’m the one that dragged you out of pure science and pulled you into m*rder solving. BRENNAN: That’s not how I remember it. BOOTH: Really. BRENNAN: Yes. As I recall, I had to force you to take me into the field. BOOTH: (smiles) Really. BRENNAN: Yes. You didn’t want to, remember? This is all my fault. (BOOTH and BRENNAN smile at each other. ELI sighs.) ELI: Hey, are you two gonna make out? BOOTH: Hey, quiet. You lost your right to talk. BRENNAN: Why do people always think we’re going to make out? BOOTH: I say we let him sit back there the entire trip back, by himself. BRENNAN: He did k*ll someone. And he ruined my dig. Plus, you know he’s gonna try to drink all the champagne. BOOTH: We’re going to need some for later. To us. (holds up glass and "clinks" it against BRENNAN’s. They each take a drink, then recline their seats, making content noises. BOOTH’s only reclines halfway.) Hey, why does yours go all the way back and mine doesn’t go all the way back? BRENNAN: Oh, it’s just how mine is. BOOTH: This is first class. They’re supposed to go all the way back. BRENNAN: Maybe it’s because you’re supposed to be in coach. (Scene fades out) END

{"type": "series", "show": "Bones", "episode": "04x10 - The Passenger in the Oven"}

foreverdreaming

"The Bone That Blew" Episode 4 x 11 / Production 4x02 Airdate: November 26, 2008 Written By: Carla Kettner Directed by: Jessica Landaw Transcribed by: ziggystarduzt Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER EXT. VIRGINIA - WOODED AREA - NIGHT [POACHER #1: following POACHER #2: through the forest. Both are holding flashlights.] POACHER #1: : I'm tellin' ya, this... this is a bad idea. POACHER #2: Huh..I heard there's an eighty foot tall black walnut tree back here. POACHER #1: Uh huh? POACHER #2: We can get fifteen grand for just one tree! POACHER #1: This is government property! The road said "closed" in big red letters! POACHER #2: So we get in, we get the wood, we get out. [POACHER #1: shines his flashlight up at a large tree.] POACHER #1: Is this it? POACHER #2: What are you, a moron? This tree is coniferous. POACHER #1: Carnivorous, what? It eats meat? POACHER #2: No, numb nuts. Needles and cones. POACHER #1: Oh. [Dude #1 shines his flashlight up into another tree and sees a large chunk of bone nestled in the branches] POACHER #1: Those don't look like cones to me. [POACHER #2: shines his own flashlight up into the tree and sees that there are several additional bones scattered throughout the branches. Eventually his light hits upon a partial human skull.] POACHER #2: Holy mother of God. [POACHER #1: screams loudly.] [CUT TO: INT. MEDICO-LEGAL LAB - MAIN AREA - DAY] [DR. CAMILLE SAROYAN and DR. TEMPERANCE BRENNAN are walking together through the lab, arguing.] BRENNAN: How could you have hired him? CAM: Your father was the best candidate. BRENNAN: Well, are you sure? Dad is an excellent liar. CAM: He's also an excellent science teacher. I called the school where he taught... BRENNAN: (interrupting) Well, fifteen years ago! CAM: And after fifteen years, they still remember him. They named their lab after your dad! I thought you'd be pleased. BRENNAN: Well, you were incorrect! Is there a probation period? CAM: Yes. BRENNAN: Well, what would please me is if you terminate him at the end of that time. [BRENNAN and CAM come to a stop. CAM looks confused as BRENNAN walks away and into an EXAMINATION ROOM, where her father MAX KEENAN is in the midst of a science experiment with a group of CHILDREN] MAX: OK, kids, everybody put on their goggles. BRENNAN: Hello? MAX: Hi, honey. Hey. Okay! Ready? ... aim, f*re. [MAX: turns on a laser set up on a table to f*re through a large block of red Jello.] CHILD #1: The light refracted.! MAX: Yeah, now why is the light visible? CHILD #2: Because the Jello molecules are close together. MAX: Yeah, but that's not magic, that's... CHILDREN: ??? MAX: K, the Science Way. [BRENNAN, highly irritated, flicks on the lab light switch. MAX turns off the laser.] MAX: Science Squad, meet my daughter. The world famous anthropologist, Temperance BRENNAN. Of course, I taught her everything she knows. BRENNAN: Actually, I went to college. I have multiple degrees. MAX: Well, tell the uh, kids a little something about refraction. BRENNAN: (Engaging and stepping further into the room) Snell's Law states that the angle of incidence is related to the angle of refraction, where V equals the wave velocities through the respective media and N equals... MAX: (Cutting BRENNAN off for the sake of the confused children) Nifty, that's very nifty. But wha-what was your favorite example when you were a kid? BRENNAN: Rainbows. CHILD #3: Rainbows! I love rainbows! MAX: Yeah, rainbows. She used to make me drive her all the way across town, the other side of the rainbow. She didn't believe that light came out of the back of a raindrop. Yeah. So, are there any questions for our, uh, scientist? [All the children eagerly raise their hands, several shout "me!"] BRENNAN: (Backing out of the room) I have to examine the frontal bone of a...d*ad person's skull. Maybe another time, kids. [Exit BRENNAN] MAX: Gee, d*ad person's skull. Ain't that a kick in the head?! [The children laugh] [CUT TO: EXT. VIRGINIA - WOODED AREA - DAY. The location where the bones in the tree were discovered is now buzzing with FBI agents and crime scene technicians. There is a flurry of activity: Photographs are being taken, samples collected, etc. BRENNAN stands under the tree with her partner, SPECIAL AGENT SEELEY BOOTH. Both are looking up at the bones, which are being collected by a technician.] BRENNAN: Most likely a wind deposited them there. BOOTH: That seems most likely. BRENNAN: Well, the bones didn't come from the ground, and they didn't come from the sky, that leaves the wind. [Enter PARK OFFICER NORMA RANDALL, who marches up, clearly upset.] OFFICER RANDALL: Those people over there? (nodding to agents) Need to clear out. [BRENNAN walks over to examine bones which have already been collected and are arranged on a nearby table.] BOOTH: Okay, well those people over there are looking for the rest of that. (motions to already collected bones) OFFICER RANDALL: They're right in the middle of the masked booby migration path. BOOTH: Masked booby. You're kidding. [BOOTH walks over to join BRENNAN] OFFICER RANDALL: The Department of Fish and Wildlife does not kid, Agent BOOTH. BOOTH: Okay, you just have to give me a minute, okay, you can have your boobies all to yourself. (to BRENNAN ) Okay, what do we got? BRENNAN: (holding up a bone) This one's a portion of the sacrum. It's definitely human. There's char marks. [BRENNAN lifts the bone to her nose and sniffs it] BOOTH: Oh, God. You know I hate when you sniff and smell d*ad things. BRENNAN: (ignoring BOOTH) Fresh burn. Days or weeks rather than months. [BRENNAN's current grad student assistant, WENDELL BRAY, appears in the background. He holds up a bone and calls to BRENNAN] WENDELL: Found a hyoid! BOOTH: Oh, he found a hyoid. [WENDELL approaches with the hyoid bone, which he presents to BRENNAN] WENDELL: d*ad guy's hyoid. BRENNAN: (taking the hyoid) "Guy" as in sexually non-specific urban colloquialism, or in reference to the gender normally associated with penis, Mr. WENDELL? WENDELL: Uh...the penis? BRENNAN: (examining the hyoid) Similar char marks. BOOTH: (to OFFICER RANDALL ) Any fires in the last couple of weeks? OFFICER RANDALL: No. BRENNAN: The body of the hyoid is fractured. WENDELL: Strangulation? BRENNAN: This man was m*rder, we'll need to search this entire area. BOOTH: (to OFFICER RANDALL) According to my scientists, your boobies are out of luck. CREDITS ACT I [CUT TO: INT. MEDICO-LEGAL LAB - MAIN AREA - DAY is walking through the lab towards the EXAMINATION PLATFORM. On his way, he encounters MAX: , who is walking towards BOOTH.] MAX: Hey, good afternoon, Agent Booth. BOOTH: Max? MAX: Wish I could stay and chat, but I gotta go pick up my new employment ID. [MAX pats BOOTH on the shoulder, then grabs his bicep.] MAX: Ooh, g*n of steel! [MAX slaps BOOTH's arm and wanders off] BOOTH: (To MAX's retreating from) You work here now? Max, you... (to himself) You work here now? [BOOTH swipes his ID and walks up onto the main examination platform, where CAM and BRENNAN are examining the remains from the tree.] CAM: I can still make out the accelerant pour pattern. Victim must have been doused post-mortem. I'll have HODGINS run it through the mass spec. BOOTH: (to BRENNAN) Your dad works here now? BRENNAN: Not my idea. CAM: She wants me to f*re him. BOOTH: Why? BRENNAN: This is a crime lab! My father is a bank robber and an accused m*rder. CAM: Booth's k*lled more people than Max has, and he works here. BOOTH: Don't bring that up. Why'd you have to bring that up? CAM: In fact, Dr. Brennan, you've also k*lled a person. And, I'll point out, Max was never convicted. So, in the eyes of the law, he's never k*lled anyone. BRENNAN: Why are you defending him? CAM: Why aren't you? BOOTH: He is your father. BRENNAN: Whose sperm h*t whose egg shouldn't determine who works here. CAM: Come o-he's showing kids around the museum. What can it hurt? BRENNAN: Let's get to work, please. CAM: (begrudgingly) Nothing definitive on cause of death. Of course, We don't have a lot to work with. BRENNAN: I did find an anomaly. The victim suffered a compression fracture sometime between 3 and 6 months prior to his death. BOOTH: Why is that an anomaly? BRENNAN: Compression fractures are normally associated with osteoporosis, but the sacral vertebrae haven't even undergone final fusing. CAM: Not even 30 years old. BRENNAN: The fracture must have been the result of trauma. A motor vehicle accident, parachute jumping...It would have been very painful. BOOTH: 20-something with a bad back. You gotta give me something here more to go on, Bones. [CAM's cell phone rings, she walks over to a desk to answer it.] BRENNAN: Well, I would love to give you more, BOOTH, but that would involve fantasy, which would be futile. CAM: (into phone) Dr. Saroyan?...Eeexcellent. I'll check my e-mail. [CAM hangs up the phone and calls to BOOTH] CAM: It's your lucky day, Booth. [BOOTH and BRENNAN walk over to CAM, who is now using a computer] CAM: We ran the victim's bone marrow? We got a h*t on the Armed Forces DNA Registry. [CAM pulls up a picture of a man in uniform] CAM: Here's your guy. Calvin Warren. BOOTH: Force Recon. Marine Corps Special Ops, toughest of the tough. BRENNAN: The kind that parachute out of airplanes and get vertebral compression fractures? BOOTH: You know what, you are a genius, okay? So the Marine Corps say where this guy got to? CAM: They don't know. Warren was honorably discharged three years ago. Marines tried to track him down, see if he wanted to re-up, even checked his credit cards and bank accounts but he's totally off the grid. BOOTH: Would his back be bad enough to medicate? BRENNAN: Yes. BOOTH: 'Kay fine, I'll just order a search of the controlled substance database, I'll see if I can get an address. You guys can go back to your bone play. [Exit BOOTH] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. DR. JACK HODGINS and WENDELL BRAY are examining one of the victim's bones and discussing it with CAM] HODGINS: (lifting the bone) Can you believe how light this thing is? [HODGINS passes the bone to WENDELL] WENDELL: I'd say six grams. CAM: No way these bones were b*rned in an ordinary wood f*re. WENDELL: A wood f*re burns at eight hundred degrees Fahrenheit, human flesh needs fourteen hundred to ignite. HODGINS: Why do you know that? WENDELL: I got an uncle who's a funeral director. Crematorium will incinerate a grown man down to five or six pounds. CAM: These weren't cremated. The bones would be drier and the flesh would be completely gone. HODGINS: Meaning that the burn was hotter than a wood f*re and cooler than a crematorium. CAM: That's a thousand-degree range. HODGINS: I may be able to ID the accelerant. WENDELL: I think we need a broader picture of the burn conditions. CAM: How are you gonna do that? WENDELL: (to HODGINS ) We could experiment. HODGINS: (to CAM) Oh. Ohhh. Is that what you're after here? CAM: You'll recall I mostly disapproved of your experiments with Dr. Addy. HODGINS: You didn't disapprove of the results. CAM: You have me there, Dr. Hodgins. [Exit CAM] WENDELL: I can't tell if we're doing an experiment or not. HODGINS: Not. [CUT TO: INT. ROYAL DINER - DAY. BRENNAN is having lunch with MAX. They are arguing about MAX's employment with the Jeffersonian.] MAX: See, I... I don't see what the problem is. BRENNAN: It's a crime lab! You're a convicted felon. Your presence taints the evidence. MAX: But I'm not gonna be around any evidence. Basically, I'm just gonna be f*ring lasers through stuff. [In the background, DR. LANCE SWEETS enters the diner and removes his coat. He notices BRENNAN and MAX and walks towards them.] MAX: Oh, look! There's the doc that told the jury that I was a sociopath. Hey! Please, sit down, Doc. How are ya? [SWEETS sits down with BRENNAN and MAX] SWEETS: Likeable sociopath. MAX: So, Cam wants Hodgins to design an experiment to figure out how hot a f*re was. BRENNAN: (bothered) Yeah, how hot a f*re was that b*rned a body. SWEETS: What body? BRENNAN: The bones in the tree m*rder victim; which is a crime we cannot discuss. MAX: Yeah, but I know exactly how that experiment should go. BRENNAN: You aren't adequately credentialed to design an experiment, Dad. SWEETS: Can I ask what's really going on between you? MAX: Tempe doesn't want me working at the, uh, Jeffersonian. SWEETS: Why? BRENNAN: It's a conflict of interest. We catch criminals, my dad is a criminal. SWEETS: That would be valid. BRENNAN: Thank you. SWEETS: If it were your real reason. But it's not. BRENNAN: Yeah, yes, it is. SWEETS: No, it's not. BRENNAN: Yeah, yes, it is. SWEETS: No, no. BRENNAN: Yeah-huh! SWEETS: No, it's not. BRENNAN: Mm-hmm! SWEETS: No. And, and this can't be resolved between you until you confront the real reason behind your feeling. MAX: What do you say it is? SWEETS: Well, at the time you abandoned your daughter, 15 years ago, you were a well-regarded science teacher. Now...here you are, basically in the same situation. And subconsciously, she doesn't want to risk feeling that sense of abandonment and bereavement again. MAX: Boy, that is such a load of crap. (to BRENNAN) You are far too rational for that. BRENNAN: Exactly. [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. ANGELA MONTENEGRO is standing at a computer, holding a clipboard. CAM enters, carrying a file.] CAM: FBI got a h*t off the controlled substances database? I just got off the phone with Booth. Cal Warren had a prescription for Oxycodone, written by a Dr. Antonia Ezralow, office in Chevy Chase. ANGELA: Could she provide an address? CAM: DR. EZRALOW has never heard of Calvin Warren. Plus, she's a dermatologist. Very rarely writes prescriptions for pain medication. ANGELA: So he probably stole her prescription pad. (motioning to her computer, which is open to MySpace) Here's his MySpace page, and I have to say? he doesn't look much like a drug dealer. What a waste. Tall, dark, handsome and d*ad. CAM: Too bad he's blocking his address. ANGELA: Well, let's see. (she zooms in on a picture of the victim on his MySpace page.) This is the house across the street. Now, if I were a house number, I'd be right about here. (She zooms in again) I crop it so all we got is the reflection. Reverse and resize. Tweak the contrast, find some edges. (she does all this and the house number becomes clear) CAM: "3-2-9-4." So he's across the street from 3294, but what street? ANGELA: (indicating the photo) Well, 1880-ish architecture, square bay front... Let's assume the D.C. Area. CAM: Check out the lamppost. ANGELA: Yeah, It places us in one of the two historical districts where they still use those cast iron modified bishop's crook street lamps. CAM: For an artist, you make a pretty good detective. ANGELA: I think you just insulted me. (they both laugh) Okay. Now, I do a search for 3294 in those two zip codes. (she seaches) And I come up with...(the computer displays an address) Mad skills, babe. [Angela and Cam high give one another] [CUT TO: INT. 3294 7TH STREET - WASHINGTON DC - DAY. BOOTH and BRENNAN are inside the victim's house, investigating his belongings.] BOOTH: The landlord said that Cal Warren worked crazy hours, you know, he kept to himself. Every time the landlord asked, you know, what he did for a living, he dodged the question. BRENNAN: Maybe he liked his privacy. BOOTH: What, So much that he pays his rent in cash? I don't know, Bones, something is weird, It's not right. BRENNAN: There's no letters, No photographs, not even...a bill. BOOTH: So did you persuade Cam to f*re Max? BRENNAN: What, you think my dad should be allowed to work at the Jeffersonian? BOOTH: What? You know, she's just, you know, trying to do you a favor. BRENNAN: Well, I didn't ask for a favor. BOOTH: Sometimes you don't need to ask. Got a passport. (looking through it) This guy's been to countries I haven't even heard of. [BRENNAN pulls a small white card out the pocket of a jacket hanging on a coat rack.] BRENNAN: What is this? BOOTH: I don't know. (he reaches into a drawer and pulls out a pile of money) This is something we're familiar with. Foreign currency. Lots of it. [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. CAM and ANGELA walk from the main lab area into ANGELA's office. ANGELA is holding a key card.] CAM: Booth found this in tall, dark and handsome's drawer. (indicates the card) ANGELA: It's an RF proximity card. CAM: And that would be...? ANGELA: Basically, it's a super fancy key card. You wave the card in front of the reader, it logs your info, and the door opens. CAM: Any way to figure out what door it opens? [ANGELA puts the card into a reader attached to her computer.] ANGELA: Well, if the info on the card isn't too heavily encrypted... I heard you tried to get HODGINS interested in doing an experiment. CAM: Let's just say I planted the seed. [ANGELA pushes some keys on her keyboard and a window of code, apparently from the keycard, appears.] ANGELA: Huh. CAM: What? CIA? NSA? ANGELA: No. Dupont Circle. [CUT TO: INT. BOOTH'S SUV - WOODBURY SCHOOL - DAY. BOOTH drives up to the school's gate and swipes the keycard against the reader. The gate opens, and BOOTH drives in. He parks, leaves his SUV, and passes several security agents in suits and dark glasses as he attempts to enter the school. The front door is locked; BOOTH notices an intercom near the door and presses it.] BOOTH: (into the intercom) Special Agent BOOTH, FBI. [The door buzzes and BOOTH enters the school.] [CUT TO: INT. WOODBURY SCHOOL - DAY. BOOTH is examining a model of a spaceship in the school. Children walk around him on their way to class. HEADMASTER DONNEGAN approaches and shakes BOOTH's hand. As they speak, they begin walking together.] HEADMASTER DONNEGAN: Ah. Welcome to the Woodbury School, Agent BOOTH. BOOTH: Hi, how are you? What's with all the security? HEADMASTER DONNEGAN: It's precautionary. Our student body includes children of diplomats, heads of state, CEOs... [A child passes them on the stairs.] CHILD: Good morning! [The headmaster nods and smiles at the child, keeps on walking.] HEADMASTER DONNEGAN: How old is your child? BOOTH: Parker? Uh, he's seven. HEADMASTER DONNEGAN: Has he been evaluated? BOOTH: He does just fine. HEADMASTER DONNEGAN: Most applicant families engage an educational consultant. I mean, it's not a requirement, of course, but... BOOTH: (cutting him off) I, I...Mr. Donnegan, I think you got this all wrong. HEADMASTER DONNEGAN: I know it seems crazy, but given the demand, we can only accept the most qualified applicants. BOOTH: Parker's a great kid. HEADMASTER DONNEGAN: The problem is keeping him that way, isn't it? Sixty-eight percent of our students matriculate to Ivy League universities. It's not because of our electron microscope or AP classes... It's because of our Honour Code. Any violation results in immediate dismissal. Now, why don't I get you an admissions packet? BOOTH: Actually, I'm here because of a m*rder investigation. HEADMASTER DONNEGAN: I'm sorry? BOOTH: One of your parking lot access cards was found in the apartment of a victim, Cal Warren? HEADMASTER DONNEGAN: He's not a parent or an employee, I would know the name. BOOTH: Maybe we could check your computer. HEADMASTER DONNEGAN: Of course. [Donnegan swipes the card to access his office] HEADMASTER DONNEGAN: No one is issued a key card without security clearance. [Donnegan holds the door open for BOOTH, they enter into the office.] BOOTH: Thanks. HEADMASTER DONNEGAN: One of our fathers actually implemented the security system. He's deputy director of the CIA. [Donnegan sits down at his computer and keys in a search.] BOOTH: Really? HEADMASTER DONNEGAN: There he is, Calvin Warren. BOOTH: Did he happen to work for the CIA? HEADMASTER DONNEGAN: No, actually, he works for the president. BOOTH: Of the United States? HEADMASTER DONNEGAN: Parents Association. As a nanny. BOOTH: A nanny? END ACT I ACT II [INT. BOOTH: 'S SUV - OUTSIDE WASHINGTON, DC - DAY. BOOTH and BRENNAN are driving on their way to interview the victim's employer. As they drive, they discuss the Woodbury School.] BOOTH: Twenty-eight grand a year. I didn't pay that much for four years of college! BRENNAN: If you think it's so ridiculous, why did you save the application? BOOTH: I didn't save it. I just didn't have a chance to throw it out yet. BRENNAN: You don't have to be embarrassed, It's perfectly normal to want the best for Parker. BOOTH: Public school was good enough for me, it's good enough for my kid. BRENNAN: Of course it is. Probably. BOOTH: What's that supposed to mean? BRENNAN: Parker is a bright, engaged little boy. I'm sure he'll do fine in a large classroom. I did. BOOTH: Except... BRENNAN: Except what? BOOTH: Your dad was a science teacher. You're a scientist. BRENNAN: Yes, my education was enriched at home. BOOTH: That's what I gotta do! Enrich Parker at home. BRENNAN: In what academics are you qualified to offer enrichment? BOOTH: Well... [BOOTH has no answer and looks lost. The SUV drives up to a large mansion, the home of the King family. Outisde, ELSBETH KING is issuing instructions to a housekeeper, ETHEL, as they walk. MRS. KING is evidently frantic and on her way out.] MRS. KING: Ethel, could you grab my bag, please? I am on my way to the Children First board meeting. (Ethel passes her the bag) Thank you. (to a passing dog-walker) Oh, Wexler has the groomer at three. [BOOTH and BRENNAN approach, Ethel retreats.] BOOTH: Excuse me. Elsbeth King? MRS. KING: Yes? [BOOTH shows MRS. KING his badge.] BOOTH: We're with the FBI. BRENNAN: Do you know a Mr. Calvin Warren? MRS. KING: He was my nanny... What happened? BOOTH: That's exactly what we're investigating. [CUT TO: INT. PARLOUR - KING MANSION - DAY. BOOTH and BRENNAN are sitting and interviewing MRS. KING while she drinks a bottle of water.] MRS. KING: Cal dropped off the face of the earth on Sunday. He was an excellent nanny. BOOTH: Well, how is it that an ex-Special Ops guy becomes a nanny? MRS. KING: My husband, Richard handles defense contracts. The Middle East, South America... There were kidnap thr*at a couple years ago and Richard was concerned. He offered Cal twenty-five hundred a week. BRENNAN: That's very good pay for...a babysitter. MRS. KING: Cal was more like a bodyguard. Do you suppose that's what got him k*lled? Someone after my children? BRENNAN: ...Um... BOOTH: Could we speak to your children? MRS. KING: Of course. [CUT TO: EXT. KING MANSION - DAY. ALEXA: KING and her brother ROYCE KING are in the midst of playing a game of chess with giant pieces. They are wholly uninterested in BOOTH and BRENNAN and are much more focused on their game.] BOOTH: Okay, so what time on Sunday did you last see Cal? ROYCE: Why? BRENNAN: (irritated) Because it's pertinent to our investigation. ROYCE: Wei shenme ta wen zhe ge wen ti? ALEXA: Wo bu zi dao. BOOTH: What? BRENNAN: Mandarin Chinese. ROYCE: My father says the Chinese will run the planet in ten years. He figures it'll be useful. BRENNAN: That's very smart. BOOTH: Okay, well, here, today, okay, I run the world. ROYCE: Bun tyen-shung duh ee-dway ro. BRENNAN: (laughing) He just called you a stupid, inbred stack of meat. BOOTH: Really? I'm sorry, do you have something to say to me? ROYCE: Dui bu qi. Xie xie. BRENNAN: He, he apologized. BOOTH: Good. So, you want to tell me what happened on Sunday? ROYCE: Well, Cal dropped me off at the algebra tutor around eight, then took Lexie to check out a new horse. ALEXA: In the afternoon you had a game against All Saints. ROYCE: Lacrosse. I got this. [ROYCE brushes his hair back to show a scar on his forehead] BOOTH: Let's see. Ow...And Cal took you to the emergency room? ROYCE: No. He knew one of the moms was a doctor, so, he figured she'd do a better job. BRENNAN: Looks like the work of a plastic surgeon. ROYCE: No, dermatologist. DR. EZRALOW. Very competent. [BOOTH and BRENNAN, recognising the name, look meaningfully at each other.] [CUT TO: INT. BOOTH'S SUV - WASHINGTON DC - DAY. BOOTH and BRENNAN are on their way back into town from the King residence and are discussing the new development in the case.] BRENNAN: The ROYCE boy was stitched up by the same doctor who said she didn't know Cal Warren. BOOTH: Mm-hmm, I'm having her brought in for questioning. You think those kids are better off than Parker? BRENNAN: Yeah, Of course they are. They have every advantage: a wonderful school, a successful father, mother committed to charity work... BOOTH: (scoffing) I spend more time with my houseplants than they do with their kids. BRENNAN: Well, children of privilege have always been raised by staff. It's how the upper one percent stays the upper one percent. Assuming quality education and adequate supervision, parents are actually rather irrelevant beyond a certain age. BOOTH: You're kidding me. BRENNAN: Look at this, they start Latin in third grade. That's fantastic! BOOTH: No, You know what's more important than academic enrichment? A loving environment. You ask anyone. BRENNAN: Parker is a wonderful child, BOOTH. You shouldn't feel inadequate. BOOTH: Yeah, well I'm perfectly capable of raising my own kid. BRENNAN: You're being defensive. BOOTH: I am not. BRENNAN: It's because you only have one child, when you procreate in multiples, there's less pressure. BOOTH: Thank you. I feel much better. [CUT TO: INT. BOOTH's OFFICE - FBI BUILDING - DAY. BOOTH is leading DR. ANTONIA EZRALOW into his office for an interview.] BOOTH: This way. Have a seat. DR. EZRALOW: I apologize, Agent BOOTH. When you called and asked if I knew a Calvin Warren... I just didn't put it together with the King's nanny. BOOTH: Oh, so you did know him? DR. EZRALOW: Yes. But just as Cal. My son is on the same lacrosse team as the King boy. BOOTH: Did you have any more dealings with him? DR. EZRALOW: I'm afraid not... Actually, no, that's not true. I'm sorry, again. Calvin came along with us one time when I took the uh, King children up for a ride. BOOTH: A ride? DR. EZRALOW: I'm a pilot. I own a Seneca Five. Cal got sick, and, well, the boys thought that was hilarious. BOOTH: You wouldn't happen to know how Cal Warren got a prescription for painkillers from you? DR. EZRALOW: Oh. Isn't that obvious? That's why he brought ROYCE King to me to be stitched up. To steal my prescription pad. BOOTH: I have no further questions, so, you know, thanks for coming in. DR. EZRALOW: I feel stupid for not being able to put the face with the name. I'm so sorry for wasting your time. BOOTH: No worries. Have a nice day. [CUT TO: INT. MEDICO-LEGAL LAB - MAIN AREA - DAY. HODGINS approaches CAM, who is walking across the lab carrying a file.] HODGINS: Hey! Soooo, you know that thing where you insist that all information goes through you? CAM: Yes, and I'm afraid I'm immovable on the subject. HODGINS: And you send out little emails summarizing the case so far? CAM: Yes, plus I check those e-mails to see if they've been opened. [They approach the main examination platform together. CAM swipes her access card and they walk up onto the platform.] HODGINS: That's a very good system. CAM: Thank you. HODGINS: Because if you weren't checking, I probably never would have read the email that said BOOTH questioned a flying dermatologist. CAM: I hope you're not trying to get some free lotion. HODGINS: I ran the accelerant sample through the GC mass spec. There were traces of tetra-ethyl lead. CAM: Have we changed the subject? HODGINS: No. Because if you hadn't been so a**l about the emails, I never would've known that I discovered something that wasn't merely interesting, but vital to the investigation. CAM: Which is tetra ethyl lead? HODGINS: Tetra-ethyl lead was a common antiknock additive in gasoline that went out with catalytic converters and unleaded gas. CAM: Does the flying dermatologist drive a vintage car? HODGINS: Maybe. But for sure, the flying dermatologist flies a plane. CAM: Aviation gas? HODGINS: The victim's remains were incinerated by aviation gas. CAM: (opening her cell phone and dialing BOOTH) I'll let Booth know. Hopefully, she hasn't flown the coop while you were getting to the point. [Exit CAM: ] HODGINS: (calling after her) I was just trying to be nice! [CUT TO: INT. INTERROGATION ROOM - FBI BUILDING - DAY. BOOTH is now in the process of interrogating DR. EZRALOW. He has a binder in front of him on the table.] BOOTH: You lied to me. DR. EZRALOW: Yes. I wrote Cal a prescription for painkillers. I shouldn't have. That's the truth. BOOTH: Yeah, not this time, Doc. Now that I know that you're a world-class liar. (he removes a small stack of papers from the binder and sets them in front of him) I came just a little bit more prepared this time. Take a look at those there (indicating the papers). DR. EZRALOW: (looking over the papers) My flight logs... BOOTH: Mm-hmm. DR. EZRALOW: For the past year. BOOTH: Yeah. Mmm. Oh, look it here, this one here. Right here. [BOOTH points to one of the flight logs, where Cal Warren's name is highlighted on the passenger list.] DR. EZRALOW: Yes, I took Cal flying a few times. BOOTH: Mm-hmm, without the kids? This one here is my favorite. (indicates paper) This particular flight to New York. You were gone the whole weekend. DR. EZRALOW: All right. All right, I'll tell you what you want to know. No. My husband didn't know I was having an affair with the Kings' manny. Would I have k*lled Cal to prevent him from finding out? No, I would not. Why? Because my husband doesn't give a damn who I boff. Do I know anyone else who might wish Cal ill? Yes. Richard King. BOOTH: Don't stop, this, this is great. Keep going. DR. EZRALOW: Cal told me to sell a stock. He said he had some insider knowledge that uh, this company was in trouble. I took the tip, made a k*lling. That's when I flew him to New York to say thank you. And he said "you're welcome." All weekend. BOOTH: (chuckling) What's this have to do with Richard King? DR. EZRALOW: It was Richard King's company. END ACT II ACT III [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. HODGINS and MAX are standing at one end of a large glass tube filling most of the room- a wind tunnel they've devised. On the other end of the tunnel is a tree.] HODGINS: How's that look, MAX? MAX: Good, looks good. HODGINS: Never thought I'd be doing another experiment. [Enter BRENNAN] BRENNAN: Dad, what are you doing in here? HODGINS: Max had a great idea for an experiment. BRENNAN: Dad, you said you wouldn't touch evidence! [WENDELL suddenly appears from under the tree] WENDELL: He's been very careful not to touch the evidence, Dr. Brennan. HODGINS: You know, your old man, he reminded me why I got into science. BRENNAN: To catch m*rder? HODGINS: No. To figure stuff out in amusing ways. WENDELL: The bones were incinerated by aviation fuel. MAX: They just need to know, uh, how strong the wind was, basic. HODGINS: So, figure out how big a wind blew the bones... WENDELL: Check the weather charts. [HODGINS and WENDELL go about setting the tunnel up to conduct the experiment] MAX: Basic, that's very basic. BRENNAN: This is the same wind tunnel you helped me build for the science fair. MAX: Right, yeah, a basic wind tunnel, honey. You won first prize. WENDELL: I made casts that weigh the same as the bones we found in that tree. MAX: All right, now... [They turn on the wind tunnel] HODGINS: We put the skull cast into the wind tunnel, since that was the largest artifact on the tree. MAX: I didn't touch anything. HODGINS: The bone begins to move at wind speeds of forty-two miles per hour. WENDELL: Not enough net force to achieve aerodynamic lift. HODGINS: But, crank it to sixty-nine... [HODGINS: adjusts the wind speed as such and the bone cast flies into the tree.] WENDELL: I checked the National Weather Service? There were windstorms that in area last week. A strong nor'easter h*t seventy-one miles per hour late last Tuesday. HODGINS: That gives us a fourty-eight hour window for Calvin Warren's m*rder. But, we still don't know where he was k*lled or where the body was dumped. MAX: Wait a minute, I can figure that out. BRENNAN: Dad, you're fired. WENDELL: What? MAX: (ignoring BRENNAN) The National Oceanic and Atmospheric Administration. WENDELL: NOAA tracks surface conditions. HODGINS: We can calculate where the bones started out if we can plot approximate mass and reverse the path of that nor'easterly. WENDELL: The heavier remains will still be near the original dump site. MAX: (to BRENNAN) You see, I'm helping! HODGINS: Oh, most definitely is helping. BRENNAN: I'm sorry, Dad, but you're fired. You took part in a forensic experiment. You said you wouldn't, but you did, so now you're fired. [Exit BRENNAN] WENDELL: (calling after her) Dr. Brennan, he didn't touch any of the evidence! MAX: It's okay, kid. Never mind. [CUT TO: EXT. - LACROSSE FIELD - WASHINGTON DC - DAY. BOOTH and BRENNAN walk past a children's lacrosse game; the kids are calling plays to each other animatedly. A crowd of parents and siblings watch on the side.] LACROSSE PLAYER #1: Nice assist, Mick! Now cage him out, quick! LACROSSE PLAYER #2: No, Mick! Pass it! Pass it! [BOOTH and BRENNAN come across ALEXA KING, who is watching the game from the sidelines.] BOOTH: Hi, Alexa. How are you? Shouldn't you be like, studying algebra or Chinese, or solving the world's problems? ALEXA: I'm cheering for Royce. He's the goalie [ALEXA points to her brother. BOOTH and BRENNAN continue along.] BOOTH: I watch football. You know, it's a better sport. It's American. BRENNAN: Lacrosse was invented by the American Indian. You can't get much more American than that. [BOOTH and BRENNAN come to DR. EZRALOW who is sitting in a foldable chair on the sidelines, holding her BlackBerry.] BOOTH: Hi. DR. EZRALOW: Oh, God, what now? BOOTH: Well, I'm thinking about this whole insider trading thing. DR. EZRALOW: I told you everything. BOOTH: I'm thinking Cal, you know, gives you a tip on a stock, you sell it, you make two million, three million dollars, and uh... it raises questions in my mind. BRENNAN: How did Richard King find out that Cal spilled insider knowledge? BOOTH: That's right, Bones. DR. EZRALOW: I don't know. BRENNAN: Well, where were you between last Sunday and Tuesday night? DR. EZRALOW: (to BOOTH) Who is she? BOOTH: Don't get jealous, Doc. Just answer the question. DR. EZRALOW: I was in San Antonio doing skin grafts on a firefighter with third-degree burns. BOOTH: You've got your own plane. BRENNAN: You had time to fly back. BOOTH: You really want me to believe that Richard King k*lled Cal. BRENNAN: Cal Warren's remains were incinerated with aviation gas. DR. EZRALOW: I didn't k*ll Cal. BOOTH: You know what, she lies a lot. I don't think she can help it at all. [DR. EZRALOW pulls out a business card and hands it to BOOTH] DR. EZRALOW: This is my lawyer's card. BRENNAN: She's decided not to cooperate. DR. EZRALOW: No, I've decided to watch my son play lacrosse. [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. ANGELA is using a large computer monitor with weather maps displayed on it to illustrate her findings to CAM and HODGINS. She is holding a stylus and tablet.] ANGELA: Okay, Here's the surface weather for Tuesday night, when that nor'easter blew the bones into that tree. [ANGELA changes to a different screen and marks a red X with her stylus.] HODGINS: Now, that red X, that's the tree. ANGELA: Mm-hmm. The bones must have traveled along this vector. [ANGELA draws a red line representing the vector] ANGELA: Now, given the duration of the gust and the terrain obstacles, lift off must have happened somewhere between here... and here. [She draws a line representing area of possible lift-off.] HODGINS: That's on the edge of Queen Anne's and Kent County. CAM: Good job, excellent experiment. HODGINS: Don't thank me. Thank Max Brennan. [CUT TO: INT. MEDICO-LEGAL LAB - EMPLOYEE LOUNGE AREA - DAY. BOOTH is pouring himself a cup of coffee when MAX approaches.] BOOTH: How's it goin' there, Max? MAX: That's the last day with my kids this afternoon. I'm toast. BOOTH: Cam fired you, huh? MAX: No, no. Tempe fired me. And don't tell me she hasn't got the authority, because, believe me... I feel fired. BOOTH: Sorry, Max. [MAX leans down to get a soda out of the fridge, BOOTH turns to leave] MAX: Can I ask you a question? BOOTH: (turning back) Sure. MAX: You, are you, uh... Are you sleeping with my daughter? BOOTH: No. MAX: Why? Are you gay? BOOTH: (amused) No. MAX: Is she not attractive enough? BOOTH: (serious) Bones is beautiful. MAX: Is it because of me? Because I k*lled one man, and we both know he deserved it. BOOTH: Right, just cut it out, Max, alright, I'll talk to her. Probably ain't gonna get anywhere with her, but... I'll talk to her. MAX: You're a good man. And I want that for her. And now I got to go blow up some soda for some kids. [CUT TO: EXT. WOODED AREA - WASHINGTON DC - DAY. BOOTH and BRENNAN are at the location determined to be where the victim's bones started out. There are several FBI agents and technicians searching the area.] BRENNAN: Okay, according to the calculations, the bones must have started out from somewhere in this vicinity. BOOTH: You know something, Bones? It's tough being a father. BRENNAN: Parker will be fine. Peer groups and random environmental factors are far more important than family. BOOTH: How's that a good thing? [An FBI TECHNICIAN: calls and waves to BOOTH] FBI TECHNICIAN: Over here! Agent Booth, over here. [BOOTH and BRENNAN run over to the technician and find a large section of scorched earth and bone remnants.] BRENNAN: This must have been where the... body was b*rned. BOOTH: You think? [BRENNAN kneels down and begins to examine the bones in the patch.] BRENNAN: Femur, pelvis...sternum. g*n trauma to the sternal angle. The buckshot embedded in the anterior surface indicates that the m*rder w*apon was a twelve gauge g*n. BOOTH: I thought Cal was strangled. BRENNAN: He was. Strangled, sh*t, and set on f*re. BOOTH: Someone wanted to make sure he didn't get home. [BOOTH notices a large mansion in the near distance. There is a family crest affixed to the mansion's gateposts.] BOOTH: Hey, Bones, look at that family crest. Looks like that someone came from the Kings' country home. END ACT III ACT IV [CUT TO: INT. DEN - KING MANSION - DAY. BOOTH and BRENNAN are again in the Kings' mansion conducting an interview, this time with RICHARD KING, the patriarch.] BOOTH: Mr. King, we'd like to ask you a few questions about your nanny. MR. KING: I, uh, I really don't see how I can help you, Agent Booth. My wife deals with the staff. BOOTH: You own a 12-gauge g*n? MR. KING: Yeah, several. You're welcome to examine them. BRENNAN: Two months ago, Cal gave an investor insider knowledge about your company. MR. KING: I didn't know that. BOOTH: And if you had known? MR. KING: I suppose I would have tried to f*re him. BOOTH: Tried? MR. KING: I don't think that Elsbeth would have allowed it. BRENNAN: Was she having an affair with him? BOOTH: Oh, Bones, such a good one. MR. KING: You two need to learn focus. BOOTH: Excuse me? MR. KING: Focus. BOOTH: Focus. MR. KING: Either accuse me of k*lling Cal because he betrayed business secrets or because he had sex with my wife, and then once you've chosen, then contact my lawyers. I'd go with the business motive. I'm very happily married. [CUT TO: EXT. KING MANSION - DAY. BOOTH and BRENNAN, having finished their interview, are leaving the mansion.] BOOTH: Okay, that guy is one cool customer. BRENNAN: Ooh, Cool like a... like a m*rder? BOOTH: No, I don't know, okay? I just don't see him losing his temper or taking on some Special Forces vet, that's all. [The dog walker crosses in front of them and past a Ferrari with a very large dog.] BOOTH: All right, do you think that dog comes with a saddle? (noticing the Ferrari) Follow me, Bones, will you, for a second? [BOOTH walks over to the Ferrari, BRENNAN follows.] BRENNAN: What's going on? What are you doing? [BOOTH reaches into the open window and presses the button to pop the car's gas cap open.] BRENNAN: Are you going to urinate in the gas t*nk as an act of vandalism? BOOTH: You kidding me, Bones? I would never do something like that to this fine Italian automobile. Beautiful car. It's Italian, Bones. Just remember that. Italians make the best automobiles. (he removes his tie and dips one end of it into the gas t*nk of the Ferrari.) Yeah. There it is. Okay, Bones, give me, uh, one of your little baggies. BRENNAN: I didn't bring evidence bags. [They walk away, bickering] BOOTH: Thanks, Bones, Appreciate it. You come prepared. BRENNAN: Well, we're not at a crime scene. Why would I bring evidence bags? BOOTH: You always have evidence bags on you. [CUT TO: INT. ROYAL DINER - DAY. BRENNAN and MAX are once again sitting at lunch with SWEETS. They are seated at a table, holding menus.] MAX: I've, um... I've decided I'm gonna leave the Jeffersonian. SWEETS: Why? BRENNAN: Uh, because I fired him. SWEETS: You can do that? MAX: (chuckling wryly) Ohhh yeah. Believe me, she can do it. BRENNAN: Well, it's all about proximity to forensic evidence. MAX: Uh, don't take any offense, but that's a lot of crap. It's about a proximity to me. Right? [BRENNAN glares at SWEETS] SWEETS: (Off BRENNAN's look) Well, in my opinion, it isn't your father's presence that's causing you anxiety, it's the memory of his absence. BRENNAN: I can understand quantum mechanics, but I can't understand you. MAX: Well, I'll make it easy. I'm leaving the Jeffersonian. BRENNAN: Well, you are? MAX: But I'm staying with you. BRENNAN: Wha-oh, in my house? MAX: No. No, no. Wait, why, is that an offer? BRENNAN: No. Would you... Would you want me to offer? MAX: No, no! but thanks for the offer. BRENNAN: No, it wasn't an offer, it was just a question. SWEETS: He isn't saying he's literally staying with you. He's promising never to abandon you again. BRENNAN: I'm sorry, but if it wasn't for that evidence thing, I'd- I'd let you keep your job. SWEETS: That's simply not true. MAX: Hey, it's all right. We're good! [BRENNAN looks at SWEETS again.] SWEETS: (frustrated) Nothing I say has any impact! BRENNAN: I should get back to work. [Exit BRENNAN] MAX: Oh, geez. Did she leave any money? [CUT TO: INT. MEDICO-LEGAL LAB - CAM'S OFFICE - DAY. CAM is sitting at her desk, working on her computer. WENDELL enters, excited.] WENDELL: About the fractured hyoid? CAM: Yes? WENDELL: I was just remembering about a tapeworm. CAM: I'm gonna need more than that. WENDELL: There was a tapeworm in the line. The one that went to the beer keg. [CAM, confused, gives WENDELL a vacant look.] WENDELL: I was workin' as a barback a couple years ago. There's no flow from the tap line, first assumption: kink in the line, right? CAM: What else could it be? WENDELL: There was a tapeworm in the line. Eight inches long. I learned something from that. CAM: Drink bottled beer? [WENDELL turns to a computer and pulls up an image of the victim's hyoid bone.] WENDELL: The tap don't flow, you assume the line's got a kink. The guy's hyoid is broken, you assume he died from getting strangled. CAM: You found a tapeworm? I mean, metaphorically? WENDELL: Yeah, but I don't know if it's a tapeworm. I need Dr. BRENNAN. [Enter HODGINS] HODGINS: Dr. Saroyan? [CAM and WENDELL turn to HODGINS] HODGINS: I am so your most valuable player. [CUT TO: INT. MEDICO-LEGAL LAB - MAIN AREA - DAY. HODGINS is at his desk, using his computer to show his findings to CAM.] HODGINS: Now, this is the profile of the accelerant we found on the bones. CAM: Aviation gas. HODGINS: And this is the profile of the gas we took off BOOTH's tie. [HODGINS overlays the two profiles to demonstrate a near exact match.] CAM: Richard King's car runs on avgas? HODGINS: He could have siphoned it out of his own car to burn Cal Warren's remains. CAM: (indicating a slight difference in the profiles) And what is this anomaly? HODGINS: C6H8O7 . [CAM pulls out her cell phone and begins dialing BOOTH.] CAM: Citric acid? HODGINS: It's my considered belief that Agent Booth spilled orange juice on his tie. CAM: (laughing) I look forward to seeing him explain that to a jury. (into her phone) BOOTH: , it's CAM. I think you're gonna wanna get yourself a warrant to arrest Richard King. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. CAM, WENDELL, and BRENNAN stand over the victim's skeletal remains, arranged on a table. WENDELL is demonstrating his findings.] WENDELL: Fractures on the transverse processes of the C2. Both sides and the spinous process. And check out the occipital protuberance. BRENNAN: Oh, yes. CAM: Maybe this will help BOOTH keep Richard King in detention. BRENNAN: Cal wasn't strangled postmortem, he was dragged. WENDELL: Strangulation is the kink, dragging is the tapeworm. The pattern of marks is evenly spaced, as if it were from a series of connected prongs. CAM: What would do that? BRENNAN: A choke chain. CAM: Richard King's a big strong guy, I don't see him dragging a d*ad body around on a choke chain. BRENNAN: That's because he didn't. The angle of the fracture is eighteen degrees. WENDELL: Assuming a standard four-foot leash, whoever dragged the victim is at most five-five. BRENNAN: Elsbeth King. END ACT IV ACT V [CUT TO: INT. INTERROGATION ROOM - FBI BUILDING - DAY. BOOTH is in the process of interrogating MRS. KING] BOOTH: So, you're sure you don't want your attorney present, MRS. KING? MRS. KING: Let's just get this over with. BOOTH: Okay, sounds good to me. Here's uh, what I'm thinking. I'm thinking that uh, your country home is less than a mile from the spot where Cal's body was b*rned. You had access to the g*n, the aviation gas... MRS. KING: You know how many people work for us, Agent BOOTH? Every single one of them had access. BOOTH: Yeah, but I don't think any of them really would have cared if they found out that uh, Cal Warren was trying to destroy your husband's company. Hmm...You have a nice life. I'm sure you got really angry when you found out that it was all going away. Hm? MRS. KING: You don't understand. It wasn't about the money. I had to protect my family. [CUT TO: INT. OBSERVATION ROOM - FBI BUILDING - DAY. BOOTH, having just finished interrogating MRS. KING, walks into the observation room adjacent to the interrogation room. Inside is SWEETS, who has been witnessing the interview.] BOOTH: What do you think? SWEETS: In my professional opinion, she didn't whack him. BOOTH: What? Come on, Cal betrayed them. Come on, SWEETS. For once, you're right. Embrace the win, my friend. SWEETS: I'm sorry, but it's Kinesics 101. You pushed all the right buttons, but instead of her ego defense system triggering a stress-response state, she went straight to a tacit confession. BOOTH: Right, which means... she did it. SWEETS: No, it means she didn't do it. But she wants you to believe that she did. BOOTH: Why would she want to do that? SWEETS: 'Cause she's covering for someone. The only honest thing that she said was that she had to protect her family. BOOTH: So we're back to square one. SWEETS: Sort of. BOOTH: (sighing) Geez...Sweets? Let me ask you something. I mean, you're a smart guy, you went to private school, right? SWEETS: Yeah. With perfect attendance through sixth grade, might I add. BOOTH: Yeah, that's great. You don't think that I'm a lousy dad for not sending my son to private school? SWEETS: No, but you'd be a lousy father if you didn't t*rture yourself about it. BOOTH: Thanks. [BOOTH's cell phone rings, he goes to answer it.] BOOTH: Oh, hold on. (into phone) Booth. (It's Brennan on the other line) BRENNAN: (into phone) I reviewed the placement of the g*n pellet wounds? The trajectory indicates that whoever sh*t Cal was significantly shorter than Mrs. King. I don't think she did it. BOOTH: Right. Thanks. (he hangs up the phone.) [CUT TO: INT. CONFERENCE ROOM - FBI BUILDING - DAY. Gathered around a conference table are BOOTH, BRENNAN, MR. KING, MRS. KING and ALEXA KING. BOOTH has a laptop in front of him and is in the process of interrogating ALEXA] BOOTH: You see, we got a court order for your cell phone and your laptop. BRENNAN: You know, nothing you text or IM is really private. ALEXA: I knew that. BOOTH: Really? Because, you know, we checked your text messages, and uh, we found one from a couple of weeks ago that's a little weird. [BOOTH pulls up the message on his laptop, it is displayed on a large monitor beside him.] BRENNAN: This one is from the night that Cal was k*lled. "Bring it over now. Parents both gone." MRS. KING: (to Mr. King) Stop this, Richard! MR. KING: No, I want to hear it. BOOTH: It turns out that uh, ALEXA, here, had a project due on Ancient Greece. BRENNAN: Hmm. You spent three days complaining about it, Why didn't you just do it? ALEXA: I didn't want to. It was stupid. BOOTH: Stupid? Oh. [BOOTH pulls up another message.] BOOTH: How about this one? "Da manny will do it. He can't say no, he works for me." But Cal really did say no, didn't he, because you paid a hundred bucks to somebody else to do it for you. Someone by the name of Dakota Shearcroft? MR. KING: Oh, my God. BOOTH: Yeah. I think it's a stupid name, too. BRENNAN: So what happened? Did Cal catch you? ALEXA: He thr*at to tell the school. MR. KING: Why wouldn't he have just told us? ALEXA: Cal said you wouldn't do anything. You never do. He said I had to learn a lesson. BOOTH: What kind of lesson? ALEXA: They would have kicked me out of school! Zero tolerance... My friends are at that school! I got the g*n out of the garage and I sh*t him... Mom came home and saw. MRS. KING: I drove the body to the country house, took it into the woods, and b*rned it. She's my daughter, I had to protect her. MR. KING: No, you did what you always do. Make everything bad go away. BRENNAN: It's counterproductive to raise children in a world without consequences. BOOTH: Well, it looks like little Lexy here is going to have to come face-to-face with some pretty nasty consequences. But not the kind of consequences you're gonna have to face, Mrs. King. [FADE TO: INT. MEDICO-LEGAL LAB - LOUNGE - DAY. BRENNAN is looking down to the main area of the lab, where MAX is about to demonstrate an experiment to PARKER BOOTH. He is placing a bottle of soda on a table.] MAX: Okay, Parker, this is called the candy mint-soda experiment. You can do this for your dad at home. [BOOTH brings BRENNAN a cup of coffee, they stand and look down together.] BOOTH: So, Mom copped to conspiracy to avoid trial. She'll spend some time in prison. BRENNAN: How much? BOOTH: Not enough. My opinion, she ruined that little girl's life. BRENNAN: (sighing) What about the little girl? BOOTH: Removed from the family, institutionalized for a couple of years. BRENNAN: (scoffs) Then it's back to ponies and tennis lessons? BOOTH: Mm-hmm. BRENNAN: Well, Caroline should charge her as an adult. BOOTH: She's 11 years old, Bones. BRENNAN: Yeah, well, she's old enough to speak Chinese. BOOTH: Uh, they don't take that into account. Tell ya. Man, when that little girl k*lled Cal Warren, she k*lled the best father she had. BRENNAN: Well, sometimes it's hard to appreciate what you've got. [Down below, MAX is getting Parker to put candy mints in a tube suspended in the bottle of soda.] BOOTH: (proudly) Look at him! Parker's never liked science before. BRENNAN: So, are you still thinking of sending him to Woodbury? BOOTH: I torched the application. I'm thinkin' there's something to be said for middle class. You sure he's gonna be all right? BRENNAN: Sure! Well, probably. BOOTH: Probably, like, what do you mean, probably? What the hell are they doing anyways? BRENNAN: Disrupting the surface tension of a two-liter cola. BOOTH: Right. MAX: Is that the last one? All right, put it in the tube. And then we'll both take a step back. BOOTH: Don't f*re Max. Let him keep his job. You know, he's a teacher, he's not a janitor. BRENNAN: I can't overlook the sanctity of the forensic lab, Booth... BOOTH: Yeah, maybe you can overlook it for me. BRENNAN: For you? BOOTH: Yeah. Personal favor. BRENNAN: What, like a partner thing? BOOTH: Partner thing. BRENNAN: (chuckling) I know you, Booth. You're trying to do me a favor by telling me it's a favor for you. BOOTH: No. Mm-mm, no, I... I can't afford that school. I can't enrich Parker, not with the science thing, but... you can, MAX can. [Below, the cola sh**t a stream directly into the air, raising up to the height of the lounge BRENNAN and BOOTH are standing in. Parker and MAX react excitedly.] PARKER: Woah! Do it again? (to BOOTH) Daddy! Daddy! look what I did! I blew it up! BOOTH: Yeah, I saw little man. BRENNAN: Look at my dad! BOOTH: Look at my little boy there with your dad. BRENNAN: Okay. Yes. All right. BOOTH: Thanks, Bones. FADE END

{"type": "series", "show": "Bones", "episode": "04x11 - The Bone That Blew"}

foreverdreaming

"Double Trouble in the Panhandle" Episode 4x12/ Production 4x06 Airdate: January 22, 2009 Written By: Lyla Oliver Directed by: Dwight Little Transcribed by: 206Bones2break Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Opening Scene: Brennan and Booth are walking in an open field, Booth heavily sweating, Brennan checking her GPS) Booth: That must be them, near that big piece of nothing Brennan: According to my GPS it's about where Texas turns into Oklahoma Booth: Oh great. We're in the middle of a jurisdictional pissing contest. (Booth's out of water) I'm out of water, give me yours. (sees sheriff's) Hey! Sheriff 1: Hey (short pause) Are you all FBI? Booth: FBI Special Agent Seeley Booth. (points head at Brennan) this here is Doctor Temperance Brennan from the Jeffersonian. Sheriff 2: Welcome to Oklahoma ma'am. Sheriff 1: Welcome to Texas. Booth: Guys? welcome to the United States of America Brennan: Where are the remains please? Sheriff 1: Oh right here. (turns around, and they all walk over to the remains) Brennan: Hardly any flesh left, it's very dry here so I'm guessing the time of death was some months ago. Sheriff 1: How do you think they died? Sheriff 2: They left Oklahoma, h*t Texas than died of despair Sheriff 1: No they're definitely Oklahomans, if they're from Texas they had sense enough to carry water Brennan: That wouldn't show up in the bones. (Sheriff nods disappointed) Booth: No clothing.... Brennan: Might have blown away Sheriff 2: Maybe a young couple? some sort of su1c1de pact? Brennan: Sub-pubic angle suggest two females Sheriff 1: Oh. Lesbian su1c1de pact. Sheriff 2: Definitely Texans then. Brennan: The victims are Pygopagus, or some would say Illeopagus Booth: What's that? Sheriff 2: Greek? Brennan: Conjoined twins Sheriff 1: What's that? Sheriff 2: Siamese twins Brennan: The point of attachment is posterior Booth: Joined at the ass Sheriff 1: (laughs) Definitely Texans Sheriff 2: So what do we got here doc? Booth: Well...it's a federal case boys, FBI will take jurisdiction (both sheriffs nod disappointed) (Scene fading out) (Cut to the lab, Brennan and Vincent Nigel-Murray are examining the body) Vincent: Conjoined twin births occur one every 85000 births, the same frequency as hermaphroditic births. Cam: Oh Mr. Nigel-Murray, we've so missed your insights. Vincent: Thank you. Cam: Why weren't the remains dispersed by scavengers? Brennan: Well the depression on the earth suggested that they were buried in an extremly shallow grave. The remains were spotted by an oil survey team from a helicopter. Vincent: Begging/Breaking the question what exposed the bones. (Angela enters platform) Angela: Well...there was a sandstorm in that area eight days ago. Sustained winds of sixty miles per hour. Gustav about eighty. Brennan: They're molars have not completely emerged and route development is incomplete. Vincent: Indicating that the victims were between 19 and 21 years of age. Angela: Guys? Hello? Id-ing them is not going to be a problem. How many sets of conjoined twins can there be? Vincent: (thinking) uhm. Over the last fivehundred years approximately sixhundred sets, over seventy percent woman. Cam: I did not expect him to know that. Vincent: Well...all facts are useful, it's just the context that shifts. Angela: I bet I could just go search missing siamese twins and find them in like ten minutes. Cam: By all means, give it a sh*t. Vincent: the victims had to separate spinal coloms fused distally at the lower sacral level extending to the pelvis, no other vertebral anomalies. Brennan: Neither one of them could have survived the death of the other. Vincent: So m*rder-su1c1de, su1c1de-m*rder or vice versa. Brennan : That was vice versa. (Nigel looks confused, Hodgins enters the platform) Hodgins: Soil beneath the skeletons was full of weirdness, quite a bit of decomposed cotton. Brennan: We didn't see any fabric. Hodgins: Wow it's decomposed very cheap stuff too, I think they were wrapped in a sheet. Cam: Naked wrapped in a sheet, Sweets will have to say something about that Hodgins: Also I found soil dwelling Mite Genus Arrenurus, the nearest place they could have picked soil mites was hundreds of miles away. And decomposed popcorn. Cam: They were k*lled at the movies? Hodgins: I have a theory Vincent: The circus Hodgins: (Looking at Vincent) Kind of stole my thunder there. But yeah, yeah the travelling circus. (Angela appears) Angela: I found them Cam: Already? (Angela shows them an animation of the circus, a poster pops up picturing conjoined twins Jenny and Julie van Owen. Angela: Hah! Cam and Angela: The circus Vincent: (smiling) The circus Hodgins: (smiling as well) The circus Vincent: Abacadabra was first uttered to cure hay fever. (They all look impressed) (Cut to: Brennan and Booth in Sweets office) Sweets: Conjoined twins wrapped in a sheet? Booth: According to Hodgins. Sweets: It would help to know how they were wrapped. Brennan: Well...All the evidence has gone with the wind Sweets: No other clothing? Brennan: According to Hodgins Booth: The m*rder didn't want anyone to identify them from their clothes Sweets: They're conjoined twins, you might as well bury them with their driver's licences in their hands. Wrapped naked bodies often indicate a careful burial or of course sexual as*ault Booth: Ok you know? that's uhmm. That's creepy (stands up) We gotta get going there Sweets Sweets: Where? Booth: Texas, that's where the circus is. Sweets: (Standing up as well) Uhhhhh. Circus folk are extremely tight lipped and close nip. They won't tell you anything. Brennan: How do you know? Sweets: I...you know...I've read articles. Booth: you're the worst liar I've ever met. You read articles? Brennan: Even I know he's lying. Sweets: Okay. I'm adopted. You know what? My story isn't important here. Booth: No It's very important, go ahead. Sweets: I...... (sighs) When I reached the age of majority (Brennan sits down again) I tried to find my birth mother, a psychic who worked in the circus and carnaval circuit in Florida. Booth: Bio-mom is/was a carnie Sweets: Let's stay on track. The point is no one would talk to me. Booth: Were you wearing a suit? Sweets: You'll be wearing a suit and they won't open up to you either. I'm just trying to be helpful here. Brennan: I suspect Sweets is right. I studied a carnaval for 6 weeks as research for my cultural anthropology dissertation. No one would tell me anything, even though I became quite adept on the highwire. Booth: Fine if they're gonna talk to their own, we will go undercover. Sweets: What? Brennan: If we're joining the circus we'll need an act, I...I'm quite adept on the highwire. Booth: No you know what? We'll have a Kn*fe throwing act. Brennan: I can't throw knives. Booth: I can. I had the best Kn*fe-skills in the rangers. Brennan: Are we going to join the circus. Booth: We are gonna join the circus (Theme Song) (Brennan and Booth in a car, Booth's driving) Booth: So we're gonna talk to the twins mother here in Forth Worth and than pick up our mobile home. And we'll join the circus right outside Waco. Brennan: Our mobile home? Booth: Yeah Bones, circus folks crisscross the country in a mobile home. I have the field office here painting up something special for us. Brennan: Is that all you need to get a job at the circus, a mobile home? Booth: You know what? It's gonna help, it's showy, showpeople. Brennan: It's always possible we'll talk to the girls mother and solve this whole case tonight right? Booth: Hope not. Brennan: hah? Booth: huh? (At the mother's home) Mother: I should have never let those girls leave this home, worst thing that can happen to a mother isn't it? Finding out that you outlived your child, unnatural. Brennan: except for societies with high infant mortality rates Booth: My understanding is that you tried to sue the circus several time mrs. Van Owen Dell: It's mrs. Hicks. Mother: Dell Hicks is my husband, and my lawyer. Dell helped me sue the circus for. Dell: Loss of income, alienatien of affection, civil right's abuses, animal abuses, improper hiring, emotional distress, mental anguish. Booth: Any of these go to court? Dell: It's just a matter of time agent Booth. Booth: You really hated that circus. Mother: They stole my daughters. I'll do anything to get back to them for that. Brennan: When did you last see your daughters? Dell: Four months ago. Mother: They told us to but out of their lives. Dell: Jenny did. Mother: If one of the girls wanted something it was the same as both wanting it. Dell: If Jenny wanted something they both wanted it. It didn't matter what Julie wanted. Brennan: I took a look at the remains and I had to wonder if you ever considered having them surgically seperated. Mother: It was to dangerous. Brennan: I disagree Dell: So did Jenny and Dr. Muir. Mother: Well Julie and I thought it was to dangerous. Brennan: Your daughters disagreed on whether or not they should be seperated? (silence) Booth: Is dr. Muir's office here in Forth Worth. (Cut to dr. Muir's office) Dr. Muir: I'm sure you understand that my responses to your questions about the van Owen sisters is somewhat tempered by patients privilege. Booth: They're m*rder victims, patient privilege no longer applies. Dr. Muir: Oh yes. Of course. I've never had a patient m*rder before. Brennan: You thought that the twins could safely be seperated? Dr. Muir: Yes. Brennan: I agree Dr. Muir: As did Jenny but Julie and her mother disagreed, she and her ambulance chaser husband tried to sue me. Booth: So...How did you leave things? Dr. Muir: Well in the end it didn't matter what the rest of us thought, Julie and Jenny were gonna have to come to an agreement. Brennan: I wonder if they thought they could continue to work in the circus if they were seperated. Dr. Muir: Well, they both loved the circus. Jenny told me once they had some ideas on how to expand their act. Booth: Sounds like Jenny was the bossy one and Julie was a little nicer. Dr. Muir: They were like any other sisters, they had distinct personalities and strength (silence) If there's anything I can do to help the FBI Booth: Tell you what? Why don't you send the records to the FBI in washington. Dr. Muir: Why can't you simply take them with you? Booth: We have another appointment. Brennan: Thank you for your cooperation. (Cut to a riding trailer) Brennan (katherine hepburn accent): The FBI did a wonderful job with this trailer. Booth: Ok. Just loose the Katherine Hepburn voice. Brennan:I'm just trying to find my character, you know acting. Booth: Don't it sounds ridicolous, okay Bones? (the trailer stops) Booth: What's my name there Wanda? Brennan: It's written right there on the side of the truck. Which "high wire" is not. Booth: It's just sometimes you get irritated and you say "Booth" without thinking. Brennan: I don't do anything without thinking ever, Buck. (together they walk into the circus tent. Inside the circus folks are practising their acts. Booth and Brennan stand In front of the circus owner Henry Simon) Henry: Buck and Wanda and their knived of death huh? Never heard of you. Booth: Well we worked the pacific north-west; Canada, Alaska. Henry (looking at Brennan): I guess that makes you the beautiful assistant than? Brennan: Yes, Wanda. I'm also quite adept on the high wire. Henry: I got to admit it would be nice to have a Kn*fe throwing act around. Booth: well, folks they love a little danger. (flips a Kn*fe with his hands) Henry: So what's your thing? Booth: Our thing? Henry: Yeah your gimmick, you know? Cowboy and Indian princess, Pirate and kidnapped princess, Jack the ripper and...princess. Brennan: We're russian Booth: Or they cowboy and Indian princess thing? Henry: No no no, the russian thing sounds good. Booth: It does. Henry: Yeah. Booth: Yeah Ok yeah, we are RUSKA. (holds up Kn*fe) Henry: Alright. Why don't you do the first show for free and if I like you than we'll talk famen. (Booth throws 2 knifes and Brennan looked at him impressed) Brennan (impressed) Wow. (Henry looks u) You ain't seen nothing yet. Henry: Lavelle? (booth sighs) You two ain't the first of may are ya? Brennan: No in fact we are not the first of may Booth: we are no first of may, we're no first of may. (Lavelle appears) Henry: This is Lavelle, he's our 24-hour man. Lavelle meet Buck and Wanda Moosejaw, they do a barber act. Lavelle: Moosejaw? What are you Indian? Booth: Canadian Henry: Lavelle'll show you where to park your digs. You can get ready for the show. Lavelle: Any good? Booth: How about that (points at the knives he just threw) Lavelle: Hell, being able to do something well doesn't make you any kind of a showman. Brennan: Oh, we'll show people alright? You will be a mess. (brennan and booth enter their trailer) Booth (annoyed): Russian? You had to pick russian? Brennan: I know Brilliant right? It just popped into my head Booth: You know what? Don't pop things Bones. (booth is trying to call Sweets and he picks up) Sweets! What the hell is a first of may? Sweets: A newbie, a rookie. Brennan: Why would a little person be referred to as a 24-hour man? Sweets: Oh, had a little trouble with the lingo huh? He is the advanced person, he goes to town ahead of the circus and sets everything up. If you like I could e-mail you a lexicon. Brennan: I would certainly appreciate that. Sweets: Sure. Uhm...Can I offer a piece of advice? Booth: Well...That's why we called you Sweets. Sweets: Don't try too hard to be their friends, act like you're more interested in each other than any of them alright? They will come to you. Brennan: Okay. Thanks Sweets. Booth: So uhm, sex right? (silence) Brennan: Oh, good idea. Booth: Okay. Brennan: What I think we need to do is get a synco-pated rythym going that takes adventage of the natural frequency of the springs. (they use their hands to bounce against the walls of the trailer, resulting in a creaking sound.) Booth: wo wo wo, wait, wo. Are you this spontanious during real sex? Brennan: yes I am. (they look at each other awkwardly and continue the bouncing.) (Lavelle and Henry standing outside) Lavelle: What do you think? Henry: I hope they're as good outside the trailer as they are in. Lavelle: I give'em good marks for staying power. (Lavelle and Henry are sitting in the tent, going through the paper work) Henry: I don't know Lavelle: I can try (Booth enters the tent) Henry: Getting settled in Moosejaw? Booth: Yup. Nice tent, very... Henry: It's a piece of crap Lavelle: Let's pray there's no wind or rain. Hate for it to collapse on paying customers. Henry: Is there something we can help you with? Booth: Aim me at the Van Owen sisters. Lavelle: The Van Owen sisters? Booth: Yeah. Sisters. Jugglers. Julie and Jenny. Joined at the hip. Literally Lavalle (laughs): Yeah funny. How'd you know them? Booth: We worked a carnie in Alaska together last year. Nice kids. They said they were coming down to work at ..... Henry: I'm afraid you missed them, Julie and Jenny they, they moved on (to Lavelle) when was it Lavelle? Lavelle: uhm after Petersburg weren't it Brennan(calling out): Buck??? Booth: Wanda, Julie and Jenny don't work here anymore. Brennan: Where did they go? Henry: You know what? I think I got a note in here somewhere from when they left (gives Brennan the note) Brennan: "thanks for everything. We loved working here and we live all of you but we've decided to take another direction in our lives. You'll always be family. Love, Julie and Jenny" Booth: That didn't sound like them Henry: It sounds like Julie Booth: Not Jenny. Brennan: well maybe they were forced to leave under duress Lavelle: Listen to the five dollar words the target can use. Booth: She likes to read the dictionary. Lavelle: Tough girl Jenny Henry: The rubes sure love them Brennan: them quitting probably hurt your box office. Henry: Sweetheart, I got nothing but trouble at the box office. Brennan: I'm sure we'll run into the girls somewhere or another. There's not many circuses anymore right? Lavellle: Food's ready to mestant, If you two can drag yourselved out of your trailer, I'll introduce you to the rest of the g*ng Booth: duressed? You are smart... (sarcastic) Brennan: Just because I'm in a carnaval - Booth: oh forget it, Brennan (continued):doesn't mean I can't read books and have a good vocabulaire (Cut to: The Lab, Cam and Nigel are watching a movie where Jenny and Julie perform their Kn*fe juggling act, they look bored) Cam: Is it more impressive that they can do that joined at the hip, or less? Vincent: Twins die an average of ten years apart, even when they're genetically identical Cam: Not helpful Vincent: X-rays from the girls doctor in Dallas. Ok, notice the anti mortem bone lesion in the carpel capitate suggesting a s*ab wound on the hand. Cam: did you see the video? They were juggling machetes Hodgins: I found particulates of magnesium carbon on both girls. (to vincent) Do you have any fascinating trivia on that subject? Vincent: One mans trivia is another mans wisdom. Hodgins: The choque used in flooring, f*re prooving, cosmetics, toothpaste and laxidants. Vincent: obviously we are on the lookout for a clean tooth, eyeshadow wearing, constipated contractor. Hodgins (disbelief): Wow Angela: Hey, Brennan send a photograph of the note the twins left at the circus. Cam: How long will it take you to analyze it? Angela: I found something pretty interesting just by looking at it. (the note appears on the tv screen) (to vincent) you said Jenny was the left-handed twin. Vincent: Yes Angela: Correct. The smudges and the slangs on the letter indicate that the note was written by the left-handed twin Vincent: On a standard keyboard there are over 3000 words that can be touch typed with the left hand alone. Cam: It's not typed, it's handwritten. Angela: How many can be typed with the right hand? Vincent: 450. Thank you ever so much for asking me. Cam: Please don't encourage him. Angela: the point is; Jenny was signed with the right hand while Julie signed the note with the left. (everyone looks quizzical) This note was obviously not written by them, guys. It's fake. (cut to the circus. Brennan and Booth are walking to a table with their food. Booth sees clowns) Booth: ooohhh. Okay. Look at them...clowns. Brennan: The psychiatric term for fear of clowns is coulrophobia. Booth: It's not fear, it's hate. Okay? Big difference. (To Henry who's also sitting at one of the tables) You mind? Henry: Sure have a seat, Buck, Wanda, this is Magnum the strong man and this is Madame Nina (Camera shows to faces) Brennan: Oh. Are those your legal names? Madame Nina: Is Wanda yours? Lavelle: Buck and Wanda, they knew Jenny and Julie. Magnum: I miss those girls. Madame Nina: We all do. Henry: Not the clowns. Booth: Why is that? Madame Nina: The girls were trying a new act. They borrowed some of the clowns' equipment without asking. Henry: You know what? They should have stuck to juggling. Madame Nina: They were just trying to help save the circus. Magnum: but they wanted more time in front of the audience. Madame Nina: Not Julie. She wanted to spend more time with her boyfriend. Booth: Julie had a boyfriend? Brennan: But her sister was literally right beside her all the time. Magnum: People can't help who they fall in love with. Henry: You fall in love with an outsider, that's the end of the circus life. Booth: Who was it? Madame Nina: He was a gillie. Booth(whispering to Brennan): What's a gillie? Brennan (whispering back): A gillie is an outsider. (Cut to Brennan and Booth in their trailer. Talking to the lab through the webcam) Brennan: So one of the girls had a boyfriend. (annoyed) Booth you're sitting in my clothes. Booth: I'm sorry but it's kind of thight in here. Brennan: Which is why you shouldn't throw your underwear on the floor. Booth: it fell. Brennan: Don't blame gravity for a lack of tidiness. Cam: Is there only one bed there? Hodgins: Oh. Can we please h*t rewind. One of the girls had a boyfriend? Brennan: Yes. Hodgins: Only one of them? (laughs) I mean. How did they? You know when they're? I just don't see physically how they... Booth: Okay look. That's not the issue. Brennan: Just take that image out of your mind and pretend their seperate individuals and ask yourself if you found anything that suggested a relationship. (Hodgins is looking confused) Booth: Hodgins? Hodgins: huh? Yeah sorry. Still working on the mind picture eradication thing. Brennan: Did you find anything on one of the sisters that you didn't find present on the other. Hodgins: uhh...yeah actually...yeah I did. A residue of polyelectrolyte polymers under the fingernails of Julie and not Jenny. It was polyfenal pyrrolidone. Brennan: What is that? Make-up? Hodgins: It's not make-up it's hairgel. Seems like Julie was running her fingers through someone's hair. Booth: Julie was the one with the boyfriend? Brennan: Can you identify a brand? Hodgins: No. But it would smell a lot like sandalwood. Booth: Oh. Smooth shore power hold. Hodgins: Hmmm yes. That's definitely on the list of possible products, yeah. Booth: Dr. Muir was wearing a ton of hairgel that smelled just like sandelwood (Brennan looks surprised) What? Son of a barber, I know my traditional hairproducts. Brennan: So Julie was having an affair with Dr. Muir? Booth: Tell you what? If we leave now we can question him and be back in a couple of hours. Brennan: No!!! Not in this thing and we have a show, we can't be late. Booth: We're not circus performers okay? We solve m*rder. Brennan: Yeah, we're undercover m*rder solvers and if we don't make it back in time we'll blow our cover. Booth: Tell you what? I will search for a faster vehicle. But first I gotta scavenge some russian you know some russian costumes because somebody said we did a russian act. Brennan: It was a great idea. Cam: Dr. Brennan? If you do have to perform any chance you can set up a webcam so we could watch? You know to see if we might be of any help with the case I mean. Brennan: Yeah absolutely. Anything to help. (Cam keeps her hand in front of the webcam and gives Hodgins the thumbs up. He smiles) (cut to: Brennan and Booth on a motercycle) Booth: Did you bring our real clothes? Brennan: Yes they're in the bag. Where did you learn to drive this thing? Booth: You're kidding me right? I'm a cop. Brennan: We should really talk about our act. (cut to: Vincent is examining the bones) Vincent: Two complementary fractures on each of the victims craniums. Cam: Like their heads were cracked together? Vincent: Interesting fact. Cam: Yes but is it pertinent? Vincent: Indeed. In the fraternity of forensic anthropologists these are known as "kissing fractures" Cam: So heads knocked together is the cause of death? Vincent: Little known fact; There were actually six men known as the three stooges Cam: So we're going with the three stooges as the cause of death? Vincent: Such would be my inclination. Cam: I'll let you pass that nugget on to dr. Brennan when you tell her about the fractures (Cut to: Brennan and Booth in dr. Muirs office) Dr.Muir: I already send off the girls' medical records. I'm not sure how else I can help you. Brennan: I want to run my fingers through your hair Dr.Muir: Why? Brennan: to prove you were in a sexual relationship with Julie van Owen Dr. Muir: And running your fingers through my hair will prove that? Brennan: yup. Booth: I'll tell you what, look Dr. Brennan up on the internet. She's getting pretty famous for this kind of stuff. Dr. Muir: You're not gonna understand this. Booth: You had a threesome? Dr. Muir: Absolutely not. I dated Jenny first and then I fell in love with Julie, and Jenny didn't really like that. Brennan: That's why he recommended seperating the twins. Dr. Muir: No that's not true. My recommendation was totally objective. Booth: Maybe the mother found out and sued his whole life away? Dr. Muir: which is the only reason we kept the relationship a secret. Brennan: Relationship? Sexual relationship? Booth: How? When you were...I'm trying to understand...when you and Julie... Dr. Muir: The girls had seperate genitalia, a fair amount of privacy could be achieved by an eye mask and an mp3 player turned up really loud. Julie liked the "Kings of Leon", Jenny like "Maroon 5" Brennan: The American medical association is going to take away your license. Booth: that's a motive for m*rder. Brennan: We should arrest him. Dr.Muir: On what charges? Booth: Definitely positive on the suspicion of m*rder thing. You know the other thing is just...eh...it's a little confusing. (cut to: Brennan and Booth on the motorcycle. They're on their way back to the circus) Brennan: Can you go faster? We'll miss the show. Booth: No we're great in time Bones. Alright? Relax. (Booth's phone rings) A little help there Bones, Phone's ringing and I'm kind off busy. (Brennan reaches into Booth's pocket) Brennan: Shouldn't we talk about our act? We need costumes Booth: We're not needing the russian costumes, we're dropping the act. Brennan: What? You can throw knives I thougth! Booth: Yeah I know we can but we caught the bad guy. We don't need to go undercover. (Brennan is still reaching for the phone in Booth's pocket) What are you doing? Digging for loose change? Brennan: Oh. Got it. (she flips the phone open) Special Agent Booth's phone, Dr. Temperance Brennan speaking. Dallas field office, it's for you Booth: of course it is, it's my phone. Well...than ask them what they want/ Brennan: What is this about please? They say all of Dr. Muirs alibi's checked out and that they can't hold him for m*rder. Booth: He didn't k*ll the twins? Brennan: He couldn't have driven all the way to the Texas/Oklahoma border during that time...Now can we talk about our act? I do know a few words in russian Booth: Oh no. (cut to: The Jeffersonian, inside Angela's office) Angela: Vincent provided me with the approximate forces that would take to the cause kissing fractures to the twins' skulls Vincent: Approximately 300 pounds plus square inch, which is by the way the same as a pitbull bite. Cam: were they att*cked by a pitbull? Angela: Not a likely scenario. No. Cam: See how this works Mr. Nigel-Murray. A kind of mental winnow proces. Angela: Ok. Scenario number one; whiplash. Vincent: no. Angela: no? Vincent: There'd be evidence of trauma in the vertabrae as well. Cam: Excellent mental winnow Angela: Okay, scenario number two; a fall. Vincent: No the rest of the skeleton would have shown evidence of a fall. Angela: Alright, scenario number three; resulted seperably by a w*apon. Vincent: That's possible. Angela: No actually it's not. Cam: Why not? Angela: Because the wounds are absolutely symmetrical here. (points to computer screen that shows the fractures on both girls' cranium) The possibility of an assailant striking them seperately at the exact angle with the exact same force that ain't gonna happen. Okay...well, the heads could've been conked together. Cam: There'd be evidence on the soft tissue of the face. Angela: No there was no soft tissue left. Vincent: What if the blunt instrument was soft? Angela: Like a pillow? Oh wait a second...Clown props. Cam: I'll call Booth and dr. Brennan. Angela: Nice. Vincent: When Cortez conquerred the Aztecs clowns were among the many treasures he carried back to Clement VII Angela: Thank you. That's......(she sighs) (Cut to: The circus terrain, Booth stands in front of the trailer, he's dressed up. Lavelle approaches him.) Lavelle: You ready? Booth: Yes, ready to throw knives at beautiful woman Lavelle: Not at I hope. Booth: Right. No, of course. Around her. (the trailer opens and Brennan steps outside. She's dressed up as well) Wow Wanda,you...you look..wow. Brennan: You to Boris. Booth: You make beautiful Natasha. Lavelle (laughs): You act like this is the first time you've done this. Booth: Well, we like to keep things fresh. Lavelle: As so I've seen. (he walks away) Brennan: So I stand against a board right with balloons around me and you pop them with your razor sharp knives. Booth: Right, unless we do our actual jobs and find the m*rder w*apon. Brennan: What's with the mustache? Booth: It totally had a nice russian form. Brennan: it looks like a small animal. (cut to: Brennan and Booth going to items that belong to the clowns) Brennan: There's a giant plastic ice-cream cone, a giant plastic shoe, a giant plastic phone, a giant plastic plier. Tumbles: ho ho ho, wanna tell me what you're doing here? Booth: What you're gonna play tough? You're clowns. I throw knives. Clown 2: Let's kick his ass Booth: Bring it on Bozo. Brennan: Oh. We're just looking for a prop, that's all. Buck here is gonna knock this nose of my head with a Kn*fe. Tumbles: Why does everyone think the clown stuff is there for everyone. This is our stuff. Clown 2: Let's kick his ass you guys. Brennan: traditionally clowns are fun-loving and anarchistic, you are rigid and humorless. Clown 2: Let's kick both their asses. Booth: You better have your biggest ass kicking shoes on. (henry appears) Henry: Stop. You wanna have a clam, that's your business. But after the show. (They look at each other) Tumbles I'm serious Tumbles: Let's go guys. Booth: not so funny now ain't Tumbles. Henry: That's enough Moosejaw. We're lining up. You two damn well better be ready. Brennan: I'm ready, how about you? Booth: You know ready, (he turns around and accidentally hits brennan with the hammer) Oh god Bones. Brennan: My eye Booth: Are you okay? Brennan: I'm okay. Booth: We can't do the show now. Brennan: What? No! the show must go on Booth: Says who? (Cut to: The circus. The show is about to start Henry: Ladies and Gentleman and children of all ages, welcome to Binghams Circus of Wonders, the most sensational, death-defying one ring spectacular on earth. The performers appear and the crowd is clapping and cheering. The opening act is started. Brennan and Booth walk into the tent as Natasha and Boris. Brennan is waving enthusiatically Brennan: They're clapping for us Boris, smile Boris and wave. Show them your knives. Come on, where's the Buck Moosejaw I married. (Booth finally does as told and he and Brennan are showing the knives) (Cut to: Booth standing near the tent, Brennan appears) Brennan: Hey...hey? I got preps Booth: props for what? Brennan: preps, objects for you to throw knives at. Booth: No, you will stand against the board still. I am going to throw knives around you but not too close. Brennan: That does not sound like a very good act. I'm sure the crowd is expecting a lot more than that Booth: There is no act. There's just me trying not to k*ll you Brennan: You said you were very good trained in Kn*fe throwing skills by the military Booth: I am very good, but it's you I'm concerned for. Brennan: If you say you're skilled than I have no reason to- (Brennan stops because Magnum appears) Magnum: You know it's not good for Barbers to fight before the show, those things are sharp. Booth: Let's just get through this alright? Mrs. Moosejaw Brennan: Okay. Booth: Look at them, Clowns are using these fake barbles. One of them could have knocked the twins and smashed their heads together. Brennan: The bar joining the foam... Booth: they're clowns, they have their ways. (The clown act is over and Lavelle walks over to them) Lavelle: You're up. Henry: And now direct from their triumphant tour of Europe and the Far East. Binghams Circus of Wonders is proud to present the razor sharp skills of the most thrilling, the most breathtaking, the most dangerous Kn*fe throwing skills in the world. Boris and Natasha and their Russian Knives of Death. (Cut to: The lab, the squints are following the show on the computer) Angela: What's up with Brennan's eye Hodgins: Eyepatch. It looks very rakish. Cam: plus she only has to be half as scared (Cut to: The circus tent) Booth: Bones just keep your arms outstretched like this okay? Be very, very still. Brennan: Okay. Shouldn't the balloons be closer to my body. Booth: Not if you want to live. Brennan is positioned between the balloons and Booth takes of his coat. The audience is still laughing and cheering. Booth starts to throw the knives and the balloons pop as they are h*t by the knives. Everyone in the lab is clapping and cheering. Brennan steps away from the board and Booth enthusiastically uses his voice to produce a hard low sound. Booth: Natasha's balloons are no match for Boris' knives of death. Brennan walks over to him and Booth keeps making the sound and Brennan walks to a bag and takes out a tomato props. She shows it to the people and they all yell. Everyone in the lab looks confused, as does Booth who has no idea what she's doing. Brennan positions herself against the board with the prop tomato on top of her head. Brennan: Boris (says something russian) spill the life of your (says something russian again). Booth looks confused, and makes some sounds. Brennan points at the tomato with one finger. Booth: Definitely. Everyone in the lab looks confused. Hodgins: Are they sure they know what they're doing? Booth hesitates and finally throws the Kn*fe. The Kn*fe ends up in the tomato. Everybody is clapping and cheering including the lab and Henry. Brennan walks over to Booth and they make a bow together. Brennan: You reall are as good as you said. You should try a blindfold. Booth: Says the half blind woman. Brennan walks back to the bag and takes out a fake clown nose and shows it to the audience. Booth looks surprised. Everyone at the lab looks surprised as well. Brennan wears the fake nose and stands against the board once more. Cam: Is it me or does she seem a little to in to this? Sweets: Well, there is of course a sexual component to an act of this sort, the Kn*fe representing th- Cam: We get it Sweets: Dr. Brennan is showing remarkable trust and willingness Booth is nervously pacing around. Man in the audience: Be careful Buck she only got one eye left. People laugh, Booth is waiting to throw the Kn*fe, everyone holds their breath. Booth throws the Kn*fe...........and it hits the fake nose. Brennan gasps. Everyone is cheering and clapping louder than before. The squints laugh and clap as well. Booth shows his knives to the crowd one last time. Henry: Well how about that? Let's hear it for them folks, Boris the brave and the knee knockingly lovely Natasha. Brennan: Come on Boris. Henry: Let them hear it folks. Brennan and Booth stand behind the curtain. Brennan (enthusiastically): They loved us! You were great. Superb hand eye coordination, Buckie. Booth: I could have k*lled you. Brennan: Therein lies the excitement for the spectators They look through the curtain and they see magnum. Henry(announcing): -Superstrong mighty magnum! Booth: My god. Brennan: What? Booth: Magnum, look. They both look. An acrobat is launched by Mangnum, he lands on top of the other acrobat. Brennan: He definitely has the upped body strength to swing the foam barbell hard enough to cause those fractures. Henry(talking to the audience) check out those arms of steel. Brennan and Booth walk out of the tent. They see Magnum sitting at a table. Booth: Hey there, big guy. You got a minute? Magnum: For what? Booth: I want to ask you a question about my friends, Julie and Jenny. Magnum: Look, this is getting old. I told you they were here, they left that's all I know. Check with some other circuses maybe. Brennan: They're d*ad, but you knew that didn't you? Magnum: d*ad? What are you talking about? Booth: Their heads were smashed together. Weren't they Magnum. He runs away, booth follows him. He pushes against a big pole, it goes down and a net lands on top of Booth and Brennan. Booth: Jeez. That guy is strong. Brennan: He is called a strongman Booth: Can you help me get out of it? Brennan: I'm trying to get out. Booth and Brennan are inside their trailer, Booth is on the phone. Brennan is talking to Cam and Vincent on the webcam. Booth (into his phone) Look I wanna put a BOLO on this guy right away. Magnum the Strongman, real name; Norman van Clock. Of course he's big, he's a strongman. Look...he's wearing a t*nk top that says Magnum it shouldn't be too hard. Brennan(to Booth): Mr. Nigel-Murray found some additional bone anomalies. (To vincent) Can you explain? Vincent: Anomalies from the greek anomalias- Cam: I think we could move this along a bit faster Mr. Nigel-Murray. Vincent: I found slight longitude north fractions on the distal end of all four lower leg Bones, and stress fractures on the cuboids. Brennan: Fractures to the lower leg and feet. Booth: Does this guy t*rture them first? You know rubber hose to the feet. Vincent: That wouldn't have been consistent with the injuries, which are isolated to those specific areas. Brennan: Can you send me the X-rays? Vincent: The X-rays- Cam: They're on their way. Vincent: I was more than capable telling her that. Cam: I was afraid you'd start talking about Wilhelm Conrad Rontgen, and the discovery of the X-ray. Vincent: November the 8th 1895 an image of his wife's hand Cam: I rest my case. By the way we all loved your show. Brennan: oh thank you! Did you hear the cheering? Booth: Yeah, that was all for me. Cam: Booth was undeniably good. Brennan: However he's not as imaginative as far as the act goes. Booth: Look. There's a difference between imagination and tempting faith. Brennan: I'm just asking for a little flair. Booth: Flair? You want flair? Cam: Can I ask about the eye? Booth: No (he flips the laptop shut) Brennan: I was thinking I could wear a head of fruit, and than you could slice to each fruit while- Booth: Bones, it's over. No more undercover. The act...it's over. (after a silence) We have to go question the other performers. Brennan: Right... (Cut to: Brennan and Booth inside the circus tent, Henry and Lavelle walk up to them) Henry: Hey, you two wanna explain what happened to Magnum? Brennan: He trapped us in the net. Lavelle: For no reason? Booth: We asked him about the twins Henry: Asked what? Brennan: If he knew anything about how they died (everyone steps closer including the clowns) Tumbles: You want us to take care of this. Henry: Settle. Who are you people. Booth (flashing his badge): FBI Special Agent Seeley Booth Brennan: And dr. Temperance Brennan of the Jeffersonian institution. Booth: Okay euhhh...The van Owen twins were m*rder. Our prime suspect right now is Magnum. Brennan: He had the reckons at strength. (the circus people walk away from them) Lavelle: Magnum never k*lled anyone Booth: People can you please come back now. (to Henry) Can you tell them to get back? Henry: None of us are gonna help you. Brennan: Don't you care what happened to the twins. Henry: you aren't one of us. Lavelle: You don't get it do you? How could you you're gillies Brennan: No we're not gillies, our act was good. Lavelle: Yeah. You're gillies. Booth: Right. Brennan: We have no case. Booth: Yeah we will when we bring Magnum in. Brennan: We have no definitive forensics tying him or anyone else to the m*rder. Booth: Yeah you will. When you get back to the lab you'll find evidence, the boniest maximus will have his initials on it or something. (Brennan looks up) Brennan: I really was pretty good on the high wire. (Booth looks up) I'm gonna try it. Booth: Up there? Now? Wait a second Bones, you'll fall, it's too high. Brennan: There's a net Booth: you got now depth perception, you got a patch on your eye. You won't be able to see. Brennan: No, it's more a case of feel Booth. I can do it with my eyes shut. Booth: You shut your eyes and I will shut mine because I'm not watching. (Brennan climbs up the ladder to the high wire) Brennan: My teacher said I was one of his best students. Booth: This is crazy. (Brennan steps onto the highwire with a pole in both her hands and walks slowly) Brennan: Booth...Look! Booth: I told you I'm not gonna look. I'm keeping my eyes shut, this is absolutely...(he opens his eyes) Oh my god. Bones! You're a fearless. Brennan: My feet. I'm not in shape for this. Booth: Look at you, you're doing great! You think maybe you could ride a bike on that thing and maybe spin a ball on your nose at the same time? Brennan: Aoww, my cuboids Booth: What? Brennan: The cuboids are the bones in my feet. Booth: Bones are you alright? (she's losing her balance) Bones? Brennan: Yeah Im fine. (she falls down and ends up in the net. Booth: Bones are you alright? Brennan: Yeah. Yeah I'm fine. (she stands up) I know what happened Booth: That's pretty obvious; you lost your balance. Brennan: No, to the twins. They weren't m*rder, the stress fractures to their fibulas and cuboids they were caused by walking on the high wire. And, and the kissing fracture, their heads snapped together when they fell into the net. That's why there was no other trauma. Booth: Oooh. A conjoined twin high wire act. Brennan: Henry said that Jenny wanted to be famous. They're act would have been completely unique. (Cut to: Brennan and Booth walking on the circus terrain) Brennan: I thought so first Booth: Yeah. They covered up an accident by making it look like a m*rder. Magnum: I didn't k*ll them. I didn't k*ll them. I loved them, I would never hurt do. Brennan: We know Magnum: I buried them, they needed a proper burial. Madame Nina: Don't say anything Magnum. Brennan: You asked them not to go on the high wire but that's exactly what they wanted to do. Booth: It's probably the only thing Julie and Jenny ever agreed on. Brennan: when they dropped to the net, the force of their fall snapped their heads together. Booth: Yeah an accident like that their mother would definitely have sued. The circus wouldn never have survived... You know I'm gonna have to arrest you for interference with a d*ad body. Brennan: We're sorry. Are we? Booth: Yeah, sorry. Brennan: We're going to get you a good lawyer, Cause I don't wanna sue the circus down because of me. Magnum: Just don't bring them into this. Booth: Which you're gonna have to explain is why you wrapped them in a sheet, because that's something a woman would do out of respect. Brennan: You'll also have to explain how you forged their handwriting on a note. Magnum: Yeah, I will. Thanks. Booth: Well, I'll just call the Dallas field office and have'em pick him up. Brennan: You think he'll run again? Booth: No. He won't run. (Cut to: The trailer stands all alone on the terrain, Booth steps out and picks up a paper, Brennan steps outside with coffee) Brennan: They're gone. Booth: Yeah. Brennan: We slept through it? Booth: Yeah. Look at that (he looks at the paper and reads) Boris and Natasha and their russian knives of death. Guess we all got it in us, because I would have run off and joined the circus. Brennan (looking at paper): We did it. Booth: Buck and Wanda were damn good. Brennan: Buck was more dashing than you. I mean Buck, drove a motorcycle Booth: Well Wanda was funner than you. Brennan: How? Booth: Well she let me knock off a rubber nose from her face with a Kn*fe. You would never let me do that, you are way to rational. Brennan: Where do you think they are now? Booth: Over the horizon. END

{"type": "series", "show": "Bones", "episode": "04x12 - Double Trouble in the Panhandle"}

foreverdreaming

"f*re in the Ice" Episode 4x13 / Production 4x07 Airdate: January 22, 2009 Written By: Scott Williams Directed by: Chad Lowe Transcribed by: medlam Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Cut to ice rink. Whistle blows. Booth skating around on ice. sh*ts of various other ice hockey players from both teams.) REFEREE: Let's have a nice clean game, everyone. (Referee throws puck onto ice) Down. BOOTH: Come on, move the puck, (skates out of sh*t) Wendell! Move it! Move the puck! WENDELL: (off screen) Up here, Booth. Up here! FIREDAWG: Back on D. BOOTH: Pick 'em up, on D, pick 'em up. (Brennan, Cam and Sweets in stands watching the game) BRENNAN + CAM: Go, Booth! Go, Booth! Go, Booth! SWEETS: Wow CAM: k*ll 'em, Booth! (Booth smashes Firedawgs player in to the screen in front of supporters.) BRENNAN: What did he do that for? CAM: It's what Booth does. Keeps the other team honest. He's what you call an enforcer. BRENNAN: What, like law enforcement? CAM: Yeah, okay. Well, let's go with that. (Firedawgs player smashes into Wendell, knocking him down) BOOTH: Oh, what was that? What about the crosscheck? Ref, are you blind? WENDELL: Pass it! I'm open! Pass it! I'm open! BOOTH: Pick him off! (Firedawgs score a goal) PETE CARLSON: Yeah! BOOTH: That was a cheap sh*t, Carlson. ED FRALIC: Yeah, you guys suck. REFEREE: That's 24 blue, two minutes for charging. BOOTH: For what? What about the crosscheck back there, huh? REFEREE: Get in the box! ALEX PINNA: Come on, man. It's hockey. BOOTH: Club hockey, and some of us have to go work in the morning, all right, pal? (Referee separates Booth from Carlson) REFEREE: Enough. Let's go. ALEX PINNA: Carlson, calm down! Skate away. REFEREE: Just go in the box. Go on, get in there and sit down. CARLSON: Yeah, sit down, crybaby. (Booth gets into penalty box, right next to where Brennan, Cam and Sweets are sitting.) REFEREE: Let's go. Let's go. BRENNAN: So, this is punitive, right? To be sent to this little area here? BOOTH: Keep your head up next time, number 12. Keep your head up. CARLSON: Yeah, yeah, I'll be waiting. BOOTH: Come on! CAM: It's called a penalty box, you know, send in. SWEETS: Yeah, Booth committed a penalty when he checked the big guy when he didn't have the puck. ED FRALIC: Stay with him, Carlson. Just stay with him. (Carlson trips Wendell) BOOTH: There's a h*t right there, Ref, that you missed again BRENNAN: Booth seems quite anxious to get out of the disciplinary box. SWEETS: Yeah, I've never seen him this agitated before. BOOTH: Open man! Open man! (Firedawgs score and celebrate) BRENNAN: That's not good, right? SWEETS + CAM: No. (Booth returns to ice) BRENNAN: Go, Booth! (referee throws down puck) Wendell might get a basket! (Carlson takes down Wendell) BOOTH: Elbow, Ref! Elbow! BRENNAN: Is Wendell okay? SWEETS: That can't be legal. CAM: It definitely is not. (Whistle blows) Come on, Ref, you got to call BOOTH: Come on, what are you doing, Carlson? CARLSON: Want to go? (Booth and Carlson fighting) BOOTH: Come on, come on. Let's go. Come on, let's go. CAM: (off screen) Come on, Booth! BOOTH: You're a dirty player, Carlson. ALEX PINNA: Come on, bro. Get your hands free. Get your hands free. BOOTH: You don't take sh*ts at my guys. You got that? Ends here. Okay, Carlson? Ends here. BRENNAN: Booth seems to be winning. CAM: Well, it's not Booth I'm worried about. ED FRALIC: That guy's out of control. ALEX PINNA: No more. REFEREE: I'm gonna have to call a game misconduct on that one. BOOTH: All right. You get up off the ice, we'll finish this in the parking lot. Come on. If you did your job, I wouldn't have to do it for you. Look at him. (Booth skates away) He's hitting my guys. You all right, buddy? Son of a bitch. (Clapping and Booth picks up Wendell) Get up. You all right? WENDELL: Oh, did I score, man? BOOTH: Oh, yeah. Yeah... Come on. BRENNAN: I do not know how I feel about this. SWEETS: It's very primal. CAM: I like it just a little too much. PLAYERS ON ICE: Come on, team. All right, come on, let's focus. (Cut to locker room) BOOTH: So, you still seeing double? WENDELL: Only when I open more than one eye. Your hand's busted. BOOTH: Yeah, well, you know, guy left his helmet on. (Brennan opens door to locker room) BRENNAN: Hey, you two all right? (pause) What? BOOTH: Want to wait outside? BRENNAN: But your hand might be broken. Do you want me to look at it? BOOTH: No, it's all right. You can wait outside please. It's a men's locker room, Bones. (Brennan closes the door) (Cut to icy river. A man (Len) and his son (Leo) are sat down inside a wooden shack) LEN: There comes a time in ice fishing when it's time for the father to turn the drilling over to his son. LEO: Man, this is a great day. You give me a beer, let me run the augur. LEN: Yup. You're 18,Leo. You start drilling holes, it's safety first. You got me? LEO: Yeah. LEN: Nothing I'm saying here applies only to ice augurs. You get me? LEO: All right. LEN: Good. You know, that way, you don't fall through the ice and die, or get a disease, or get pregnant. LEO: Dad, come on. LEN: Okay. Go ahead. LEO: All right. LEN: Atta boy. Keep her perpendicular. Once you get it in a little bit, you can speed her up, let her rip. All right, let her rip. LEO: Dad, she-she's bleeding. I... she's bleeding. (Blood around the freshly drilled hole in the snow) LEN: Pull out. Pull out. LEO: Oh, I hope that's fish. (Len clears the snow away to reveal a head under the ice) LEN: You better go wait in the truck. (Cut to Brennan and Booth, with his arm in a cast, in a white tent with various FBI and police standing around) BOOTH: Hey, uh, what do you think there, Bones? BRENNAN: I would surmise that the body went into the lake before it froze, then the lake froze, then the body floated up and became attached to the bottom of the ice. BOOTH: I meant, was he m*rder? BRENNAN: Oh, Um, maybe. Could have been an accident or a su1c1de, except... (Booth sticking pen inside of his cast) Oh, you shouldn't do that. BOOTH: It itches, okay? Yeah, well, except for what? BRENNAN: Trauma to the left maxillary orbit suggests v*olence. It's kind of gross, what you're doing. BOOTH: Gross? You got your finger in some guy's maxillary orbit. BRENNAN: I don't think there's anything else to be learned here, so let's get this Popsicle back to the lab. BOOTH: Hey, look at that. Bones, you made a joke. BRENNAN: Well, I can be quite amusing. BOOTH: Wait a second. (picks up necklace) BRENNAN: Booth, you aren't wearing any gloves. BOOTH: Bones, I...Remember that guy I punched out last month during my hockey game? Pete Carlson? BRENNAN: Yes. When you broke your hand. BOOTH: That's him. I'm a suspect. (Booth hands over necklace) Here. (Opening credits) (Cut to FBI office, Brennan and Perotta sat at the table, with Caroline stood by the table and Booth stood in the doorway) CAROLINE: Given that Agent Booth is currently the prime suspect in this m*rder... BRENNAN: We don't know it's a m*rder. BOOTH: Oh, look at that-- I'm the prime suspect. CAROLINE: Agent Payton Perotta here will be working with Dr. Brennan. BRENNAN: I won't work the case without Booth. PEROTTA: In that case, I invite Agent Booth's continued participation. In the background as an advisor. CAROLINE: Agent Payton Perotta has earned bachelors degrees in both forensic science and criminology. BRENNAN: Well, anything short of a doctorate is virtually useless at my level. CAROLINE: How would you like to proceed, darling? BOOTH: Well, it's pretty obvious. We definitely want to interrogate the primary suspect, right? PEROTTA: Yeah. (Cut to Medico Legal Law - Autopsy Bay. Wendell and Cam on either side of the table, Hodgins at a microscope on the side) CAM: Based on decomp, I'd put time of death at about five days prior to freezing. WENDELL: Local cops say the lake froze over three weeks ago. HODGINS: Aside from some dormant anopheles mosquito larvae, I imagine whatever the water from the lake tells us, it'll be through a microscope. WENDELL: If Booth is a suspect, then I should be, too. This guy scrambled my brains. CAM: Your alibi is that you were seeing double and being taken care of by your mother. HODGINS: I'll get on the fluid samples you took from the lungs and oesophagus. Could be the vic was drowned somewhere else and then dumped in the lake. CAM: No. Drowning's not the way Booth would k*ll someone. Not that I actually suspect Booth. At all. (stuttering) Quit staring at me. (Hodgins and Wendell exchange looks) (Cut to interrogation room. Booth and Perotta on opposite sides of the table) BOOTH: In the course of the game, the victim and I exchanged blows. PEROTTA: Who initiated the fight? BOOTH: It was hockey. PEROTTA: So, it was spontaneous combustion? BOOTH: The guy h*t two of my players. The-The ref-- he didn't catch that. PEROTTA: And that made you angry? BOOTH: Not angry enough, you know, to chase him down after the game and k*ll him. PEROTTA: So, where did you go after the game? BOOTH: Uh, Bones drove me and Wendell to the hospital. PEROTTA: So, alibi that night or the next? BOOTH: Bones and I are just partners. PEROTTA: Okay. Now you're answering questions I had no intention of asking. Is it your contention that, uh, your argument with the victim was constrained to the ice? BOOTH: That is my contention. PEROTTA: 'Cause I have a-a witness who stated you told Carlson, and I quote, "You get up off that ice, and we'll settle this out in the parking lot." BOOTH: Trash talking. PEROTTA: Let me cut to the chase here. Did you k*ll Pete Carlson? BOOTH: No. PEROTTA: Did you dump his body in the lake? BOOTH: No, I did not, Agent Perotta. PEROTTA: Do you feel that your experience as the child of an abusive alcoholic has made you more prone to v*olence? BOOTH: Excuse me. (Gets up and leaves room, slamming door. Walks through hallway to room behind the mirror, where Sweets is standing) What the hell are you doing? SWEETS: It's part of my job to assist the interrogating agent. BOOTH: You know I didn't m*rder anyone, Sweets, all right? So what you're doing right now is you're just studying me. SWEETS: That's part of our agreement, too. BOOTH: You have a question for me, you ask me yourself. Don't use her. SWEETS: All right, okay, two questions. One: am I picking up some sexual tension between you and Agent Perotta? BOOTH: How the hell do I know what you're picking up? SWEETS: Okay. Uh, two: underneath your affable exterior is a deep reservoir of rage. My question is, do you always have that under control? BOOTH: You know, if I didn't, you'd be d*ad right now instead of just wincing. SWEETS: I'm not wincing. BOOTH: Don't ever bring my old man up again. (turns and leaves, slamming door) SWEETS: Rats. I winced. (Cut back to interrogation room, Booth re-enters and sits down) BOOTH: So... Do you have any more questions? Thank you. PEROTTA: Yeah. You work out much? BOOTH: Yeah, I'm pretty consistent. PEROTTA: You look like you take excellent care of yourself. (zoom out to see Sweets behind mirror, walking away) SWEETS: Okay, this is useless. (Cut to Medico Legal Lab - Workroom. Cam and Wendell are looking at x-rays) WENDELL: Both patellas are fractured. CAM: As though he'd fallen to his knees? WENDELL: Yeah, with a great deal of force. CAM: During a hockey game? WENDELL: No, not if he wore pads. I believe that this is the cause of death. CAM: Penetration of the lachrymal sac here, deep into the inferior orbital fissure. WENDELL: Yeah, I would have thought a small calibre b*llet, but... CAM: No sign of b*llet fragments. WENDELL: Yeah. (Cut to Pete Carlson's apartment. Booth, Brennan and Perotta enter with Connie Withers) CONNIE WITHERS: This is Pete's apartment. He wasn't the best housekeeper. PEROTTA: Ms. Withers, was Mr. Carlson up to date on his rent? BOOTH: Good question. Great start. CONNIE WITHERS: Uh, yes. Mostly. 500 bucks short. He didn't need much. He was a big kid at heart. Poor Pete. What he really loved was hockey. I wouldn't be surprised if that's why he joined the volunteer f*re department. I even got him this necklace. Crossed hockey sticks. PEROTTA: You attended his games? CONNIE WITHERS: Oh, all of them. Yeah. PEROTTA: You were a couple? BRENNAN: It looks like someone went through all of his belongings and then left them on the floor. CONNIE WITHERS: Oh, it always looked like that. PEROTTA: The car outside with the flat tires, is that his? CONNIE WITHERS: Yeah, somebody slashed the tires just before he disappeared. PEROTTA: Why didn't you report him missing? CONNIE WITHERS: I thought maybe, uh... I thought he was staying with someone else. PEROTTA: There's a lot of bills here. (looking at envelopes) "Final notice, past due..." BRENNAN: Looks like he couldn't afford to feed his fish, either. PEROTTA: "Albie,Thursday,11:00 p.m." (takes post-it-note from wall) Do you know who Albie is? CONNIE WITHERS: I don't know. BRENNAN: This is blood. BOOTH: It's a hockey jersey, Bones. You know, hockey players bleed sometimes when they play the game. PEROTTA: Ms. Withers, how bad were his financial problems? CONNIE WITHERS: Well, a couple days before Pete disappeared, he asked me for $2,000. PEROTTA: Did he say what for? CONNIE WITHERS: He liked me. You know? He was one of these guys, he... he didn't say much, but he could be real sweet. And a man borrows money from a woman, it means there's a bond of trust, right? BRENNAN: I don't understand your reasoning. BOOTH: I do. It's definitely a bond of trust. You're absolutely right. PEROTTA: We're terribly sorry for your loss. (Cut to Medico Legal Lab - Autopsy Bay. Cam looking at body, Brennan walks in) BRENNAN: Is that our victim? CAM: Yes. The last of the tissue samples. Wendell can clean the skeleton now and you can do your thing. BRENNA: You still think cause of death was a projectile through the left eye? CAM: Yes, but since we found no b*llet, nor any indication of g*n residue in the wound, we're stumped as to what kind of projectile. BRENNAN: The alveolus around the incisor is cracked, the socket caked with blood. This is a recent loss. CAM: Well, he was a hockey player. BRENNAN: So basically, we're talking about gladiators. CAM: And I love it. BRENNAN: Perhaps the sight of males battling stimulates the part of your brain which has so far failed to find a suitable mate. (Hodgins enters) CAM: And thank God you're here. HODGINS: The water I found in the victim's oesophagus, not from the lake. Lake water is microorganism infested. Water in his throat, deionized brine water. CAM: He was k*lled, then dumped in the ocean then dumped in the lake? HODGINS: Deionized brine water freezes clear. It contains an anti-freezing agent, which I know sounds counterintuitive... BRENNAN: Ice rinks. HODGINS: Kind of jumped my punch line there, Dr. B. But, yes. We should see what rinks are closest to the lake. CAM: It's the one Booth played at. BRENNAN: I find it interesting that the evidence keeps pointing toward Booth. (Close up on body) (Cut back to ice rink. Practice going on in background, Perotta and Booth talking to Dave Simms and Ed Fralic) DAVE SIMMS: Pete Carlson was m*rder? ED FRALIC: Pete, he's indestructible. DAVE SIMMS: Not so indestructible. This guy took him down a few notches. Made him stay down, too. BOOTH: Well, it was the heat of the game. All right, your guy crossed the line. ED FRALIC: He was our enforcer. Took the job real serious. DAVE SIMMS: Well, whoever got Pete must've got a drop on him. Pete wouldn't go easy. PEROTTA: You mind my asking why nobody reported him missing? ED FRALIC: Well, the night after you flattened Pete, we go up against the State Police. Then Pete gets into a beef with a big State Police left-winger. DAVE SIMMS: 'Cause you handed him his ass on a platter, Pete maybe had something to prove that night. BOOTH: You got a name? DAVE SIMMS: Hey, Alex? Yo! Come here! ED FRALIC: The fuzz player that Pete got into it with his last game, do you remember his name? ALEX PINNA: Yeah, Lou Herrin, number five. ED FRALIC: Pete took Herrin down with a real cheap sh*t. He got tossed out the rest of the season. PEROTTA: Any chance that Pete and this guy, Herrin, continued their fight off the ice? DAVE SIMMS: People thr*at. ED FRALIC: Yeah, but nobody carries through. BOOTH: Yeah, keep it on the ice, right? ED FRALIC: If I were you, I would talk to Chloe. PEROTTA: Who's Chloe? ED FRALIC: Chloe Bratton. DAVE SIMMS: Chloe's a puck bunny. Her and Pete put in some quality mattress time before he dumped her. ALEX: Well, mattress really isn't, uh, Chloe's style. No offense. PEROTTA: None taken. I favour backseats myself. (Chloe spinning around on the ice) (Cut to Perotta and Booth talking to Chloe in stands above ice rink) CHLOE: I can't believe Pete's gone. PEROTTA: How long ago did you two break up? CHLOE: Break up? We didn't break up. BOOTH: His teammates think you did. CHLOE: No, we had this on-again/off-again thing. It was casual. No biggie. PEROTTA: So you didn't mind that he slept with different women? CHLOE: I wouldn't have minded if he did, but I happen to know he didn't. BOOTH: Well, I happen to know, that he did. Right. CHLOE: Who? PEROTTA: Oh it doesn't matter, does it? Given that your relationship was so, um, casual? BOOTH: You slashed his tires, didn't you? PEROTTA: Agent Booth... CHLOE: No. PEROTTA: We can prove you did it, Chloe, so here's the deal: you tell us the truth from now on, and we won't charge you with vandalism and obstruction of justice, okay? BOOTH: Let's try this again. You slashed... PEROTTA: Agent Booth? BOOTH: Yes. Of course. PEROTTA: Let's try this again. You slashed his tires, didn't you? CHLOE: Yes. I mean, he was sleeping with someone else. I got passions that take over sometimes. You know how it is when the guy you give yourself to just goes off with someone else. PEROTTA: Who's, um, Albie? CHLOE: Albie? Albie runs this poker game in back of a Chinese food joint off I Street. Probably why Pete was broke all the time. So, who'd you say Pete was sleeping with? PEROTTA:I think we've got enough information for today, Ms. Bratton. Thank you very much for your cooperation. BOOTH: Thanks. (Cut to Medico Legal Lab - Forensics Platform. Brennan, Wendell, Cam and Angela around a table with the bones on) CAM: Any luck with the m*rder w*apon? BRENNAN: Yes. We are certain it is not a screwdriver. CAM: Well, the blood on the victim's jersey was all his own. BRENNAN: The rib cage has been bruised. WENDELL: It has? BRENNAN: Yes. See this vague pattern of bone bruising? WENDELL: Yeah, it extends from the right clavicle through anterior ribs four through eight. BRENNAN: He was struck repeatedly. ANGELA: Like, by a hockey stick? During the game maybe? WENDELL: Not during. The, um, padding would prevent that kind of bruising. I'll take a closer look. I can't believe I missed that. (Cam signalling to Brennan. Brennan mouths "What?" Cam continues to nod towards Wendell) BRENNAN: No, I can't believe you missed that, either. (Wendell turns and leaves) CAM: I was signalling you to encourage Wendell by saying anyone could've missed that, but... BRENNAN: You should have said so. Booth says I stink at nonverbal communication. (Cut to Perotta and Booth entering Chinese restaurant) PEROTTA: She said in the back BOOTH: Okay, well, just don't be pulling your g*n until you go through the kitchen, or Mama-san there is going to h*t the panic button. Okay, just... (Booth stops to remove g*n from his ankle holster) PEROTTA: Ah, so you're ready to risk a g*n with your w*apon in the wrong hand? BOOTH: I don't have a wrong hand. PERTOTTA: I'm curious. When you sh**t with your left hand, does it feel like somebody else is sh**ting? (Booth breaks through door. Booth and Perotta raise their g*n and men inside point g*n at them) PEROTTA: What do we do now? BOOTH: Okay, FBI. Okay, I'd reach for my badge right now, but, you know... PEROTTA: Drop your w*apon, please. BOOTH: "Please"? The FBI does not say "please." Okay, look. I really don't care about the illegal gambling. I just want to talk to a guy named Albie about a guy named Pete Carlson. ALBIE: I'm Albie. (Cut to back room - Booth, Perotta and Albie sat at table) ALBIE: First rule: don't k*ll the people who owe you money. All you get then is trouble and no money. PEROTTA: How much money did Carlson owe you? BOOTH: Okay, so you got your operation shut down and moved out? Because I can have my guys here in about what, three minutes to mop that back room up? ALBIE: Pete Carlson was not a bad player most of the time, but... you know, every once in a while... BOOTH: He got brave and lost everything, huh? ALBIE: Gamble a bit yourself, do you? BOOTH: I'm reformed. PEROTTA: Tell me, when was the last time Carlson got, um, brave? ALBIE: Last month. But he paid up in full a couple days later. PEROTTA: Cash? (Albie takes bracelet from around her wrist and puts it on the table.) BOOTH: Little garish, don't you think? ALBIE: I don't know where Pete got it, but it covered his debt. PEROTTA: I'm going to have to take this. ALBIE: If I didn't intend to give it to you, you'd never have seen it. Okay, you gave me the time I needed to move my operation, I gave you evidence. I call us square. You decide to get back into the game, you look me up. BOOTH: Right. Yeah. PEROTTA: Well, we gonna call this in? BOOTH: Oh, no point. Like the woman said, she's moved on. (Cut to ice rink. Perotta, Brennan and Booth go onto ice, with Booth slipping and nearly falling) BRENNAN: Hodgins confirmed that the traces of rink water in the victim's oesophagus came from this rink. BOOTH: Well, how did rink ice get into his throat? BRENNAN: He was beaten, then a sharp instrument was thrust into his eye. There should be bloodstains. PEROTTA: You're going to scan the ice with one little wand? I'll call in an FBI forensics team. We'll have the whole place searched. BOOTH: No need. All you need is black light, right? BRENNAN: Yes. BOOTH: Right? I got a great idea, just stay here. It's very slippery, don't move. (Booth walks off the ice. The lights go off so that it's only black light, making everything blue) BOOTH: Ready? How's that, huh? PEROTTA: Nice. BOOTH: Gonna work? PEROTTA: Well, I see some, uh, flecks of blood. BRENNAN: No we're looking for something bigger than these small specs and spots. PEROTTA: Uh, the victim was s*ab in the eye. We're looking for a pretty significant puddle. BOOTH: Right, two guys get into a beef, then they put their street clothes on and then come back here on the ice to duke it out? No. PEROTTA: Booth? BOOTH: Yeah? (All looking at a big patch of white amongst the blue of the ice) PEROTTA: My God. BRENNAN: This is going to turn out to be where Pete Carlson was m*rder. (Cut to Medico Legal Lab - Forensic Platform. There are various large containers of ice/water. Cam enters platform and walks to Hodgins who is fishing through one of the containers.) CAM: This is all the ice from the crime scene, including the scrapings from the Zamboni. HODGINS: We should be able to get enough DNA out of this to confirm the blood is Carlson's. Whoa. Human tooth. CAM: It's hockey. That Zamboni probably had a hundred teeth in there. HODGINS: Looks like we found where the Tooth Fairy winters. (Cut to Medico Legal Lab - workroom. Wendell is standing at a table with the bones on. Hodgins enters) HODGINS: Did you find a match yet? WENDELL: Just started. HODGINS: Cam says it's definitely the victim's blood. WENDELL: I still haven't found the m*rder w*apon. HODGINS: Yeah, I know, I still haven't identified the nylon polymer I found on the victim's shirt. (Angela enters) ANGELA: So, I've looked at, like, a thousand photos of those blood patterns at the rink. And tons from the apartment. WENDELL: Why, what are you looking for? ANGELA: Here's a blood pattern at the rink. The body was dragged in that direction. WENDELL: Yeah, the body was dragged that way, but what are those drops over there? ANGELA: What drops? WENDELL: Those drops right there. HODGINS: They parallel the dragging body. And they aren't smeared. ANGELA: These parallel drops aren't from the victim. They're from whoever dragged him across the ice. HODGINS: Well, that means we have to check for more than just Pete's DNA. ANGELA: Too bad we can't question the fish. WENDELL: What k*lled those fish? ANGELA: Not eating for three weeks. WENDELL: If that happened, they would eat each other. HODGINS: Grab your coat. We're going on a field trip. And tell Cam to check the rink samples to find out if there was a second source of DNA. (Hodgins and Wendell leave) ANGELA: I'm not really a big fan of this... barking out orders stuff. (cut to Sweets's office) SWEETS: Agent Booth, it's come to the attention of the deputy director that you are a viable suspect in a m*rder case. BOOTH: Right, okay, and he wants you to make sure that I'm not viable. SWEETS: That's correct. BOOTH: Come on, Sweets, you know I didn't k*ll anyone. So, you know, put that in shrink talk and write out your little form and send it in. SWEETS: Mm-hmm, yes, of course, but to do that, I need to ask you some questions. BOOTH: Great. sh**t. SWEETS: I saw you in that game. You b*at another man to the ice. BOOTH: It's hockey. I was protecting my teammate. SWEETS: You broke your hand on his helmet. BOOTH: It's hockey. Okay, you never played, did you? SWEETS: Oh, I'd run track and cross country and did some wrestling and ch... BOOTH: Chess! SWEETS: No. BOOTH: Checkers? SWEETS: Didn't say that. BOOTH: You know what? Then you know nothing... It's about teams, okay? And teamwork. Obviously you don't know anything about that, Dr. Sweets. SWEETS: You joined the army. You became a sn*per. You joined the FBI. Do you see the, uh, the binding element in those choices? It's v*olence. BOOTH: Or the love of uniforms. You ever think that? SWEETS: Agent Booth, I believe that you are ready to confront the fact that the v*olence you may have suffered in childhood BOOTH: You know what? SWEETS: has followed you into adulthood. BOOTH: Fill out the form. (knocking at the door) SWEETS: Not now! (Caroline enters) CAROLINE: Hiya, Sweets. Uh, if you're about finished here, Booth, in accordance with the warrant you made me get, Pete Carlson's phone records are here. SWEETS: Ms. Julian, actually, I'm the one that decides when we're done here. CAROLINE: Of course you are, Cherie, no offense intended. I'll be delivering the phone records to Agent Perotta. I thought I'd do that in your office. (Caroline leaves and closes the door) BOOTH: Thanks, Cherie. We're done. (Booth stands and moves to door) SWEETS: Well, we are done but that was just a coincidence. (Booth standing in doorway) BOOTH: Sweets, I've k*lled but I've never m*rder before. Look up the difference in your little black book there, okay? (Cut to Pete Carlson's apartment. Wendell and Hodgins enter) WENDELL: This is legal, right? HODGINS: Absolutely. WENDELL: Okay. HODGINS: None of them look nibbled on. Oh, man, they should've gone at each other like a Peruvian soccer team stranded in the Andes. WENDELL: Then they all died at the same time. I don't see what this is going to tell us. (Wendell taking photos of fish t*nk. Hodgins scooping fish out of the t*nk) HODGINS: How they died? WENDELL: No, no, I mean about the case. HODGINS: Ooh, if Brennan were here, she'd smack your face. Her philosophy is, we find out the facts about everything, then see how it fits together. Photo opportunity. (Hodgins poses for photo holding up bag of d*ad fish) (Cut to Booth's office. Booth and Caroline sat on either side of the desk. Perotta standing) PEROTTA: Pete made eight calls right after the game to the same number. CAROLINE: Lou Herrin. Who's that? BOOTH: A sergeant in the State Cops. He exchanged blows with the victim the night that he died. CAROLINE: Make it official. Question the cop. PEROTTA: Let's get some leverage on the guy first. Put him at the m*rder scene, get a warrant to test his DNA. BOOTH: Here we go. (Caroline stands up to leave) CAROLINE: Get a warrant for this, Ms. Julian, get a warrant for that. You need grounds for a warrant, Cherie. Don't they teach that at Quantico anymore? What grounds have you got for that warrant? None! Nothing! You're just wishing. (Caroline leaves) BOOTH: I know how to get some blood out of this Herrin. PEROTTA: Legally? BOOTH: Yeah, of course legally. (stands) PEROTTA: How? BOOTH: Well, it's a big game tonight, right? And sometimes during a game... people bleed. PEROTTA: (Sigh) I don't like it. BOOTH: Then you don't have to show up. (Cut to Booth sawing off his cast in the corridor outside of the ice rink locker room. Wendell comes out of locker room) WENDELL: What are you doing, man? BOOTH: What does it look like I'm doing? WENDELL: You think that's a good idea? You got another couple of weeks on that cast. BOOTH: Well, considering I can't play with a cast, then yeah, it's a great idea. You clear about the plan? WENDELL: Somebody bleeds, I collect a sample, put it in a bag, pass it off to Dr. Brennan. BOOTH: Lou Herrin, number five, he's our prime suspect. And I gotta make him bleed. (Cut to ice hockey players skating around. Perotta and Brennan seated in stands) PEROTTA: You've worked with Booth for a while now, right? BRENNAN: Mmm hmm PEROTTA: Is he the kind of guy that, uh, you know, I... Is he flirty? BRENNAN: Flirty? PEROTTA: Would you say he twinkles his eyes at all women? BRENNAN: Twinkly eyes actually result when the pupils dilate very wide which is an unconscious result of intense interest or sexual attraction. PEROTTA: So, no, he doesn't twinkle at everyone? BRENNAN: No. PEROTTA: All right. (Wendell and Booth skating side by side) WENDELL: Is that the guy? BOOTH: That's him. Lou Herrin, number five. WENDELL: You think he even knows how to bleed? BOOTH: Just keep your head up, all right? OPPOSITION: Come on, you should've called that. Pass it up! (Booth knows a player down. Wendell collects a sample of his blood and gives it to Brennan. Booth knocks Lou Herrin down) BOOTH: Keep your head up, Herrin. (Booth knocks another player into the glass wall, leaving blood running down it Wendell collects a sample and gives it to Brennan. Booth smashes into Lou Herrin again) LOU HERRIN: Man, what's your problem? BOOTH: I got a little chip, all right? Just play your hockey ,pal. This guy's hard to get mad. WENDELL: Man, he's maybe the only one who hasn't shed a drop. (Booth and Lou Herrin pushing and shoving each other) LOU HERRIN: Stay out of my face! BOOTH: Keep your head up, huh! (Lou Herrin smashes into Booth) LOU HERRIN: Take a warning, pal. BOOTH: (to Wendell) I think I'm finally getting to this guy. WENDELL: Hope you survive it! (Booth and Herrin pushing and elbowing each other. Booth hits Lou Herrin in the mouth. Lou Herrin stops, spits out blood and then chases Booth and smashes into him. Booth's helmet hits the ground and then Booth hits the back of his head on the ice) (Booth changed to Philadelphia Flyers jersey. Luc Robitaille skates up and slides getting ice all over Booth's face) LUC ROBITAILLE: Taking a little break? BOOTH: Luc Robitaille? LUC ROBITAILLE: Seeley Booth. BOOTH: Right. (gets up and skates around) LUC ROBITAILLE: Let's go, let's play. BOOTH: Right. You're the greatest left-winger of all time. LUC ROBITAILLE: And you're the best player on your team. For what that's worth. All right, let's go. Come on, let's play. Here we go. Come on, show me something! Hey, come on, move, move! Move, move, let's go! BOOTH: Whoa, wait a second. I can't play hockey with you. I gotta solve a m*rder. LUC ROBITAILLE: You know, Booth... it's not about the blood. (scores a goal) BOOTH: It's our best forensic clue. LUC ROBITAILLE: Forget the blood. BOOTH: Then what? LUC ROBITAILLE: You know what makes a team. Look at the team. It's about what brings a team together. BOOTH: The team. Look at the team. LUC ROBITAILLE: All right, let's go, one on one. Let's see what you got. Come on, B. (Booth skates towards Luc Robitaille, checks into him and falls onto his back again) BOOTH: Geez, ugh. I thought I could get by you there, you know? LUC ROBITAILLE: You'll never get by me. BOOTH: Right. LUC ROBITAILLE: Now, listen, Booth, you're not your father, okay? You protect the ones you care about, on the ice and off the ice. That's who you are. You're not your father. You're not your father. BRENNAN: Booth? LUC ROBITAILLE: (echoing) You're not your father. BRENNAN: Booth? Booth? Booth? (Brennan standing over Booth) BOOTH: Bones, what are you doing on the ice? BRENNAN: I get nervous when you fall down and don't get up. Come up here. WENDELL: Up you go, buddy. BRENNAN: Come on. (Brennan and Wendell help Booth to stand up) WENDELL: Don't worry, I got the blood. BOOTH: (to Wendell) Good work, Bones. BRENNAN: But I'm Bones. (Cut to Medico Legal Lab - Workroom. Hodgins running blender running with red mush in. Angela enters) ANGELA: Smells like fish in here. HODGINS: Yep. It's the victim's goldfish. They died of ammonia poisoning. ANGELA: How did that happen? HODGINS: I don't know. Maybe the victim washed his aquarium with window cleaner? I don't know. How are things with you and Roxie? ANGELA: Uh, good... good. Taking it slow, you know. Letting things unfold in a... Are you seeing anybody? HODGINS: I, um... actually went out on a date last night. ANGELA: I'm glad to hear that. HODGINS: Any little twinge there? ANGELA: Definitely a little twinge, yeah, but...despite the twinge, I'm glad you're back in the saddle. HODGINS: Oh, I'm not back in the saddle exactly. It was just a first date. Barely got out of the barn. ANGELA: You saw the victim's apartment, right? HODGINS: Yes... yeah. Yeah, it was a pigsty. ANGELA: I don't think that guy cleaned anything. Not with ammonia. Not with anything. (Cut to Brennan's office. Booth sat on sofa with ice bag on his head with Brennan standing by him. Sweets enters and sits down.) SWEETS: I came as soon as I heard Booth had a brain injury. What part of your head hurts? BOOTH: The part above my shoulders. BRENNAN: The doctor said he has a concussion. He shouldn't fall asleep. Otherwise, not serious. BOOTH: Tell him about the hallucination. SWEETS: You hallucinated? BOOTH: Luc Robitaille gave me advice. BRENNAN: You got advice on a m*rder case from... SWEETS: What did he say? BOOTH: He said, "Don't worry about the... the player's blood." SWEETS: That's very interesting. BOOTH: Lucky Luc told me to look in a different direction. SWEETS: That's interesting. BOOTH: Stop saying that... just stop. (Cam enters) CAM: Preliminary DNA tests show that the blood mixed in with the victim's did not belong to Lou Herrin. BOOTH: Lucky Luc was right. CAM: All that means is that you got your brains scrambled for nothing. BOOTH: Lucky Luc is never wrong. SWEETS: This hallucination could be, uh, Booth's subconscious speaking to him through the voice and image of someone that he idolizes. BRENNAN: Like a modern version of a Vision Quest? BOOTH: You know what, hallucination or not... (stands) Lucky Luc, he told me something about myself that... He told me something. SWEETS: I'd be very interested in knowing what he said. BOOTH: Lucky for me, you're never gonna find out because Bones is gonna drive me home and get me soup. (Booth and Brennan leave the office) (Cut to Hodgins and Wendell in Pete Carlson's apartment) HODGINS: There has got to be some reason these fish died of ammonia poison. WENDELL: Last time I did this, I ended up in juvie hall over the weekend. HODGINS: What? WENDELL: What? Uh, nothing. HODGINS: Whoa, wow. Oh wow. (pulls jewellery out of bottom of t*nk) Buried treasure. WENDELL: What do we do now? HODGINS: Find out why the hell he was hiding jewellery in a fish t*nk. (Cut to FBI meeting room) CAROLINE: Have any of you ever heard of something called "chain of evidence"? PEROTTA: Ms. Julian... CAROLINE: Why didn't you go with these two idiots to the victim's home? CAM: Please don't call my people idiots. HODGINS: We're not idiots. WENDELL: I feel like an idiot. CAM: You don't speak right now-- neither of you. It's a crime scene. My people are very often at crime scenes. It's what we do. CAROLINE: No, it's not. You've got it in your heads that you're crime scene types. This is Booth's fault for indulging your fantasies. You are not crime scene types. You are lab rats. CAM: No chain of evidence was broken. When Dr. Hodgins and Mr. Bray found the items, they immediately called me. I called Booth, and when his head hurt too much to talk to me, I called Agent Perotta. PEROTTA: Ms. Julian... CAROLINE: What? PEROTTA: A photograph of d*ad fish led them to this. I think that kind of brilliance is worth it. CAROLINE: You've been taken hostage by the squints, Agent Perotta. Turns out these items were reported destroyed in a f*re. HODGINS: The victim was a fireman. WENDELL: The FBI could check to see if the Firedawgs put out that f*re. HODGINS: Stole from the f*re, cleaned off with ammonia. WENDELL: Hidden in the aquarium, k*lled the fish. CAM: Okay. Now you are straying out of your territory. CAROLINE: No, they got it right. The bracelet Agents Booth and Perotta recovered from the victim's loan shark was reported destroyed by that same f*re. PEROTTA: My people were right. CAM, CAROLINE, WENDELL AND HODGINS: Your people? WENDELL AND HODGINS: We're Booth's people. (Cut to Booth's apartment. Booth looking at photos and names on his laptop) BOOTH: They're on the Firedawgs, but they also played on the same high school team. What brings them together, eh? (Brennan comes in through the door) BRENNAN: I'm back. BOOTH: Hey, what brings them together? What brings the team together? BRENNAN: So, I got the soup from the place. And, yes, I told Mama that it was for you especially. BOOTH: It's all about the team there. It's all... BRENNAN: What are you doing? BOOTH: It's all about the team there. Bones, it's all about the team there. They...these four guys...they all played hockey together in high school, and now they all play together as a team. BRENNAN: They're all firemen? BOOTH: Yeah. They all worked the jewellery store f*re. One of these three guys is the m*rder. BRENNAN: According to Mr. Lucky? BOOTH: It's Luc, okay? It is... it... it's not Mr. Lucky. It is Luc Robitaille. Left wing. Great sh*t. Luc Robitaille-- he's one of the best left wings of all time. BRENNAN: (picking up spike) What is this? BOOTH: It's a lace puller. Why? BRENNAN: I think it might be the m*rder w*apon. (Cut to interrogation room. Brennan sat on one side of the table, with Dave Simms, Alex Pinna and Ed Fralic on the other side. Booth standing behind Brennan. Perotta enters) PEROTTA: We want to discuss the jewellery store f*re. ALEX PINNA: I want a lawyer. DAVE SIMMS: What for, Alex? We didn't do anything wrong. None of us did. BOOTH: What about Pete? PEROTTA: He break some kind of fireman code, something like that? (Sits) ED FRALIC: Yeah, something like that. ALEX PINNA: I've got nothing to say about any of this. I want a lawyer. BRENNAN: We know Carlson was beaten with a hockey stick, after which a lace puller entered his brain through his eye and k*lled him. BOOTH: What about your dream, Ed? You were gonna play for the NHL, right? "Local player scouted by the NHL." Look at that one. Oh, this one's good, too. "Fralic's hat trick wins game." ED FRALIC: I got injured. BRENNAN: This injury would end any chance of a career in professional hockey. DAVE SIMMS: What does that have to do with anything? ED FRALIC: Look, I got hurt, now I sell siding, and I play hockey on the weekends. ALEX PINNA: Why you got to rub his face in the past? BOOTH: Who ruined you? ED: Pete Carlson. It was Pete. BOOTH: You all knew about the stolen jewellery. PEROTTA: The question is, how many of you were there the night he was k*lled? DAVE SIMMS: None of us. Nobody here had anything to do with that. BRENNAN: We have the hockey stick, the m*rder w*apon and DNA. BOOTH: It's only a matter of time. ED FRALIC: Yeah. DAVE SIMMS: What? ED: It was me. I asked to meet Pete on the ice after everybody left. I told him to give back the stolen jewellery, and he said to me... He said to me that I was a... a coward. That I didn't do anything to him back in the day when he wrecked my life and I wouldn't do anything to him now. Well, he was wrong. (Cut to ice rink - Brennan and Booth skating) BRENNAN: I'm not positive this is a good idea. BOOTH: Oh, I got you! I got you. Stay up here. (Brennan falls down) Okay, it's all right. Here we go, one more. (Booth picks Brennan up) Well, you know what, I got to stay up all night, so who better to keep me company than you? BRENNAN: You and me skating is saving you from slipping into a coma? BOOTH: Oh, easy, Bones. Now I'm gonna go down. BRENNAN: I have a lot of natural athletic ability. BOOTH: Oh, yeah, natural. I can... I can see that. Real smooth and natural. That's it. Well done. BRENNAN: That Agent Perotta, she really enjoyed working with us. BOOTH: Yeah. BRENNAN: But, um... you're the only FBI agent I want to work with. Will you tell me what the Lucky Luciano told you? BOOTH: He's not an Italian opera singer. Bones, why do you always say that wrong? You do it on purpose, don't you? (Booth and Brennan skating holding hands) BRENNAN: I would like to know what he said. BOOTH: He said that I'm not like my old man. He said I'm made of better stuff. BRENNAN: Well... I don't know your old man, your father, but... I think you're made of very, very good stuff. BOOTH: Hey, you know what? Forget about Agent Perotta, all right? Nothing's gonna change between me and you. BRENNAN: Well, entropy is a natural force that pulls everything apart at a subatomic level. Everything changes. (Booth pushing Brennan on the ice) BOOTH: Not everything, Bones. BRENNNAN: Don't. BOOTH: Not everything. BRENNAN: You're gonna make me fall. BOOTH: I'm never gonna make you fall. I'm always here. BOOTH: Here comes the big spin. (laughter fade out) END.

{"type": "series", "show": "Bones", "episode": "04x13 - f*re in the Ice"}

foreverdreaming

"The Hero in the Hold" Episode 4x14 / Production 4x08 Airdate: February 5, 2009 Written By: Janet Lin and Karine Rosenthal Directed by: Ian Toynton Transcribed by: cece2087 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (FBI - The Conference Room) (Brennan, Hodgins and Thomas Vega are sitting at the table with Judge Williams) JUDGE WILLIAMS: Dr. Brennan, Dr. Hodgins, Mr. Vega, thank you for coming. VEGA: You get a notice to appear in front of a federal judge, you appear. BRENNAN: I assume this has something to do with the Gravedigger. HODGINS: The only thing the three of us have in common is that kidnapper. (appearing from the dark corner of the room ADA Heather Taffet approaches the table holding a folder) TAFFET: My name is Heather Taffet. I'm the United States Attorney assigned to the Gravedigger case last month. BRENNAN: What happened to Ms. Kurland? HODGINS: She was k*lled (Brennan looks at Hodgins) in a car accident in Boston. VEGA: So what? You think the Gravedigger had Kurland k*lled because she was getting close? HODGINS: (irritated) She wasn't getting close, she was barely conducting an investigation. BRENNAN: (turning her head back to address Taffet and Judge Williams) Nothing has moved in the Gravedigger case in months. JUDGE WILLIAMS: Well it turns out something did move. TAFFET: Some evidence has gone missing. BRENNAN: You suspect that one of us stole Gravedigger evidence? From the FBI? TAFFET: Mr. Vega is a former FBI agent as well as a best-selling author on the Gravedigger. You both contract out to the FBI. JUDGE WILLIAMS: Let me make this very clear. If any of you has any evidence linked to the Gravedigger case, I am ordering you as a federal judge to turn it over to Ms. Taffet. TAFFET: Turn it over to me today and you get full immunity. (Booth's Apartment: the Bedroom) (Booth is looking in the mirror and putting the final touches on his rented tux...his cocky belt buckle) BOOTH: (to himself) Look at that. (his cell phone rings. he turns and walks to pick it up) Ohhh, it's got to be Bones. (he looks at the ID on the phone) Yup. (answering) I'm hurrying Bones. (Brennan's Car) BRENNAN: Do you need directions? BOOTH: (on phone) No, I do not need directions... (Booth's Apartment) BOOTH: (he exits the bedroom into the living room ) ...because I am driving. BRENNAN: (on phone) My GPS can... (Brennan's Car) BRENNAN: ...provide perfect directions in several languages. (Booth's Apartment) BOOTH: (walking over to the coffee table) Well get this, ok? Parker got me this new watch (he picks it off the table and puts it on) and it does the same thing. (Brennan's Car) BRENNAN: (curious) Oh, in several languages? BOOTH: (on phone) No. BRENNAN: Well then it's not the same thing. (Booth's Apartment) BOOTH: (walking over to a mirror to adjust his tie) I bet you are looking beautiful, huh? Because I am in the finest tux that money can rent. (Brennan's Car) BRENNAN: Well, I'm on my way home to get dressed. But you need to be there an hour and a half before me to watch the tribute video. My GPS indicates that it's a...25 minute drive for you. (Booth's Apartment) BRENNAN: (on phone) This is my big night Booth. BOOTH: Alright Bones, listen. Don't worry, I will be there when they crown you super scientist... (Brennan's Car) BOOTH: (on phone) ...I will be the guy in the cocky belt buckle... (Booth's Apartment) BOOTH: ...and the snazzy rented tux. (he hears a knock) Someone's knocking on my door. (Brennan's Car) BRENNAN: How can there be a knock at your door if you're already driving? (Booth's Apartment) (Not wanting to answer, Booth looks at his phone, hangs up and walks to the door) (Brennan's Car) (Brennan is frustrated that Booth hung up) (Medico Legal Lab) (Brennan, all dressed up for her event, rushes in to a waiting Cam, Sweets and Angela, all three of whom are also dressed for the occasion) CAM: You're late. BRENNAN: I know. It took me longer to get dressed than I thought but don't worry my GPS will get us there on time. (She begins to turn to head back out the door as the other three follow) ANGELA: (putting on her jacket and laughing) It's not a time machine sweetie. (Brennan's cell phone rings) SWEETS: I call sh*t g*n. (Cam shakes her head) BRENNAN: (answering her phone) Brennan. GRAVEDIGGER'S VOICE: I have taken Seeley Booth. (She stops walking and grabs for Cam's phone to record the message) He has been buried alive. He has 21 hours to live. (Angela turns around to see what's wrong. Her face drops when she sees Brennan's look of worry. Cam also looks troubled.) Bring the evidence to the SW5 DC Boundary Stone in return for which you will receive GPS coordinates. If you involve law enforcement I will know and Seeley Booth will die. This is my final communication. (Brennan stops the recording on Cam's phone but keeps her phone to her ear) CAM: What's going on? BRENNAN: (Not looking up, she hangs up the phone. She is still processing the information.) The Gravedigger has Booth. (Angela, Cam and Sweets all look worried) (A Dark Container) (A watch lights up. It's Booth's and he is lying on his back in a small, dark container. He's breathing heavily and uses the light to look for a way out. There doesn't seem to be one so he begins to bang on the secured lid) (Booth's Apartment) (The door opens and Sweets enters holding a stiletto for a w*apon. He is being cautious and Brennan follows behind and turns on the light. Cam and Angela enter behind her) CAM: Booth? BRENNAN: (looking back at her) He's not here. I told you. (They begin to search the apartment for clues) ANGELA: I was hoping it was...like a prank call or something. CAM: The door was locked. SWEETS: What does that mean? ANGELA: Well, I doubt that the Gravedigger would take the time to...(she looks at Sweets and sees he's still holding her shoe) Give me the shoe. (She grabs it from him and puts it back on her foot) ...would take the time to lock the front door on his way out. CAM: Especially lugging 190 pounds of unconscious Booth. (they continue looking around the apartment, all ending up in the living room. Brennan emerges from the bedroom and sees something) BRENNAN: (pointing) He was dragged...toward the window. (the blinds on one window are bent and disturbed. Cam goes to look closer at it) ANGELA: Oh my god. Okay, alright, we need to call the authorities. (Brennan immediately looks at her) We are in way over our heads here. SWEETS: No. No, no, no. I read up on this guy. If we want Booth back, we need to pay the ransom. CAM: The Gravedigger wanted evidence. What evidence? BRENNAN: It has to be the same evidence that the state attorney and the FBI think that I have which I don't. (Angela takes out her phone and dials) SWEETS: What are you doing? ANGELA: They called in Hodgins too. BRENNAN: You think he stole the evidence? ANGELA: (puts the phone to her ear) I know you didn't. (A Dark Container) (Booth is still forcefully kicking the top of the container trying to get it open. He feels the walls around him looking for another way out.) CREDITS (A Dark Container) (Booth is still kicking the lid of the container. There are bolts holding it shut which he tries to kick loose. It doesn't work. He takes his keychain to try and loosen the nuts. He struggles, but loosens the first one. He kicks the bolt out. Light shines in and he pokes his finger through and looks up.) (Medico-Legal Lab) (Hodgins is doing push-ups very quickly. Brennan walks in) BRENNAN: Could you stop that, please? HODGINS: (he stands) I was just working off adrenaline. How long ago did the Gravedigger get Booth? What kind of time do we have? BRENNAN: I know you have what the Gravedigger wants. The evidence that the judge told us about. The Gravedigger thinks that I have it. But he's wrong. It's you. (Hodgins doesn't reply. He looks at his feet) Give it to me. (Hodgins looks up, hesitant to give Brennan what she wants) (A Dark Container) (Booth is loosening another nut. After some struggle he gets it open and pushes the top open) (A Large Hold) (Booth emerges from a very small yellow submarine. He climbs out, stumbles a little and takes a look at his surroundings. He hears something in the dark corner of the room.) BOOTH: Who's there? Who's that? VOICE: It's me. BOOTH: Who's me? VOICE: Best buddy you ever had. (the voice emerges from the darkness. It's a young soldier) Your words. (Booth looks shocked and confused) BOOTH: Teddy? (Teddy looks up at him and smiles. Booth sighs in disbelief) Flash (Booth's memory: He's in his ranger camouflage uniform carrying a soldier over his shoulders, running for help) Flash BOOTH: This isn't real. TEDDY: (He hits the submarine. It makes a metal ting) I'm gonna go with real. Nice monkey suit by the way. I would never have thought to go formal to a kidnapping. BOOTH: (stumbling over his words) Look, no offense but you know, I've been drugged, electrocuted...stuffed in a...Beatles toy. You're...you're a hallucination, that's what you are. You're a hallucination. TEDDY: Aww, that's nice. I show up to help you and you toss me off as a hallucination. (he closes the lid of the submarine) BOOTH: You're d*ad corporal. I felt your heart stop. TEDDY: No use crying over spilled milk, Sarge. BOOTH: You know what? You're not real. This isn't real. You know what? I am gonna focus on what is real. Right? Real, like getting out of this place. Okay... (He looks up to see a hatch door high up by a catwalk. Teddy follows his gaze) TEDDY: Nah, Sarge. It's too high. How about that one? (he nods his head in the direction of another hatch door on their level. BOOTH: (he looks to where Teddy nodded) I already saw that. (he walks to it) TEDDY: Now you're getting competitive with a hallucination. (Booth glares back at him. Teddy looks over his shoulder to the darkness behind. He looks back at Booth.) What? Oh, right. No, still here. (Booth glares at him for a little while until he turns his concentration back to the door) Aw, you really haven't changed, Sarge. (He steps closer to Booth) Once you knew it had to be done, nothing can stop you. BOOTH: (frustrated) Enough already, okay? TEDDY: (he straightens into military position) Yes sir, Sergeant. BOOTH: (walking back to the sub and mumbling to himself) I got this. (he takes one of the propellers off the sub and brings it back to the door) TEDDY: Hey, look at that. You're making progress. (Medico-Legal Lab: An Office) (Hodgins pulls out a metal briefcase and opens it up. He turns to show Brennan the files inside.) HODGINS: There. (She looks up) That's everything. BRENNAN: The judge was after a specific piece, Hodgins, something that you stole from the FBI. (Defeated, Hodgins pulls a small vial out of the case. It's the bumper sticker found in his pants when Brennan and he were trapped in the car. He shows it to Brennan) BRENNAN: I remember that. (She takes the vial from Hodgins) It was embedded in your leg. HODGINS: Yeah. Probably came off the bumper of the vehicle the Gravedigger used to run me over. Only shortly before he buried me alive. BRENNAN: (Giving a small nod) With me. (she looks back at the vial) HODGINS: I'm pretty close to...discovering the manufacturer. (Brennan looks up) Which will help us narrow down the suspect pool. BRENNAN: Booth doesn't have that kind of time. (Hodgins reaches to take the vial back from Brennan. She pulls it closer to her) CAM: (entering the room) What is that? (Angela follows Cam in) BRENNAN: Evidence that the Gravedigger wants. (Sweets enters behind Angela) Sweets, you...you shouldn't be here. The Gravedigger said no FBI involvement. SWEETS: I'm a psychologist, not an agent. CAM: An FBI psychologist. Dr. Sweets, get, gone, now. (He exits, visibly angry) (Angela watches Sweets exit then turns to Hodgins. She approaches him looking mad) ANGELA: You stole evidence? (Angela, Cam, Brennan wait for a response) HODGINS: You don't know what it was like. Being buried in that car. BRENNAN: (forcefully) I do. I was there. HODGINS: I know. And if we turn over that evidence we will never catch the Gravedigger. CAM: Booth only has 19 hours. HODGINS: (frustrated) Okay, okay. Let's just take 10 of those hours and see if we can do both. (Angela and Cam both look to Brennan to decide) Brennan, I'm telling you the answer is there. (he points to the vial) (Brennan looks worried about taking the chance. She stares at the vial. She shakes her head slightly) HODGINS: 10 hours? (Angela looks to Cam. Cam looks to Brennan) BRENNAN: (Brennan looks up, stares at Hodgins, looks back to the vial and then back to Hodgins.) 8. And Dr. Hodgins is never left alone. ANGELA: You don't trust him? BRENNAN: No. I don't. (Medico-Legal Lab: Angela's Office) (Brennan's phone is linked to the computer) ANGELA: I scanned the new recording... GRAVEDIGGER'S VOICE: (playing from the computer) Bring the evidence to the SW5 DC Boundary Stone in return for which you will receive GPS coordinates. (Angela moves to audio equipment on a rack and hits some buttons) If you involve law enforcement I will know and Seeley Booth will die. This is my final communication. ANGELA: ...along with the recording that the Gravedigger gave when you and Hodgins were kidnapped. (she pauses) You okay to hear that? (Brennan nods) Okay. GRAVEDIGGER'S VOICE: (from computer) Temperance Brennan and Jack Hodgins have been buried alive. Wire transfer $8 million to the following Grand Cayman account or they will suffocate to death. (Angela stops that and replays the end of Booth's message) ...or Seeley Booth will die. (Angela replays the very end of the Brennan/Hodgins message) ...or they will suffocate to death. ANGELA: Now despite the voice scrambler, I was able to extract specific phonemes by running the waveform through a 4AA Transform. (on the computer, Angela shows the matching waveforms) BRENNAN: Graphically, they're identical. Can we hear the unscrambled voice? ANGELA: No, the coding was too complicated. But the voice scrambler was triggered to compress at a certain set level. (she walks back to the audio equipment and inserts a disc) Now in this case, it was set to the volume of the human voice. BRENNAN: So when the Gravedigger isn't speaking... ANGELA: Right, the background noise pops into the foreground. Uncompressed. (the computer program extracts the background audio. Angela plays it.) BRENNAN: What is that? ANGELA: Ummm. I'm...still working on that. Sorry. I... (she looks and faces Brennan) We'll get Booth back. BRENNAN: You can't know that. ANGELA: Brennan, I just think that... BRENNAN: (cutting Angela off) Just...work, please. (Angela nods) ANGELA: Okay. (she turns back to the computer) Let me try another algorithm. (she plays the audio again) Birds? BRENNAN: (after a moment of listening) Gulls. Seagulls. The Gravedigger was near the water. (Angela and Brennan both look at each other, small smiles come to their faces.) (The Hold) (Booth is using the propeller to bang on the hatch door to wedge it open. The blade breaks) TEDDY: (holding out a new propeller) Fresh one? What? Oh, hallucinations can't help out a little. BOOTH: (Taking the propeller) Give me that. (He turns back to the door.) TEDDY: You're welcome. (observing Booth) No, Sarge. Pry with your legs. Watch so you don't hurt your back. (Booth pushes harder, the door opens a little. Water starts to pour in at the bottom.) TEDDY: That can't be good. (Booth looks down at the water and back to Teddy) Flash (Booth's memory: Booth is running through a small creek still carrying the body over his shoulders.) BOOTH: Hang on Teddy. You're gonna make it. Flash (The water is coming in harder now drenching Booth. He tries to shut the door) TEDDY: Ahhh, you might want to close that up, Sarge. (Booth is really struggling to hold the door in place. His efforts are futile and the door bursts open. A wall of water fills the room) (Medico-Legal Lab: The Platform) (Brennan and Angela rush onto the platform. Hodgins and Cam who are studying the case file look up) ANGELA: Hey guys! There was no voice match but there was a point of origin on the call. (They all surround one of the computers as Angela brings up the audio. She plays it.) CAM: Seagulls? BRENNAN: I talked to Booth an hour and 47 minutes before I got the ransom call. CAM: That merry-go-round... (Angela looks up to her. Cam has a moment of realization) The boardwalk! King's Beach Boardwalk. HODGINS: I got it. (He walks away and picks up Vega's book on the Gravedigger. He brings it back and points to Vega's picture on the back) BRENNAN: Vega? HODGINS: Vega lives in a penthouse apartment just off the boardwalk. (Cam looks at Brennan) (A Parking Garage) (Hodgins and Brennan get out of her car and walk through the garage) HODGINS: Do you think this is my fault? BRENNAN: If you hadn't stolen the evidence the Gravedigger would never have taken Booth. HODGINS: Rationally speaking, it was inevitable. It would have happened anytime we got close. BRENNAN: (pointing) Is that Vega's car? (they approach the car and walk to either side. There is someone in the driver's seat) Who is that? HODGINS: It's Vega. (Vega is sitting still in the front seat. Hodgins bangs on the passenger side door. Brennan looks through the driver's window) HODGINS: He's d*ad. (Brennan opens up the driver's door and looks closer at the body) BRENNAN: It looks like he was k*lled somewhere else and then was placed here. HODGINS: (looking around the garage) We should take his body back to the lab. (Brennan glares at him) Obviously the Gravedigger k*lled him. There's got to be some evidence that we can use. BRENNAN: Remove a body from the crime scene? (A car pulls up quickly. Agent Perotta steps out) PEROTTA: That would be a very bad idea. Step away from the car, please. (Brennan looks really confused) HODGINS: Agent Perotta. (The Hold) (water has filled up half the room. Booth and Teddy are treading as it continues to rise. They are looking up for an escape) BOOTH: Look, if the water rises up far enough I'll be able to get to that door and open it. TEDDY: What, the room isn't filling up quickly enough for you already? (Booth swims over to the wall) (Parking Garage) (the FBI is wheeling Vega's body away on a stretcher. Perotta is questioning Brennan and Hodgins) PEROTTA: You were here for an interview? (Brennan nods) HODGINS: Mr. Vega was writing Surviving the Gravedigger and wanted to talk to us. PEROTTA: At 5 in the morning? HODGINS: It was a...breakfast meeting. BRENNAN: Were you following us Agent Perotta? PEROTTA: Yes, Dr. Brennan. I was. You two are both suspected of stealing evidence. This (pointing to the crime scene) doesn't exactly clear you of suspicion. HODGINS: (pointing to Vega's body being loaded into a van) Well was he under surveillance? Because a fat lot of good the FBI did him. BRENNAN: Well it appears that he was the one who had the evidence. (Perotta tilts her head) Are we free to go...now? HODGINS: Why not? They have us under surveillance. PEROTTA: (As they walk away) I'll be in touch. (The Hold) (the water is much higher now and Booth climbs onto the catwalk. Teddy is already on it) BOOTH: Tell you what. You were always the guy to be with in a tough spot. TEDDY: You never said anything like that, Sarge. Mostly you just grunted. And made me get coffee. (Booth walks to the door, trying to turn the wheel handle) So what makes you think what's behind that, uh, hatch is going to be any better than the last thing we opened? BOOTH: I'll tell you what. I'm either gonna drown fast, or really, really slow. (He takes off his jacket) TEDDY: (looking down at the rising water) Okay. It's filling up pretty fast here, Sarge. (Medico-Legal Lab: The Platform) (Angela is on speakerphone with Hodgins and Brennan) HODGINS: (on phone) Vega's d*ad. ANGELA: Oh God. Vega's d*ad. Right, like m*rder, d*ad? (Brennan's Car) BRENNAN: We had no opportunity to examine the body to... (Medico-Legal Lab: The Platform) (Angela places the phone on its holder) BRENNAN: (on phone) ...examine the remains before the FBI interrupted us. CAM: Woahhh. What? FBI? HODGINS: (on phone) Yup. FBI Special Agent Perotta. BRENNAN: (on phone) We're going to swing by... (Brennan's Car) BRENNAN: ...pick up the evidence and deliver it to the Gravedigger. HODGINS: What? Woah-woah-woah. We just do what he wants? ANGELA: (on phone) We have no other choice... (Medico-Legal Lab: The Platform) ANGELA: ...You spoke to the FBI. HODGINS: (on phone) We didn't talk to the FBI, they talked to us. CAM: Somehow I don't think the Gravedigger is going to take that... (Brennan's Car) CAM: (on phone) ...into consideration. HODGINS: We still have time: to catch the Gravedigger and to save Booth. BRENNAN: (Brennan shakes her head) The odds are not acceptable. HODGINS: Why? BRENNAN: (yelling) Because we don't have Booth to help. CAM: (on phone) Let's be clear here... (Medico-Legal Lab: The Platform) CAM: ...What we intend to do next constitutes felony conspiracy. BRENNAN: (on phone) Not you... (Brennan's Car) BRENNAN: ...Me. I can do it alone. HODGINS: No...No. Nobody does anything alone. Vega was alone. (The Hold) (Teddy bursts from the rising water and climbs back on the catwalk. He has with him a large yellow pipe) BOOTH: What the hell's that supposed to be for? TEDDY: (out of breath) It's a fulcrum, Sarge. We, uh, both work it together. (Teddy places the pipe in the wheel) BOOTH: Yeah, right there. Ready? (Teddy pushes down on the pipe while Booth pulls the wheel up. After pushing a moment the wheel comes lose and Booth opens the door.) BOOTH: Get in. TEDDY: Hey, real people go first, Sarge. BOOTH: (Grabs Teddy by the shirt and pushes him in) Get in before I change my mind, will you? (Realizing he physically touched Teddy, Booth stares at his hand and then walks through the door) (A Room) (Another hatch is being pushed up from the floor. Teddy climbs out, Booth follows. He grabs onto Teddy's shoulder and starts feeling his face and body) TEDDY: Woah...okay...get a grip, Sarge. You're attacking your own hallucination. BOOTH: You are not an hallucination. You helped me open up that hatch. I wouldn't have been able to open up that hatch without you. TEDDY: Okay, okay. So what does that make me? BOOTH: You...are a ghost. TEDDY: I'm a ghost? (Booth turns around and looks at the new room they've entered) Hey, why aren't you scared? (Booth sees a fake skeleton dressed as a pirate) BOOTH: You being a ghost is not even on the list of things that scare me. (There are other decorations in the room like toys and giant stuffed animals) (Another Part of the Room) (Booth is kicking a fence that has he and Teddy trapped in this room) TEDDY: I kept telling you. I said, "learn to pick a lock." You remember your response, Sarge? BOOTH: Yeah. "Any lock worth picking is worth kicking. (he gives the lock another hard kick) And I still stand by it. TEDDY: Oh, hey, please, stand by it. Advice like that. It's a miracle I lived as long as I did. You got a cuff link? BOOTH: Yeah. (he starts to take off a cuff link and looks back to Teddy. Teddy laughs. Booth removes the link and hands it to Teddy. Teddy goes to the lock) BOOTH: 20. TEDDY: What's that? BOOTH: You were 20 years-old when you died. TEDDY: Still am. You, Sarge, I've got to say...you've uh, put a couple years on. Hey is it true that the 30s is when your body really starts going south on you? (Booth moves to another section of fence) Hey, you got any kids, Sarge? BOOTH: Yeah, I got a boy. (He moves to the other side of the fence) TEDDY: (still working on the lock) What's his name? BOOTH: Ah, you're probably going to take this wrong. TEDDY: Why? What'd you do? You name him something stupid like...like Cutter? What, Tanner? (Booth looks down, clearly uncomfortable) Brady? Aw, God, you didn't name him Sebastian? (Booth looks away for a second then back at Teddy) BOOTH: Parker. I named him Parker. TEDDY: That's my name. BOOTH: (Giving the slightest nod) That's your last name. You know and your lock picking sucks. (Booth walks back to the open space of the room. Teddy stands still) TEDDY: You named your kid after me? BOOTH: Yeah. TEDDY: What's he like? BOOTH: He's uh...he's just like a kid you know, but uh, he's even better. TEDDY: (following Booth) Does he like you? BOOTH: Of course he likes me, he loves me. I'm his dad, you know? (he shows Teddy the watch) He even got me this watch. (Booth continues to move away) TEDDY: What about his mom? BOOTH: Yeah, she uh...she likes me. But uh...she didn't love me. (he sees a small door on the wall. He goes to open it) TEDDY: You loved her though? BOOTH: (Looking for away to open the door) Of course I loved her. I still do. (straining to open the door) I just don't like her too much. (He opens the door and it's a window) TEDDY: (holding up the lock) Hey, you saw I picked the lock, right? (Booth places his hands on the glass and looks out. He sees the ocean and ships in the distant harbor.) BOOTH: We're on a ship. TEDDY: Uh...Sarge? BOOTH: (not taking his eyes off the window) Yeah? TEDDY: This particular ship...ain't going to be floating much longer. (Booth turns around. There is C4 lining the walls and ceiling) BOOTH: C4 expl*sives. (A City Park) (Brennan's car drives by) BRENNAN: (voice from inside car) There's the boundary stone through the clearing. (Brennan parks and Hodgins gets out. Angela and Sweets are in the back seat. Angela is on a computer) ANGELA: This is weird. Something nearby is broadcasting a video signal. (Sweets, Brennan and Angela get out of the car. Hodgins opens up the back hatch and sets up more equipment. Sweets notices something) SWEETS: (pointing) There. A camera. Up in that tree. HODGINS: That's how the Gravedigger will see that we brought what he wants. ANGELA: I might be able to hack into the camera's broadcast frequency. HODGINS: I gotta say, it doesn't seem to be the smartest move to just hand over this evidence. (to Brennan) We need to be rational. We should maximize the chances to catch the Gravedigger, not minimize them. (Angela faces Brennan. Brennan doesn't say anything. Angela swings her around to the side of the car) ANGELA: Listen to me, Brennan. Somebody you love is buried alive. (Brennan looks at her defensively) You're allowed to save them no matter how irrational. BRENNAN: (with her mouth open for a sec before words come out) I don't love Booth. ANGELA: Yes you do. So do I. So do all of us (references Sweets and Hodgins) Just take my advice and hand over the evidence and get Booth. BRENNAN: (thinks for a moment then turns quickly around) Let's do its. Come on. Let's do it. (Brennan and Hodgins bring the briefcase of evidence over to the stone. Angela stands by Sweets at the car trunk) ANGELA: (to Sweets) Watch your monitor. Tell me if anything changes, okay. SWEETS: By anything you mean... ANGELA: Anything. (he nods and turns to his monitor) (Hodgins and Brennan approach the stone. Angela hacks into the video camera.) ANGELA: Okay. I'm in. I've locked into the video feed. (Brennan and Hodgins arrive at the stone. Brennan opens the case of evidence) HODGINS: (leaning to Brennan) Hey, this guy. (looking around) I really, really hate him. (yelling and pointing at the camera) I will find you! (Brennan takes out the vial with the sticker and holds it up to the camera. The video feed zooms in on it) SWEETS: Woah. Did you do that? ANGELA: No. No. Uh. That's the Gravedigger. (the Gravedigger scans the sticker on the video feed) It's the vial he's after. God, and its receiver is within a 500 yard radius. He's really close. (Sweets looks around. Something on his monitor beeps) SWEETS: Oh, uh, Angela, this pointy bit here just got way pointier. ANGELA: At what frequency? SWEETS: 2.2 something. ANGELA: (she looks at the monitor) Oh my God. That signal's not coming from the camera. (she turns from the car and yells to Brennan and Hodgins) Get back! (Brennan and Hodgins look up) Run! (They begin to move away) Run! HODGINS: Go, go. Go, go, go. (he and Brennan sprint away from the stone. The stone blows up behind them and they fall to the ground due to the power of the blast. A car pulls up. Agent Perotta gets out. Hodgins and Brennan are all right and roll over to look at the blast) PEROTTA: What the hell is going on here? HODGINS: (to Brennan) You okay? BRENNAN: Yeah. Come on. (they stand and run back to the car) (FBI - the Conference Room) (Perotta is explaining the situation to Judge Williams and Taffet. Brennan, Angela, Hodgins and Sweets are standing around the table. Brennan looks disheveled.) PEROTTA: We followed Dr. Brennan's car to the Boundary Stone. We arrived moments after the expl*si*n. JUDGE WILLIAMS: What the hell were you people doing? BRENNAN: (confidently) We have nothing to say. PEROTTA: We found evidence at the crime scene believed to be related to the Gravedigger investigation. TAFFET: I believe they returned evidence to the Gravedigger. JUDGE WILLIAMS: Agent Perotta, you will deny all of these people access to this case. BRENNAN: May I make a request, you Honor? I'd like to see Thomas Vega's remains. I need to examine them immediately. (Perotta looks at her) JUDGE WILLIAMS: You will examine nothing. You people will stay away from anything to do with the Gravedigger. (The Ship) (Booth is following the wires hooking up the C4) BOOTH: We're on a ship stuffed with toys and expl*sives. Does that make some kind of sense to you? TEDDY: Yeah. What they do Sarge is they sink ships for reefs. They get school kids to do all their decorating. BOOTH: Why? TEDDY: For the fish, why else? Fish love decorations. (Booth sees something and walks to it. It's the expl*sives' transponder.) BOOTH: There's a transponder. (he lifts the lid. The countdown says 6:23:11) We have 6 hours and 23 minutes here. (turning to Teddy) What? No ideas. TEDDY: According to you I'm already a ghost. As a result, I got not sense of urgency. BOOTH: I got it. Maybe we can use the transponder to send a signal. TEDDY: But that's the only fail-safe. Once you disconnect the transponder nothing can stop this ship from bl*wing to hell in...(reads the clock) 6 hours and 22 minutes. (Booth takes a moment but then disconnects the transponder) BOOTH: Sense of urgency now? (FBI Building) (Brennan, Hodgins, Angela and Sweets are walking from the conference room to the elevators) BRENNAN: It's been almost 2 hours. Why hasn't the Gravedigger sent us Booth's coordinates? SWEETS: I think we have to accept that the Gravedigger isn't going to release Booth. He's cleaning up. BRENNAN: Cleaning up? SWEETS: Yeah. He destroyed the evidence. Now he's trying to destroy everyone who'd gotten close to him. (Hodgins hits the elevator button. They wait) Vega, Agent Booth, you and Hodgins. HODGINS: It's over. Booth's d*ad. It's....my fault. We're out of options. BRENNAN: No. (the elevator doors open. They get in.) No, it's not over. And I know exactly who to ask for help. (the doors shut) (The Restaurant/Bar) (Brennan enters. She walks over and meets Jared who's having a drink at the bar. He stands) JARED: So what's so important you couldn't tell me on the phone? BOOTH: You're brother has been kidnapped by the Gravedigger. JARED: Seeley's been kidnapped? (she nods) When? BRENNAN: Booth will be d*ad in 6 hours. What I need you to do is hijack the remains of a m*rder victim and then bring them to me. JARED: I'm in military intelligence, we don't hijack d*ad bodies. BRENNAN: The victim's name is Thomas Vega. JARED: So you want me to steal the remains of a m*rder victim from the FBI? BRENNAN: Yes! As soon as possible, please. JARED: I can make a few calls... BRENNAN: (getting angry) No. This is not a situation where you make a few phone calls. JARED: That's who I am, Tempe. I am the guy who makes a few calls. BRENNAN: (visibly angry) Booth has never turned his back on you. You are a selfish coward and you never deserved him. (she storms out) (Jared waits a moment then reaches down and finishes his drink) (The Ship) (Booth is working on the trasnponder) BOOTH: We can feed the uh, transponder signal through the ship's antenna. TEDDY: Well, you told me sometimes you've got to stand and fight and sometimes you got to...run like hell for help. (Booth looks at him for awhile) Flash (Booth's memory: Booth is carrying Teddy's body through a wooded area) BOOTH: Hang on, Teddy. Stay with me. TEDDY: (voice over from the ship) Sarge? Flash TEDDY: Sarge? (Booth shakes his head) BOOTH: You never should have gone on that last mission. (silence) I mean...taking on another sn*per that was...that was way beyond your...capabilities. There was...you could...that's why you're haunting me, right? You're...(he nods his head looking for approval) TEDDY: Can't an old army buddy just show up to lend a helping hand? BOOTH: (he thinks about it and nods) Yeah. (He turns back to the transponder. Teddy holds a flashlight up) TEDDY: You got a partner now? BOOTH: Yeah. TEDDY: (turning off the flashlight) You two tight? (Booth stops working. Nods his head and takes a moment to respond) BOOTH: (stumbling over his words) Yeah.. Um...we're uh...you would have...you'd like her. She's... TEDDY: Her? Way to go Sarge... BOOTH: (dismissing his comment) Look, just focus here on....uh...alright, Corporal? Whoever is monitoring the sinking of the ship should be able to pick up the signal, right? TEDDY: Very cool, Sarge. (Booth plugs it in and flips the "On" switch. He looks proud. The transponder sparks and dies out) BOOTH: What? No. TEDDY: You shorted it out. It's useless now. BOOTH: (slamming his hands on the table) No. (Angry and frustrated, Booth picks up the transponder and throws it against the wall then kicks it.) TEDDY: Look, don't worry, Sarge. Hey, at least we still got this flashlight. (Booth, still angry puts his head in his hands) (Medico-Legal Lab) (Vega's body is wheeled in by Jared (in full uniform) and two assistants. He approaches a waiting Cam and Brennan) JARED: Vega's remains. BRENNAN: Thank you. (All three follow the body as it is wheeled towards the platform) (Another Area in the Middle of the Ship) (Booth is walking and looking for a way out. Teddy follows holding the flashlight) TEDDY: So...just to sum things up. The ship's about to explode and now there's no way to stop it. BOOTH: Rub it in. I got you k*lled twice. TEDDY: Where we going? BOOTH: We got to get out of here. TEDDY: Hey, even if we get out onto the deck, we're gonna have to jump into the ocean. BOOTH: That's right. TEDDY: Where if the fall doesn't k*ll us we'll get hypothermia and drown. BOOTH: Oh no. I get hypothermia and drown. Who knows what'll happen to you? TEDDY: If you die Sarge, I'm gone. There's not a single person left on the planet who will remember me. It'd be like I was never here. BOOTH: No. TEDDY: No? BOOTH: No. There's...there's that uh...girl. She won't forget you. TEDDY: You mean Claire? BOOTH: Yeah, Claire. You know, every...day on the anniversary of your death I...I go to your grave and I uh...I visit you. And there's always flowers from Claire. TEDDY: Did you ever see her? BOOTH: From a distance, yeah. TEDDY: Why don't you talk to her? BOOTH: She blames me for your death. TEDDY: That's crazy. BOOTH: That's not crazy. (he looks at Teddy for a second, and then walks by as he changes direction) I blame me too. (They turn a corner and find another open area) Here we go. TEDDY: Sarge? BOOTH: Yeah. TEDDY: Tomorrow's the anniversary. I need a favor. BOOTH: If I survive this, anything. TEDDY: I need you to tell Claire I loved her. BOOTH: You never told her? TEDDY: I was 20. I didn't know how to say it. BOOTH: What? You say, "I love you." I mean, what's so hard about that? TEDDY: What? You've never loved somebody and didn't say it to 'em? (Booth thinks about this for a moment, says nothing and walks away to a wall) So maybe that's why I'm here. To get you to say "I love you" to somebody. BOOTH: (feeling the wall) We can get through here. TEDDY: Get through the solid metal wall? BOOTH: No, the stairs. You see, the stairs. (he motions to the bolts from the stairs attached to the wall on the other side) The thinnest interior bulkhead of a ship is going to be along the stairs. We're going to blast our way through this. (Medico Legal Lab: The Platform) (Brennan and Cam are examining Vega's body) CAM: Rigor indicates he's been d*ad less than 24 hours. About the same time Booth disappeared. (Jared looks towards his assistants who are conversing) BRENNAN: Vega must have been k*lled just after we were thr*at by that judge. CAM: Two full thickness burns to the posterior triangle of the neck corresponding with a high-amperage stun g*n. BRENNAN: (to herself) Stun g*n... CAM: (to Jared) How'd you pull this off? JARED: It's masked as a Military Intelligence Operation. National Security. BRENNAN: Well how long before they find out the truth? JARED: Not long if you keep talking so loud. CAM: You're going to get in trouble, Jared. Definitely lose your job. JARED: I'm aware. BRENNAN: (looking at the neck) These burn marks are not in the usual place. On all the other victims they were equidistant from the inferior nuchal line. This time, they're angled about 4 cm to the right. (pointing to the wounds on the chest) This is deep. The stun g*n was held here near his heart for an extended time. CAM: Caused fatal fibrillation, that would be cause of death. (Brennan looks at Vega's arm then walks to his x-rays displayed on a monitor) BRENNAN: Here's a hairline fracture to the olecranon process of the right ulna. JARED: What does that mean? BRENNAN: The victim damaged his right medial and lateral epicondyles as well as his coronoid fossa, possibly consistent with a defensive response to a posterior as*ault. CAM: (turning to Jared) Our victim got a piece of the bad guy. BRENNAN: He elbowed the assailant. Striking someone that hard, there's going to be damage...at least broken ribs. (The Ship) (Booth stripping the ends of C4 wiring. Teddy enters with a C4 brick molded into the shape of a mermaid) TEDDY: Got it. BOOTH: Good job, kid. What the hell is that supposed to be? TEDDY: A well shaped charge. It's a mermaid, you get it? It's not sexist cause she's mostly fish. BOOTH: Right... (Booth takes it and sticks it to the wall.) Okay...all we need now is a power source. (Teddy looks at the flashlight in his hand then shines it on Booth) Right. That was what the flashlight was for. (Medico-Legal Lab: The Platform) (Hodgins and Brennan are working. Jared is observing. The alarms for the platform go off. Taffet approaches) TAFFET: I have an injunction here reclaiming jurisdiction in this case. JARED: On what grounds? (Hodgins swipes his card to turn off the alarms) TAFFET: One missing FBI agent is not a case of National Security. JARED: (to his assistants) Grab a coffee guys. BRENNAN: (walking over to Taffet) Do you have the warrant? TAFFET: (she shows her the warrant. her right arm shakes) Right here...signed by the judge. BRENNAN: (getting suspicious) I don't think there's any more reason for us to keep the truth from Ms. Taffet. JARED: (confused) No. What? Wait, no, the Gravedigger said that we... TAFFET: (interrupting) You've been in touch with the Gravedigger? The Gravedigger has Agent Booth? BRENNAN: (whispering to Hodgins) She can't seem to extend her arm. HODGINS: What? (Taffet stares at him) Oh. BRENNAN: What do you think? JARED: About what? HODGINS: It's...(shakes his head)...possible. She had complete access to FBI files and evidence. Nobody wanted the Gravedigger case; it's a career k*ller. But with Kurland out of the way... BRENNAN: Have you injured yourself recently, Ms. Taffet? TAFFET: What the hell does that have to do with anything? (Hodgins lunges towards Taffet. Jared and Brennan hold him back) BRENNAN: (to Jared) Don't let Dr. Hodgins go. Could I see the warrant, please? (As Taffet struggles to raise her arm, Brennan hits her in the rib cage. Taffet bends over in pain) Broken ribs. JARED: She's the Gravedigger? HODGINS: It's her. JARED: Can you prove it? BRENNAN: No, we can't. Is that a problem? JARED: Not for me. (he lets go of Hodgins and walks to Taffet. He grabs her neck and straightens her up.) You got a place to lock her up? (Medico-Legal Lab: An Office) (Jared binds Taffet's hands together behind her back and slams her into a chair. Brennan, Angela, Cam, Hodgins and Sweets surround her) BRENNAN: Where's Booth? (Taffet says nothing) SWEETS: She's not going to say anything. BRENNAN: You haven't even asked. SWEETS: Yeah, I've read extensively on the Gravedigger. I'm acquainted with the profile: very intelligent, very calm. She won't speak. CAM: Then what do we do? HODGINS: (to Jared) You have to do "spring cleaning" on her. ANGELA: What is that? Is that some kind of t*rture or something? JARED: Nothing. It doesn't exist. HODGINS: The government keeps secret, black, illegal files on every US citizen. It's called "spring cleaning" because everything's brought out into the light and turned upside down. SWEETS: (to Jared) Okay, that is complete paranoia. Right? JARED: (he pauses) I'll need access to a secure terminal. CAM: Follow me. (She exits) JARED: (to Hodgins, as he exits) And only conspiracy nuts call it "spring cleaning." (The Ship) (Booth is placing the wires into the C4) TEDDY: Uh, Sarge? BOOTH: Corporal Parker, I really need you to stifle yourself at this juncture, okay? TEDDY: Okay. Yeah, I get it. I mean if these two leads touch, that explodes, you become Booth jam. BOOTH: That's correct. (he kneels down to adjust the leads) TEDDY: Of course, say a bead of sweat completes the circuit...then...BOOM! (he laughs) BOOTH: (looking up) Uh huh. (pushing the leads closer together) TEDDY: Can I ask you one more question? BOOTH: (annoyed) What is it, Corporal? TEDDY: It's just...how are you going to complete the circuit from a 100 yards away...at which distance you might survive the blast? BOOTH: One thing at a time, okay? TEDDY: Okay. (he stands and runs to hide) BOOTH: First time I've ever heard of a cowardly ghost. What a wuss. (Medico-Legal Lab: An Office) (Taffet is sitting silently in the chair. Hodgins steps closer) HODGINS: I'd like to k*ll you. (Taffet glares up at him) I hate her. I think I could m*rder her. BRENNAN: If any group of people can m*rder someone...and get away with it...it would be us. (Jared strides in. He whips Taffet's chair around to face him) JARED: I'm not going to ask you any questions, I'm just gonna tell you what's going on, right now. (As Jared speaks, a montage of the FBI entering a storage locker and discovering a van with her Gravedigger supplies is edited together with Jared speaking to Taffet) I went through your file. As Heather Taffet you have led a very tiny, transparent life. But in 1998 you married a man named William Burton for exactly one month before you had the marriage annulled...which was long enough to create an entire identity...a whole untraceable identity...which you used for one thing, and one thing only: to rent a storage locker in Spring Hill. (right into Taffet's ear) I got you bitch. (he spins her back around. she shows no emotion) (The Ship) (Booth removes his Cocky belt buckle and places it on the ground between the two leads. he takes a step back behind a wall holding a long pipe. he reaches with the pipe to push the buckle to connect the leads. he's too far away and the pipe isn't long enough) BOOTH: God, I got to get closer. TEDDY: You're too close now, Sarge. (Booth tries again fails) Too close. Look, I'll get it. (he steps from behind his wall and picks up the belt buckle and brings it back to Booth. They both step as far away as possible) BOOTH: Teddy. (Teddy smiles at Booth and slides the buckle across the floor to the leads, triggering the expl*si*n. Booth and Teddy are thrown back. Teddy is injured and bleeding, Booth is on his back. a beam falls from the ceiling.) (Medico-Legal Lab: An Office) (Taffet is still not speaking and Hodgins is getting frustrated. he approaches Sweets) HODGINS: You got to get your hands on some truth telling drugs. SWEETS: (confused) What? HODGINS: (looking at his watch) Would you rather t*rture her? JARED: I know a little bit about that. SWEETS: No. What? We don't do that. BRENNAN: Booth will die. SWEETS: Character is who you are under pressure, not who you are when everything's fine. We're the good guys, we don't...we don't t*rture people. CAM: (stepping towards Taffet) Evidence is being compiled against you Ms. Taffet. Tell us where Agent Booth is. You don't want another m*rder on your head. SWEETS: See that's not going to work. Her pathology necessitates controlling the game. She's created her own morality. She's not going to relinquish control. ANGELA: (entering) Hey, they brought in everything from her storage locker. CAM: (following Angela from the room) Back to work. (Jared and Hodgins follow her) (The Ship) (Teddy's shoulder is injured and he is lying against the wall. Booth crawls to him) BOOTH: Teddy? TEDDY: Yeah. BOOTH: (squinting) I can't see very well. I looked at the flash. Are you okay? Huh? TEDDY: (groaning) Uhhh, I think I could use some help. (Booth looks over his wounds) Flash (Booth's memory: Booth crawls over to Teddy's body that's lying on the ground and removes his helmet. he begins to hoist him over his shoulders) Flash BOOTH: Is that light? (he looks towards where the expl*si*n went off. there is a gaping hole in the wall with stairs on the other side.) Did we find a way out? TEDDY: We always find a way out, Sarge. BOOTH: (throws Teddy's arm over his shoulder and helps him to stand) I'll be your legs, you be my eyes. Come on, Ted. (Teddy screams in pain as they stand) Which way, Corporal? TEDDY: Towards the light. (they slowly move towards the stairs) Now that sounds bad, huh? Move towards the light. (they laugh a little and continue their way to the stairs) (Medico-Legal Lab: The Platform) (Taffet's boots and supplies are laid out on a table. Hodgins picks up one of the boots to examine) HODGINS: Hold up, these boots were worn recently. (He takes it over to examine under the light and microscopes) ANGELA: Hey, uh, Jared, can I see your black file of "spring cleaning" or whatever? JARED: (handing his PDA to Angela) Contents are on my PDA. CAM: (to Hodgins) Talk to me while you analyze. HODGINS: Aedes Sollicitans? It's a common marsh mosquito. Blood's still in its gut. CAM: Indicating it was worn how recently? HODGINS: At least in the last 24 hours for sure, but wait a second. (he tweezes something out of the treads of the boot) I got some paint chips here. CAM: (while Hodgins is placing it in a petri dish) Run it through the Mass Spec See if there's anything special about that paint. HODGINS: (moving away) Yup, I'm on it. (The Ship) (Booth and Teddy are slow ascending the stairs to the deck of the ship) BOOTH: You still with me, Teddy? TEDDY: Yeah. But I got to tell you, I feel like we've kinda...been here before. BOOTH: I'm sorry I got you k*lled. Flash (Booth's memory: Booth and Teddy are setting up their g*n to take out the target. They are covered in camouflage netting. Booth is concentrating on his g*n and Teddy leans up a little and gets sh*t in the chest) BOOTH: (voice over from ship) I was so anxious to get off that sh*t, take out my target that I forgot to tell you... Flash (They are still moving up through the ship) TEDDY: You told me to get down twice. You gave the order. I didn't listen. BOOTH: What? (They reach the bottom of another set of stairs) TEDDY: Sarge, stop. (Booth stops) I didn't come here to haunt you. I came to tell you it wasn't your fault. (Booth looks at him) Flash (Booth's memory: Teddy is lying on the ground, d*ad. Booth is sitting next to the body and staring into the ground. He takes no notice of the surrounding helicopters) Flash (Booth begins to haul Teddy up the stairs) (Medico-Legal Lab: The Platform) (Hodgins is reading the results of the Mass Spec analysis on the paint chips) HODGINS: Active amine hydrogren, epoxy, hydroxyapatite and silica. (Angela looks up from reading Jared's PDA) It's...it's an obsolete composition of deck coating used by the Navy prior to 1961. CAM: So she was on a Navy vessel within the last 24 hours? HODGINS: Yes! Yeah, an old one. Most likely decommissioned. (Angela has a look of realization) ANGELA: Wait a minute, a ship? Listen to this. (crossing to Hodgins and Cam while reading from the PDA) Taffet was a volunteer at the aquarium. They were prepping some sort of old Navy ship to be sunk. HODGINS: What? ANGELA: They're making some sort of reef. JARED: The Navy's not afraid of expl*si*n or sinking ships. (he takes his PDA back from Angela and speed dials a number) Plus it'll really annoy my brother, the Army Ranger, to be saved by a Squid. (he walks off the platform to call for help. The countdown on the monitor reads 28:04) (Medico-Legal Lab: An Office) (Angela enters) ANGELA: Brennan, they know where Booth is. Jared is getting a helicopter to take you there. He's on an old Navy ship. (Brennan begins to exit but on her way out picks up a briefcase and smacks Taffet with it. Taffet flies off her chair and falls on her side. Satisfied, Brennan storms out, throwing the case down.) (The Ship) (Booth is still helping Teddy along as they're almost to the deck of the ship) TEDDY: Put me down, Sarge. You don't have to carry me anymore. BOOTH: It doesn't work that way Teddy. (They arrive to the last set of stairs where Booth sees the door to the deck) (A Helicopter) (Brennan is riding in the helicopter over the ocean out to the ship. She's on the phone with Jared through the helicopter's headset) JARED: (on phone) Temperance, can you hear me? I'm patched through via cell phone. BRENNAN: Jared? What? I don't understand, why aren't you here... (A Navy Building) (Jared is in handcuffs with an officer holding a cell phone up to him) BRENNAN: (on phone) ... on the helicopter with me? JARED: Typical Navy red tape, nothing to worry about. But listen. They couldn't... (A Helicopter) JARED: (on phone) ...cancel the detonation. Something's wrong with the transponder. BRENNAN: What do we do now? (A Navy Building) JARED: The ship blows in 9 minutes. They Navy's only given you 5 to get there and get Seeley off. BRENNAN: (on phone, upset) No, Jared... (A Helicopter) BRENNAN: ...Booth could be anywhere on that ship. 5 minutes is not enough time. (A Navy Building) JARED: These guys don't negotiate, Tempe. They won't risk anymore lives. (A Helicopter) BRENNAN: Are you alright? (A Navy Building) JARED: It's all worth it as long as you save my brother. (A Helicopter) (Brennan looks hopeless knowing that if Booth isn't near the deck there's no way to save him.) (The Deck of the Ship) (Booth and Teddy are walking through the door onto the deck) TEDDY: Rangers lead the way, Sarge. BOOTH: (out of breath) Right, just lead the way, Corporal. (he puts Teddy down against the wall) There. Alright? (Booth looks up and sees the helicopter approaching) TEDDY: Sarge? (Booth looks from the helicopter back to Teddy) I knew what you did for me...How far you carried me. (Booth looks at the helicopter again to see if it's landed) Sarge? (Booth looks back at Teddy again) One more thing I got to tell you. (Booth steps to him) No way you're getting the deposit back on that tux. (Booth and Teddy both smile) (The helicopter lands and a helicopter guy opens the door) BRENNAN: (yelling) Booth! (he looks up and sees her) Hurry! (motioning with her hands) Come on! (Booth looks back once more at Teddy, but his body is gone. he looks confused) BRENNAN: (yelling and still motioning) Hurry, Booth, come on! (Booth begins to step towards the helicopter but stops again to look back again at where Teddy was laying. Brennan yells again, much more intensely since he isn't running to the helicopter) Booth, come on! Hurry! (Booth finally steps back then turns and jogs to the helicopter. while running, he looks back a few more times to where Teddy was. he climbs in the helicopter and the guy shuts the door. Booth sits and Brennan grabs him for a long hug. She puts her head in his shoulder while he still looks confused and disoriented but glad to be safe. The helicopter takes off from the ship and as it flies away the ship explodes behind them) (Arlington National Cemetery) (Booth and Brennan are standing looking out over all the white headstones) BOOTH: Thanks for coming to get me, Bones. BRENNAN: You should have stayed in the hospital another day. BOOTH: No, I didn't mean...get me out of the hospital. I meant...coming out on the helicopter...and the ship. Thanks for saving my life. (She nods her head and looks at the ground but doesn't say anything) BRENNAN: (pulling something out of her pocket) I got you this. (it's a new Cocky belt buckle. she hands it to Booth) BOOTH: (laughing, smiling and holding up the buckle) Cocky! How'd you find that? That's hard to find. BRENNAN: (after a moment) I read through your report. It seems as if you would need 2 people to do most of what you did. BOOTH: I had help. There was a ghost. BRENNAN: You were injured, drugged, disoriented, breathing bad air...There are no such things as ghosts. BOOTH: Whatever you have to tell yourself there, Bones. (She scoffs and he says nothing) BRENNAN: (pausing) Who's ghost? BOOTH: (pointing) He's buried over there. BRENNAN: The ghost? BOOTH: Corporal Edward Parker. He was slain while serving his country. (pauses) He was 20. He was just a kid. BRENNAN: Was it...your fault that he died? BOOTH: (pauses and shakes his head) No. Fortunes of w*r. It wasn't my fault. (she nods her head) You see that woman over there? (Claire walks up to Teddy's grave with flowers) Her name is Claire. I have a message for her from Teddy. (he pauses then walks to the grave) BRENNAN: (confused) What, a message from a ghost? BOOTH: (turning his head back) You wait here, okay? BRENNAN: But you're gonna deliver a message to that woman...from a ghost? (he continues to walk) (from the distance, Brennan watches Booth approach Claire, talk to her and give her a hug. Teddy walks by her in full uniform. Brennan sees him.) TEDDY: Beautiful day. Makes you feel glad to be alive, doesn't it? BRENNAN: (nodding) Yes, it does. (she looks back to Booth) (Booth and Claire finish hugging and she places her flowers on the grave. he looks back to Brennan and sees Teddy standing behind her. Teddy waves. Booth waves back as Claire stands. Brennan, thinking Booth was waving at her, waves back. Teddy smiles and walks away) END

{"type": "series", "show": "Bones", "episode": "04x14 - The Hero In the Hold"}

foreverdreaming

"The Princess and the Pear" Episode 4x15 / Production 4x09 Written By: Matthew Donlan and Jeremy Martin Directed by: Steven DePaul Transcribed by: Kaylla_334 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Body dump site - three kids dressed up in fantasy attire are walking through a tunnel) MAGE: Lo, the cave where the princess doth dwell. Let the light of Mithryleen guide our path. WARRIOR: Smells like ass in here, yo. MAGE: Yo? Who is this Yo of whom you speak? I know him not. WARRIOR: For real, Trev. Let's go back. Those other freaks are gonna b*at us to the treasure, anyway. MAGE: The name's Blackthorne, and you'd do well to remember it. WARRIOR: Your name is Trevor Vertuca, and that is your mom's cell phone. Now call her to pick us up, or I will. This is getting old, right, Ezra? (Ezra screams and runs out) MAGE: A rat? Come on. WARRIOR: Wait for me! Wait for me! (He runs too) MAGE: Look, I'm sorry about this. We don't usually break character, but... I mean, you have to dock points; I understand. (He shine the cell phone light to see what is moving and sees that it's a body) What the... (He screams and runs out too) (Cut to- Booth's apartment) BRENNAN: (outside the front door) Open up! Open up! BOOTH: All right, all right, all right, I'm coming, it's... Just keep it down. BRENNAN: (Outside the front door) what's taking so long? (Booth opens the door) BOOTH: Hey! BRENNAN: What's wrong? BOOTH: Nothing; come on in. How about some coffee? Arabian Bean! BRENNAN: You hurt your back again? BOOTH: No, no...no. It's that obvious, huh? BRENNAN: Your gait suggests you re-strained your anterior longitudinal ligament. BOOTH: Yeah, well, I blame the couch, all right? I fell asleep last night watching the game. Look, I figured you fixed my back last time, really well, and I just thought that maybe you could fix it again, so use your little magic knuckles, and h*t it up, and we're good to go. BRENNAN: Booth, if this has become a recurring problem, you should see a specialist. BOOTH: Right, I get it-all disclaimers apply. Here we go, h*t the back-chop-chop--we got a case. BRENNAN: No! BOOTH: What do you mean *no*? Last time I had this, you were begging to help me. BRENNAN: I probably shouldn't have touched you the last time. You need a medical doctor. BOOTH: I'm not asking you to perform surgery; just do what you did last time and fix it with your magic knuckles... Look, there's no one I trust more to get my back and crack it, than *you*. BRENNAN: Wow! BOOTH: You want more? BRENNAN: No, that was effective. Turn around. Okay, ready? BOOTH: Okay. This is gonna be good. Believe me, I really am not going to forget ... (Brennan wraps her arms around booth and cracks his back) this. (Cut to- Jeffersonian lab) ANGELA: How is he? BRENNAN: Dr. Patel suspects a herniated disc in Booth's lumbar region. We'll know which vertebrae when the X-rays get here. ANGELA: So you didn't actually paralyze him? BRENNAN: No. The vicodin seems to be working. He claims it makes the furniture feel friendly. But he'll be on bed rest for the remainder of the week. CAM: Are you okay? BRENNAN: Of course. I wasn't the one who was injured. Admittedly, I shouldn't have let Booth talk me into adjusting him. (They reach the forensic platform) Agent Perotta. PEROTTA: Dr. Brennan. Nice to see you, I was honored you requested me as a substitute for Agent Booth. BRENNAN: The variables involved in breaking in a new person outweigh the benefit of possibly finding a better investigator. PEROTTA: Aw, let's not get gushy about it. CAM: Agent Perotta and I inspected the dump site, and I cleared the body to be transported back to the lab. We haven't determined identity yet. BRENNAN: Booth usually waits for me to conduct my own examination of the scene. PEROTTA: Do you want to go back there? BRENNAN: No. I'll examine the remains here, thank you. (Brennan reaches the examination tables) Mr. Fisher, welcome back. What are your preliminary findings? FISHER: Victim is female, twenty-five to twenty-nine years old. Severe damage to the skull; the mandible is almost completely severed. BRENNAN: Avulsions to the tissue at the maxillary and mandibular incisors-- that's very unusual. FISHER: It's like her face was h*t by a wrecking ball. BRENNAN: This damage is going to make facial reconstruction very difficult. FISHER: Yeah. (Brennan grabs her bag and leaves) BRENNAN: Flesh is all yours, Dr. Saroyan. PEROTTA: Does that mean we're officially investigating a m*rder? ANGELA: She's just upset because she put Booth in the hospital. PEROTTA: Well, I understand that, but I still need someone to officially say "m*rder." CAM: m*rder. PEROTTA: Thank you. So... what do we make of this clothing? ANGELA: Huh-- like a costume out of the Lord of the Rings, p*rn version. CAM: Fisher, you're into this stuff. FISHER: p*rn? CAM: Fantasy, Sci-Fi, Geek stuff. FISHER: Superficial judgment. CAM: Both feet display erythema and heavy blistering, but no calluses. My guess is, she was standing in those princess pumps for hours. The skin here, on the back of the hand, is less desiccated than the area surrounding it. Not sure what that means yet. PEROTTA: May I? (Perotta pulls out a black light and shines it on the victim's hand which makes a marking on the victim's hand visible) Hello! (Cut to - Angela's office) ANGELA: It's a spectroline UV stamp. They're designed to withstand evaporation. No match to any local bars or clubs, but I'm still searching. BRENNAN: Agent Perotta discovered this? ANGELA: Yes. You should be nicer to her. BRENNAN: Well, I like working with Booth. I'm nice to him. (Fisher walks in) FISHER: Okay, I admit it, I'm a geek. BRENNAN: You're Greek? ANGELA: No, geek, sweetie. FISHER: I love it all. Star Trek, Star Wars, Buffy, Xena, Akira. I even watch Fringe. My girlfriend Jill dumped me because of it, which is very depressing. ANGELA: Fisher, what doesn't depress you? FISHER: Answers. I know that insignia. I bet the victim was a booth babe at ImagiCon. BRENNAN: I don't know what that means. FISHER: ImagiCon? It's a convention for fans of genre movies, comic books, video games, anime. ANGELA: And it's at Union Center till the end of the week. FISHER: Click on "gallery" for Booth Babe Roundup. Yeah. When Dr. Saroyan talked about the victim standing on her feet for hours, it sort of started to click for me. BRENNAN: Stop. ANGELA: That's definitely our dress. BRENNAN: And judging from her zygomatic arches and facial contours, there's a good chance that's our victim wearing it. Someone should inform Agent Perotta. ANGELA: That'd be you, sweetie. BRENNAN: Of course. I will inform Agent Perotta. (Cut to- ImagiCon) PEROTTA: These people don't look like K*llers. BRENNAN: I... disagree. TITLES ACT 1 BRENNAN: Fascinating, a summit between the disenfranchised and the commercial franchises. I'm at a loss for an anthropological analogue. PEROTTA: So you really did a number on Booth's lower back, huh? BRENNAN: He had a mechanical problem which didn't show up on his X-rays. My adjustment aggravated it. PEROTTA: So, it was an accident. BRENNAN: Yes. Why? Did Booth tell you something different? PEROTTA: No, no, no. In fact, "aggravated" was, um, exactly the word he used. Oh, there's the Grimoire 3. 0 booth. PEROTTA: I'm Special Agent Perotta, FBI. This is Dr. Brennan from the Jeffersonian. We need you to answer a couple of questions. (Perotta shows a picture of the victim) SHINY KOPINSKY: Yeah, that's Kendra Kim. You can call me Shiny. BRENNAN: Why? SHINY KOPINSKY: It's my name. Shiny Kopinsky. PEROTTA: Shiny, you didn't find it strange at all that Kendra didn't show up for work? SHINY KOPINSKY: I just figured the Grimoire people fired her, for her attitude. BRENNAN: What are Grimoire people? SHINY KOPINSKY: Grimoire 3. 0 is the online encyclopaedia fantastica for the mouth breather crowd. BRENNAN: Your job is to sexualize software? PEROTTA: You mentioned Kendra had an attitude. SHINY KOPINSKY: Kendra thought she was a princess. She kept bragging about the fact that this was her last trade show and she was sitting on some gold mine, and it was gonna cash in big. BRENNAN: What was the gold mine? SHINY KOPINSKY: She wouldn't say. But one day, I followed her on a lunch break. I figured I'd catch her talking to some game developer. I mean, those guys are loaded, and some of them even smell normal. But the only person I saw her talking to was some loser at the Blacksmith booth. (Brennan and Perotta walk over to the blacksmith booth) PEROTTA: Are you Kroon the Blacksmith? PETER KROON: Kroon, I am. And who be ye, fair maiden? PEROTTA: I be a special agent in search of justice and truth. PETER KROON: Yea, thou art. How can I assist thee? PEROTTA: By knocking off the medieval stuff and answering some questions. BRENNAN: That would make me feel more comfortable. PEROTTA: I assume "Kroon the Blacksmith" is not on your driver's license. PETER KROON: The name's Peter Kroon. I don't know what you've heard, but these w*apon are all legal and accounted for. PEROTTA: Do you know this young woman? (Perotta shows the victim's picture) PETER KROON: I know her first name. Kimba. BRENNAN: Kendra. PETER KROON: Whatever. She's the girl with Excalibur. BRENNAN: You mean the sword from the King Arthur mythos? PETER KROON: Yes. Though in this case, it's a prop sword from the film "La Mort d'Arthur". Is she in trouble? PEROTTA: No. BRENNAN: No. She's d*ad. VISITOR: Do you sell nunchaku? PETER KROON: No. No. PEROTTA: Why do you ask if she's in trouble? PETER KROON: Uh, she stopped by and asked me how much I'd give her for it. Excalibur. I take a look, and go, "Whoa, that ain't no ordinary cutlery." I have to wonder if it's not, you know, stolen. BRENNAN: Did it have significant value? PETER KROON: It was worth thousands. Tens of thousands. PEROTTA: You weren't tempted to k*ll her, take it for yourself? PETER KROON: Look, I could've told her it was worth two hundred bucks, ripped her off, but I didn't. I sent her to Carl Derf to list it at the auction. BRENNAN: Why was this piece of cutlery worth so much? PETER KROON: It was the actual prop wielded by Guy Thivisol in the first fantasy film ever made! The Excalibur from this film is the holy grail of fantasy memorabilia. Here it is. Beautiful. PEROTTA: And you have no idea where Kendra Kim got it? PETER KROON: She said she got it from her family. PEROTTA: You don't believe her? PETER KROON: That sword hasn't been seen in 20 years. What I thought was that she got it from someone else here. BRENNAN: Stole it? PETER KROON: Stole it, maybe. The girl was hot. That goes a long way in a place like this. (Cut to - Autopsy room) FISHER: Trauma is limited to the skull. Once I clean the skeleton and get a better look at the mandibular damage, I'll know more. Or get fired for incompetence. CAM: Well, I am finished with the soft tissue, so you can remove the flesh now. HODGINS: According to our old friends Diptera and Coleoptera, I'd place actual time of death about 72 hours ago. Also, I discovered soil under her nails, along with traces of Virginia nailwort. Neither native to the dump site. (Fisher sighes) What's with the long face there, sunshine? CAM: Mr. Fisher just broke up with his girlfriend and he's feeling a little down. HODGINS: What about me? My girlfriend and I broke up and I gotta see her at work every day. CAM: Well, obviously, it hasn't blackened your soul like it has mine. HODGINS: There was some light charring. CAM: I'm d*ad inside. HODGINS: Okay, you win. Happy? CAM: Not that I can ever remember. (Cut to- Booth in his apartment, Brennan in her office, on the phone) BRENNAN: So, what did your doctor say? BOOTH: Something about a possible herniation occurred on my disks L-3,L-4. Nothing, you know, a little rest stretching... Hey, maybe a good massage will just kick it right out. BRENNAN: Intervertebral disk degeneration shouldn't be taken lightly. Are you wearing your lumbo-sacral support belt? BOOTH: Yeah, the girdle, you mean. Yes, it's nice and tight. Oh, hold on. (He answers the 2nd line) It's Booth. PEROTTA: Hey, it's Perotta. How you doing? Uh, you need anything? BOOTH: No. I am just dandy. PEROTTA: Well, if you do, um... Hey, we found the victim's father. BRENNAN: We did? PEROTTA: Who's that? BOOTH: It's Booth. PEROTTA: No, no, no, before it was you. BRENNAN: Booth, you pressed "conference." PEROTTA: Dr. Brennan? BOOTH: It's me Booth. BRENNAN: Booth is on painkillers. Is the victim's father coming in? BOOTH: I want to be there. BRENNAN: No, you can't. He can't PEROTTA: Why? BOOTH: Yes, I can. What are you still doing on this call? BRENNAN: No, Agent Perotta, his back is very bad. He can't be there. You can't let him in. BOOTH: Yes, I can. I am the ranking officer. BRENNAN: But you are incapacitated by painkillers. BOOTH: Bones, enough, okay? I'm not incapacapitated, whatever you said there, all right? I just... Don't listen to her, Perotta. Don't. (Cut to- FBI Meeting room - Perotta is interrogating the victim's father, Booth is via video feed on a laptop) PEROTTA: Did you daughter live at home with you, Mr. Kim? MR. KIM: No. Kendra lived in a condo in Logan Circle. BOOTH: Look, ask him when was the last time he saw his daughter. MR. KIM: What was that? PEROTTA: This is Agent, um, Booth. BOOTH: Hello? PEROTTA: He's unable to be with us in person. MR. KIM: Kendra and I didn't see each other much, despite the fact that I put a roof over her head. PEROTTA: According to the modeling agency that booked your daughter, all of her checks were sent to your address. MR. KIM: The money went to pay the mortgage on the condo, which is also in my name. BOOTH: It's kind of a weird arrangement, now isn't it? MR. KIM: So's this. BOOTH: Well, considering my situation and my back, just... continue. MR. KIM: Kendra was about as irresponsible as a person could be. I told her, after she paid her debt to me, she could spend her money how she wanted. PEROTTA: Tough love. BOOTH: Did you give her a sword? MR. KIM: A sword? BOOTH: It's a Kn*fe, but it's only huge. MR. KIM: No. BOOTH: But did you daughter mention that she might have something of value? MR. KIM: No. BOOTH: Probably because you'd take it away from her. PEROTTA: Okay, this doesn't work. BOOTH: Don't shut me off! PEROTTA: I'd like to take a look at your daughter's condo, Mr. Kim. (Cut to- Kendra's condo - Perotta and Brennan enter the condo to find that it has been trashed) BRENNAN: Looks like someone really wanted that sword. ACT 2 (Hodgins and a few FBI techs have joined Perotta and Brennan) PEROTTA: Precise slashes to the couch and removal of ventilation screens suggest purpose frustrated in the search. FBI TECH: Digital answering machine behind the bed. It's cracked. PEROTTA: See if Computer Forensics can get anything off of it. HODGINS: Found some running shoes in the closet. Soles contain insects, soil and blood. PEROTTA: You want our lab to analyze that or yours? HODGINS: Yeah, I'd like to see you try and get these away from me now. Figuratively speaking, of course. PEROTTA: Anything else, Dr. Hodgins? HODGINS: In some ways, you're just like Booth. Mean that as a compliment. PEROTTA: I don't think you do. (Cut to- Jeffersonian) FISHER: Now, check this out. Mandibular trauma downward, maxillary trauma upward, trauma to the molars extends bilaterally. BRENNAN: The force radiated symmetrically from the center of her mouth. FISHER: It's like her face exploded. BRENNAN: Certainly nothing I've seen before. Very good, Mr. Fisher. FISHER: Really? Just seems like the truth is further away than it was before and like laughing at us. BRENNAN: Process of elimination is a key step to discovering the truth. I've seen many unusual m*rder w*apon. So the fact that I don't recognize this one, rules out all the others. FISHER: My kind of silver ling. It's depressing. (Cut to- Cam's office) HODGINS: The blood I found on the Booth babe's running shoes-- not human. I think our princess kissed a toad. Bufo Americanus. American toad. CAM: So she stepped on a frog? HODGINS: A toad. Bufo Americanus. Which amphibian is down to one local population right here near the Potomac in an area which matches the soil and the flora found beneath her fingernails. CAM: She went for a run, stepped on a frog, and buried something. HODGINS: A toad, and yeah, yeah, that's the picture forming in my mind, too. (Cut to - FBI Meeting room) PEROTTA: We pulled this message off the victim's answering machine. (Voice on a tape): I don't know who you think we're fooling, little princess, but you're playing with a woman who gets what she wants. You've got three days. I want that sword. SWEETS: You want me to do a profile from a voice on an answering machine? PEROTTA: Give it a sh*t. You're a smarty-pants. SWEETS: Okay, fine. "You're playing with a woman." That suggests that the caller regards the victim as a child in comparison. PEROTTA: Okay, so, so what, an old woman? SWEETS: No, no, experientially, probably in terms of sexual experience. So you're looking for someone fairly promiscuous. I think that she's already tried to take the sword from a man, and now is truly annoyed that she has to deal with a girl. PEROTTA: The auctioneer is a man, and he evaluated the sword before Kendra panicked and buried it. (Cut to - ImagiCon) DERF: I can assure you that this is a clean and fair auction. We've been running this auction for 15 years. PEROTTA: Please answer the question, Mr. Dorf. DERF: "Derf." Yes, I certified and registered the item. I even gave the consigner an option to store it in our secure room. She declined. PEROTTA: Consigner has to give you detailed contact information, right? DERF: If they want to get paid. PEROTTA: And sometimes you give that information to certain parties interested in illegal pre-bidding? DERF: What? No, no. Look, I told you before... SWEETS: Your pupils are constricted, suggesting an increase in adrenaline. DERF: What? SWEETS: And the change in voice pitch indicates increased pressure in the neck via the laryngeal prominence. DERF: What, what are you saying? SWEETS: You're lying to us. Kinesthesia is a clear indicator of dissembling, Mr. Dorf. DERF: "Derf." But look... PEROTTA: Do you recognize this voice? (Voice on the tape): I don't know who you think you're fooling, little princess, but you're playing with a woman who gets what she wants. You've got three days. I want that sword. SWEETS: Did that woman contact you about the sword? DERF: Yes, she did. Her name is Valerie Daniels. She's a medieval w*apon collector. PEROTTA: And you provided her with Kendra Kim's address and phone number. DERF: Every auction does private pre-bids, and no one ever gets... PEROTTA: Hurt? DERF: What? Wait a minute. What about the Excalibur? Did you find it? Is it still going up for auction? PEROTTA: Booth is right. You're like a portable polygraph. SWEETS: He didn't mean that in a good way, though, did he? (Cut to- FBI Interrogation room) SWEETS: This is quite a collection of medieval and fantasy w*apon, Miss Daniels. VALERIE DANIELS: My parents call it a waste of my trust fund, which is praise enough for me. PEROTTA: Seems like an unlikely hobby for a young woman. VALERIE DANIELS: I like sharp edges. I like sharp against soft. What do you like, Dr. Sweets? SWEETS: What? PEROTTA: Can you account for your whereabouts Wednesday night? VALERIE DANIELS: Yeah. I was somewhere not k*lling Kendra Kim. That's what you wanted to know, right? PEROTTA: It's not what I asked. VALERIE DANIELS: I was at the Immortal Comics after-party. You can ask Dean Noveck, the publisher. We slept together. The sex was vanilla. At least I got an alibi out of it, right? SWEETS: You feel a need to be in control, don't you, Miss Daniels? VALERIE DANIELS: I'd like to control you if you're up for it. SWEETS: Oh, I assure you I'm not. And your attempt to regain self-esteem through sexual intimidation will not repair the dysfunctional relationship you had with your father. Abandonment, abuse, indifference. VALERIE DANIELS: You are far more ripped under those schoolboy duds than one would think, aren't you, Dr. Sweets? SWEETS: Yes, but right now, I'm more interested to hear why you trashed Kendra's condo after you didn't k*ll her. VALERIE DANIELS: Her condo was trashed? PEROTTA: They were looking for Excalibur. That's what you wanted, right? VALERIE DANIELS: I travel the world tracking down rare and beautiful w*apon. I do research, I develop contacts, I put in serious work. Along comes this Booth babe with a famous sword thought to be lost for decades. She didn't deserve it. PEROTTA: But you deserved it. VALERIE DANIELS: I asked her where did she get it. She said somebody dressed as a black knight just gave it to her on the first day of ImagiCon. Just walked up and presented it to her as a gift. She expected me to believe that? I didn't k*ll the girl. I just wanted the sword. (Cut to - Park) HODGINS: Thanks for coming along. ANGELA: Yeah, any chance to get some fresh air. HODGINS: Lone guy with a metal detector in the bushes-- looks kind of creepy. ANGELA: It is. And I know you. Oh, boy! Frog! HODGINS: Toad, not frog. Bufo Americanus. And Virginia nailwort. ANGELA: We're close to where she buried the sword. HODGINS: Hold on a second. I got frequency response. HODGINS: Excalibur. (He digs up the sword and holds it up in the air) I am the once-and-future king. ANGELA: Way to not be creepy. ACT 3 (Cut to - Forensic Platform) BRENNAN: That is not a toy, Dr. Hodgins. FISHER: It kind of is. It's a movie prop. HODGINS: Stainless steel blade. That was new technology for the time. Edge is dull, of course. BRENNAN: May I see? It's badly balanced. The blade is warped. PEROTTA: All of the prints on the sword belong to Kendra Kim. Could this be the m*rder w*apon? FISHER: She wasn't s*ab or slashed. The damage to her jaw is unique. It wasn't from being struck with a sword. SWEETS: Is that the sword? Can I? An elegant w*apon for a more civilized age. BRENNAN: Actually, the age in which swords were the primary infantry w*apon was some of the most barbaric in history. PEROTTA: It's a line from Star Wars. SWEETS: Obi-Wan Kenobi. BRENNAN: What language is that supposed to be? HODGINS: Why is he all excited? SWEETS: Finding this sword has given us a unique advantage in this case. We now have what the k*ller wants the most. It only makes sense that the k*ller's gonna come after it again. PEROTTA: Dr. Sweets wants to lay a trap. SWEETS: You said that the auctioneer is no longer a suspect, correct? PEROTTA: So we lean on him to fake the auction? BRENNAN: We can't auction off evidence. SWEETS: I never thought of that. HODGINS: We could insert an undercover asset who outbids everyone for the item no matter how high the price goes. PEROTTA: The auction's tomorrow. I don't have time to set up that kind of operation. SWEETS: I'll do it. You and Dr. Brennan have already been seen walking around ImagiCon asking questions, right? Whereas I am an unknown quantity. An enigma. Who is this man bidding so aggressively for Excalibur? I'm confident that if our k*ller is there, this will provoke him to reveal himself. I play the mystery bidder, you observe the unsuspecting suspects via video feed in a separate room. PEROTTA: Who's gonna run the camera? SWEETS: We need someone who blends in. Someone who looks like they belong there. (They all look at Fisher) FISHER: I drug your ghost across the country. And we plotted out my death in every city Memories would whisper, "Here is where you rest," ah. What's wrong now? (Cut to- ImagiCom Auction room) DERF: Sold to the Rancor princess. Congratulations, ma'am. BRENNAN: Is there a special reason why you wanted me here, Agent Perotta? PEROTTA:I- I thought you wanted to be involved in the investigation. BRENNAN: Uh, um, okay. Pan around, Fisher. DERF: We have an Imperial... PEROTTA: Good. There is Peter Kroon. DERF: Bidding starts at... PEROTTA: And there is Valerie Daniels. Let's hope she doesn't recognize Sweets. BRENNAN: Oh, there's the Black Knight. Valerie Daniels said that a Black Knight gave Kendra the sword. PEROTTA: All right, stay on this one, Fisher. DERF: Okay, lot 922. We have here the Geiger counter, the actual Geiger counter used by Ron Berger in "The Day of the Atom". Who can forget that sound right before the giant cockroach att*ck? Click-click-click-click-click-click-click-click-click! Bidding starts at $10,000. Do I have ten? Ten to the Elven Warrior! 15 to the Snaarflap in the front row. Do I have 16? Sixteen? $20,000! Going once, twice. Sold to the gentleman Molnar! Uh, sorry, ma'am. Female Molnar. PEROTTA: Okay, here we go. Sword is next. Uh, Fisher, find Sweets. Sweets, you got to try to keep that giant fuzzy thing between you and Valerie Daniels, okay? SWEETS: She won't recognize me. BRENNAN: Where did he get that disguise on such short notice? PEROTTA: My guess is his closet. DERF: Our last item needs no introduction: The Excalibur sword from the film "La Mort d'Arthur". As you may have heard, the seller of this item tragically died this week. According to her family's wishes, the proceeds from this lot will go to charity. Due to the rare nature of this item, bidding will start at $50,000. This will separate the men from the boys. (Valerie Daniels raises her auction card) Or the women! $50,000 to the lady in black. Do I hear 55? Sixty? 60 to the gentleman from the future with the red lips. Do I hear 70? $70,000, yes! Do I hear 80? $80,000! Do I hear 90? We have 80 on the table. Do I hear... BADGLEY MORMONT: One hundred and fifty. PEROTTA: Fisher, let me take a look at this guy. DERF: $150,000. Going once, twice... One hundred sixty! One hundred and seventy! Two? $200,000! VALERIE DANIELS: Who is that guy? BRENNAN: Who is that guy? DERF: This was Johnny Gerard's first ever fantasy film. SWEETS: $300,000! DERF: Sir? $400,000! $400,000! BRENNAN: In 193 A.D., the Praetorian Guard took over Rome and auctioned off the entire empire to the highest bidder. I don't know why I'm nervous, but I am. PEROTTA: Sweets, it's fake money. Okay? Just do it. DERF: twice... PEROTTA: Do it! SWEETS: Five hundred! DERF: $500,000 for the Excalibur sword. A half a million dollars. Sir? Ma'am? $500,000 going once... twice...sold to the skinny gentleman dressed as a... Congratulations, sir. And thank you, everyone. Join us at the medieval w*apon demonstration in the exhibit hall. FISHER: How you doing? Just making a documentary. PEROTTA: Well, I am gonna go talk to James Bond. (She approaches him) Nice suit. Got a minute? Badgley Mormont? Is that your real name? BADGLEY MORMONT: Of course it's my real name. It's a family name. Could I possibly get my passport back? PEROTTA: You in a big hurry to get somewhere? BADGLEY MORMONT: I need to make a flight, yes. PEROTTA: What's your business with the sword? BADGLEY MORMONT: I represent a group of collectors known as the Arthurian Consortium. We house the world's largest collection of materials relating to Camelot. They wanted the sword. DERF: That was actually pretty wild. But I'm pretty sure no one realized the auction was bogus. BADGLEY MORMONT: The auction was fixed? DERF: Uh oh! BADGLEY MORMONT: I'm going to sue you, and I'm going to sue you. (Cut to- Sweets' car) SWEETS: You know, intellectually, I knew the auction was fixed, but, man, my heart was pumping. BRENNAN: Well technically, your adrenal glands were secreting. SWEETS: Okay, remember last session when we talked about the correcting and how it could be read the wrong way? BRENNAN: Right. So...how did it feel when you won the sword? SWEETS: Awesome! Thank you for asking. Though I got to say, I'll be glad to be back behind my desk. I had enough excitement to last me... (A car speeds right into them, forcing them off the road. Sweets is injured. Brennan gets out of the car to confront their attacker, after he steals the sword) BRENNAN: Stop! (They have a fight, where Brennan manages to get the sword back) BRENNAN: Sweets, are you hurt? SWEETS: I- I don't know. I don't know. Mad props. BRENNAN: Thanks. You okay? ACT 4 (Cut to - Brennan in her office, Booth on the phone) BOOTH: Okay, you know what? I'm coming in. All right? You could've been k*lled. BRENNAN: No, you shouldn't move, Booth. With a herniated disc, the splintered cartilage can irritate the nerves and... BOOTH: I'm fine. BRENNAN: So the-the pain is gone? BOOTH: Don't feel a thing. (He tries to get up from the couch) I might not be moving as fast, but, hey, still haven't lost my edge. So why wasn't Perotta with you? BRENNAN: I was with Sweets. BOOTH: That's like being protected by a Smurf. Not the sheriff, the guy who was in charge. I don't even know his name, but he was blue, small guy... BRENNAN: Booth have you taken more Vicodin? Look, Booth, I'm fine. Sweets is fine. A little shaken up, but really, we're both fine. Please don't come in. BOOTH: If you think so. But I'm ready. BRENNAN: That's amazing in your condition. BOOTH: Well, you know me. BRENNAN: I really think you should just take your Vicodin and rest. BOOTH: All right. Okay. Let me talk to Perotta. BRENNAN: All right. (Brennan hands the phone to Perotta) BRENNAN: He wants to talk to you. PEROTTA: How are you, Agent Booth? BOOTH: The only reason that I'm not coming in right now is because Bones told me not to. But she is your responsibility. Nothing can happen to her, okay? If anything happens to her, you know, that silky black hair and... that soft skin... PEROTTA:I will not let her out of my sight. You have my word. (Booth lays down on the floor and turns on the TV to cartoons) PEROTTA: Now, uh, we should really get back to the case, Agent Booth. BOOTH: Am I stopping you? PEROTTA: All right, I'm gonna go, uh, round up as many Black Knights as I can at ImagiCon. In the meantime, please don't go out in the field without me. BRENNAN: I don't need a sitter. Booth gets needlessly protective sometimes. I have no idea why. PEROTTA: You really don't, do you? BRENNAN: No. PEROTTA: Just call me. Please. (Cut to - Hodgins' station) HODGINS: Matched paint chips that we lifted from Sweets's car. Copolymer comprised of ethylenically unsaturated monomers containg hydroxyl group and other vinyl monomers. ANGELA: You know, they could have been k*lled, Hodgins. Sweets is way too young for this. He still has to show his ID to drink. HODGINS: But they weren't. ANGELA: And Brennan...She shouldn't be putting herself in danger like this. HODGINS: Angela, she cares too much to keep it all in the lab, and you're never gonna change her. ANGELA: Why can't she just get her rocks off through sex like a normal person, right? HODGINS: I agree. And in the spirit of friendship, if, you know, you ever... (His computer beeps) ANGELA: Saved by the beep, huh? HODGINS: The paint is from an early '90s Ford Explorer. Now, all Perotta has to do is find an evil Black Knight that owns one. (Cut to - Forensic Platform) CAM: There's blood on the blade, so you landed some hits on the errant Knight. He's injured. BRENNAN: Can you pull DNA? CAM: Sure, but we have nothing to compare it to. BRENNAN: There are some fresh nicks on the blade. Only metal would damage the blade like this. CAM: Was he wearing armor? BRENNAN: No. His movement wasn't constricted at all. SWEETS: He jangled. CAM: Sweets. How are you feeling? SWEETS: Appreciative of the air bag. Um, doctor says I'm fine, thanks. CAM: Jangled. SWEETS: Yeah. CAM: A lot of change in his pocket? BRENNAN: I wasn't particularly observant because during the att*ck, I secreted copious quantities of adrenaline. CAM: An att*ck is an acceptable excuse, Dr. Brennan. I'll have Hodgins examine the sword and see what he can find. BRENNAN: Okay. SWEETS: Uh, hey, I have to thank you, Dr. Brennan, for saving my life. I owe you a great deal. BRENNAN: I'm sure you would have done the same for me, Dr. Sweets, if I had been trapped in the car. SWEETS: Yeah. Though I have to say, you were quite impressive with that sword. Your move--very Xena-ish. BRENNAN: Xena-ish? SWEETS: Xena-- she's a tall warrior princess who is really...a fantasy. BRENNAN: Okay, thank you, I...think. SWEETS: Oh, uh, hey, since we shared this brush with death, Dr. Brennan, I was wondering if I could also call you "Bones" in future moments of shared camaraderie? BRENNAN: Don't call me "Bones." SWEETS: Sure about that, Bones? BRENNAN: Please, don't. (Cut to - FBI Meeting room) PEROTTA: None of them drives a Ford Explorer, and they all have alibis. Four that can be corroborated by their moms. CAM: Any way for you to get blood samples? PEROTTA: No. I mean dressing like a medieval knight isn't exactly enough to get a warrant to collect DNA. CAM: Maybe you could get the names of a few more Black Knights from these Black Knights? PEROTTA: Okay. But I gotta tell you, being addressed as Me Ladey for two hours makes one a little cranky. BLACK KNIGHTS: Me Ladey! (Cut to - Autopsy room) CAM: Mr. Fisher! FISHER: This is the m*rder w*apon. Not the literal m*rder w*apon-- I'm not that good-- but it certainly falls within the genre or type. CAM: What is it? FISHER: The Pear of Anguish, a medieval t*rture device. Valerie had it. CAM: Valerie... FISHER: Valerie Daniels. CAM: One of the suspects in the case Valerie Daniels? How did you get it? FISHER: Oh, do we really have to get into that? CAM: Now we do, yeah. FISHER: Our eyes met at the auction. We shared a bleak and profound hopelessness. CAM: You spent the night with a suspect? FISHER: Yes. Valerie enjoys quite a collection of t*rture devices, and other archaic implements used for pleasure rather than pain. May I? (He takes a plaster skull from one of the shelves) CAM: Sure. FISHER: This particular Pear of Anguish is to be inserted in either the vagina or the anus. There are larger ones for the mouth. As it is opened, it expands the hard palate and mandible in equal proportion, which would give exactly these injuries. Crushing the maxilla and zygomatic... thrusting the bones into the brain, k*lling the victim. CAM: That is one horrible way to die. FISHER: I wish the depravity and cruelty of human behaviour surprised me. CAM: Does that extend to disciplinary action? 'Cause you are in big trouble, my melancholy friend. FISHER: Of course I am. Who could expect a night of love to last? (Cut to Forensic platform) HODGINS: I've done every test I can think of on this sword. FISHER: Can I say something? CAM: The only thing I'm willing to hear from you right now, Mister Firsher, is "I hereby tender my resignation." BRENNAN: Practically speaking, this sword is not worth enough to k*ll for. FISHER: If any thing is worth k*lling for, then everything is worth k*lling for. HODGINS: It's worth so much because it appeared in the movie. BRENNAN: That's conveyed value. Intrinsically it can't be worth more than a few hundred dollars. CAM: You mean if it really was a sword from 100 AD, you'd understand k*lling for it? BRENNAN: Yes, I would. I'd like very much to examine a sword like that. What about the marks on this sword? HODGINS: Metal. You struck metal. CAM: You said he was a knight. FISHER: Chain mail. I'm thinking chain mail. BRENNAN: Huh CAM: What? BRENNAN: The knight who att*cked me was authentic in his moves. He used two att*ck manoeuvres: the serpent and the arrowhead. FISHER: Could've learned them from movies. BRENNAN: Movies never show combatants holding the sword correctly, which is one hand on the handle and the other on the blade. Our assailant's form was historically accurate. HODGINS: So, uh, you believe you were att*cked by an actual Arthurian Knight? BRENNAN: No. Time travel is scientifically impossible. But I was att*cked by someone well-trained in archaic martial arts, wearing chain mail. Hodgins, We're going to need to use your metal detector again. HODGINS: Sure. CAM: I think she means that you should go with her. HODGINS: Oh, yeah, right, hey, field trip. (Cut to - Off the highway) BRENNAN: What's that? HODGINS: Part of Sweets's car. Think he wants it back? BRENNAN: I'll ask him. HODGINS: So what am I looking for exactly? Maybe the Black Knight dropped his metal wallet? BRENNAN: No. Historically, that would be a leather sack held together with flax thread. It wouldn't register on your metal detector. I h*t him hard. Perhaps hard enough to dislodge... (She finds something on the ground) some of his chain mail. (Cut to- Jeffersonian) HODGINS: What we're looking at is flat riveted chain mail. CAM: Is it real? HODGINS: If by "real," you mean does it come from medieval times? No, no. But it's a very, very good replica, made of wrought iron. It's alternating rows of solid rings and riveted rings. Historically accurate, but the smelting methods for the wrought iron are modern. CAM: Can you trace the manufacturer? HODGINS: I had Fisher do it. CAM: Hodgins, are you trying to help someone? Because that's not in your character. HODGINS: The way I see it, Fisher's like a deep cover agent. He infiltrated the enemy to uncover secrets. In order to do so, he had to suffer a night of passion with a beautiful but dangerous enemy. FISHER: You have no idea how dangerous. HODGINS: He's sort of my hero. CAM: All right, what have you got? FISHER: I didn't have to go far. There are only three manufacturers working at this level with these materials. Can I please keep my job if I promise never ever to have sex again with anyone, which, by the way, suits me temperamentally? I happen to be very self-sufficient. CAM: I won't require that, Mr. Fisher, but I do require discretion. FISHER: Nothing will pass these lips again, Dr. Saroyan. Even if a scary, hot woman in black leather uses the Pear of Anguish on me. Which I'm actually afraid she will. CAM: (Cam opens the file that Fisher just handed to her) Kroon the Blacksmith. (Cut to - FBI Interrogation room) BRENNAN: You started out as a serious historian at Yale. You studied medieval warfare and Chaucerian literature at Oxford. You're a published poet. PETER KROON: You're wondering how a man with all my potential ended up selling artefacts to fantasy geeks? BRENNAN: No, I don't care. PEROTTA: Your car shows you are the person who drove Dr. Brennan and Dr. Sweets off the road. Your wound matches the one Dr. Brennan delivered to her assailant. It was your blood on the sword, and we found fragments of your chain mail. BRENNAN: We know you did it. PEROTTA: We just don't know why. BRENNAN: But we really don't care why. PEROTTA: Well, I kind of do. The motive thing, it's pretty central to a conviction. SWEETS: I know why he did it. Read this to him. "What is a man without his love? BRENNAN: "What is a man without his love? If Love turn its back on thee, it is as a hearth with no f*re, 'Tis best to slay the false heart, to waken from the dream that is life than live dark hearted in a dark world." PEROTTA: What's that? PETER KROON: It's mine. I wrote that. SWEETS: It's a confession. BRENNAN: It's a confession. I loved her. Stupid, but... love is stupid, you know. PEROTTA: You gave her the sword, your most valuable possession. And she tried to sell it for rent. BRENNAN: You k*lled her because she wanted to sell a movie prop? PETER KROON: You don't understand. No one understands true love anymore. (Cut to - Booth's apartment) BOOTH: So he k*lled her because he loved her so much? BRENNAN: The whole Age of Chivalry was irrational. Knights, maidens, and thank goodness we've moved through the Reformation and the enlightenment and into the age of reason. (She points to Booth's X-rays) Do you see what I mean? BOOTH: Not at all. I gotta tell you, I think they had it pretty good idea with the whole chivalry thing, you know, open cart doors, k*ll dragons, small hearts... BRENNAN: You still on vicodin? BOOTH: Yeah, a little BRENNAN: Okay, what I'm trying to show you is that your doctor's wrong. You've been mis-diagnosed. BOOTH: What? Give me that! BRENNAN: Just a small misalignment. I'd be happy to fix it for you. BOOTH: No, no, no. Last time you did that, I almost ended up in a wheel chair. BRENNAN: Don't you trust me? BOOTH: You know what? Let's not make it about trust! BRENNAN: Well, It's a fact, it's not what I make of it. You ready? BOOTH: Oh, definitely not ready! (He gets up from the couch, while Brennan wraps her arms around his neck again. A knock on the door is heard) It's open! (Brennan cracks Booth's back) Wow! PEROTTA: Oh! I didn't...I thought you said the door was open. BRENNAN: It is open. I'm done. I'm just leaving. PEROTTA: Oh! No, no, no. I just, um, brought some chilli I made, but, um, I'll just leave that there, and you can, um...are you all right? BRENNAN: Yeah, he's fine now! BOOTH: I gotta tell you, I'm a little afraid to move. BRENNAN: He's fine. Please, you stay. PEROTTA: Oh. I can't. You stay. BRENNAN: I gotta go. I can't stay. BOOTH: Wait, now nobody's staying? Hello? END

{"type": "series", "show": "Bones", "episode": "04x15 - The Princess and the Pear"}

foreverdreaming

"The Bone that Foam" Episode 4x16 / Production 4x10 Airdate: March 12, 2009 Written By: Elizabeth Benjamin Directed by: David Boreanaz Transcribed by: : lolies79 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Crime scene - Two people are hanging on the side of a hot air balloon while the Pastor pronounces the wedding ceremony) WEDDING GUESTS: We love you guys! PASTOR RICK: Dale and Ellie met at base camp on Mt. Everest two years ago, so you know that they are comfortable with life's ups and downs. (Laughs) But know that your love will allow you to absorb these with new strength as you are joined for life in holy matrimony. Do you, Dale McGilliard, take Ellie Spiller to be your wife in sickness and in health, through good times and bad, till death do you part? DALE: I do. PASTOR RICK: And do you, Ellie, take Dale as your husband in... ELLIE: I do, I do, I do. PASTOR RICK: Then by the powers vested in me by the State of Maryland, I pronounce you man and wife. Kiss and take the plunge into married bliss. (Dale and Ellie jump of the balloon with a bungee rope and the see the human remains at the bottom of the gorge) (Cut to - Later, Booth and Brennan arrive at the scene where a cop waits on them) BOOTH: Well, my guess is that this is going to put a crimp in their wedding night. BRENNAN: Why? BOOTH: Oh, come on, I mean coming face-to-face with death like that, kind of kills the desire don't you think? BRENNAN: I work with remains every day but if I'm sexuall attracted to someone I'm perfectly capable of engaging in spirited... BOOTH: Okay. Okay. Okay, Bones, I get it. I'm just saying, you know what? You have to be kind of crazy to bungee jump. Watch yourself. BRENNAN: I got it. It's perfectly safe. BOOTH: Tell that to Captain Splat over here, huh? COP: First bungee accident. I ever saw. BOOTH: Probably because you're ten. BRENNAN: This was no bungee accident. The victim is fairly well-dressed- tie, sport coat. BOOTH: Definitely not bungee attire. BRENNAN: And this compound tibial fracture- if he was still alive when he fell, the bone should have bled. COP: Meaning...? BRENNAN: Meaning someone threw him off the cliff after he was already d*ad. BOOTH: Yeah, suspicious circumstances, foul play, dirty deeds- I think you get the point. Okay, let's get it back to Jeffersonian, Bones. Right? (They start to high five then stop midway) BRENNAN: Oh. Gloves. BOOTH: Right. Wrap that up, kid. (Cut to - Jeffersonian lab - Autopsy room) CAM: It took ten minutes to hike down to the foot of the cliff to find the body. Local fauna include a wide variety of birds, rodents and crabs- all of which have had a go at the remains. VINCENT NIGEL-MURRAY: Fascinating that one would risk intraocular hemorrhaging, peroneal nerve damage, not to mention quadriplegia, just to experience a simple beta-endorphin rush. CAM: What fascinates me is that we've ruled out death by bungee and yet you remain fascinated. ANGELA: (Angela arrives in the autopsy room)Okay, I'm ready to start the facial reconstruction. (She sees the remains) Gross. Wow, this isreally gross. I'm going to come back. BRENNAN: Dental X-rays indicate the victim was undergoing dental restoration for abfraction lesions on his molars. CAM: Heavy grinder. High stress job? ANGELA: All right, well, I'll send pictures to Booth, see if he can check with local dentists. VINCENT NIGEL-MURRAY: Dr. Brennan, there is staining on this Le Fort 1 fracture. BRENNAN: Hemorrhaging into the maxillary sinuses. VINCENT NIGEL-MURRAY: Classic punch in the nose at or around the time of death. HODGINS: Which would be between two to five days ago. CAM: This body's been d*ad more than five days, the tissue shows a much higher rate of decomp. HODGINS: Yeah, I got late second instar Phormia regina and Chrysomya rufifacies. Which, I admit, seems weird, but my little squads of death don't lie. VINCENT NIGEL-MURRAY: (Vincent sees that there's a lump in the skin that is moving) Forgive me, Doctors, but... is his skin moving? CAM: Ohh, God, that's strange. BRENNAN: Insect activity? HODGINS: Never seen insects like that. Except in Alien. VINCENT NIGEL-MURRAY: I'm secreting adrenaline. CAM: I guess we should see what's inside. (Cam takes a scalpel and cuts the skin where it was moving, green foam comes out of it) HODGINS: Ohh, what the hell is that? CAM: I have no idea. Everyone, away from the body! (Cam pushes a button that sends the lab in lockdown) We're in lockdown. TITLES ACT 1 (Cut to - later, the remains are in a protective tube - the lab is still in lockdown) BRENNAN: Do you have any idea what the foam is? CAM: No idea at all. But we could be dealing with a poison, a virus, or a biotoxin. So no one touches or... sniffs it or anything else until we've run tests. BRENNAN: This is a first for me. Perhaps if Mr. Nigel-Murray and I could examine the bones... (Cam stops working and looks blankly at Brennan) I'm annoying you. CAM: Patience, Dr. Brennan. (The alarm stops) Curiosity k*lled the cat. HODGINS: I'm running the bugs through the Mass Spec. I'm not getting any toxins, but they might not have fed on the remains yet. In other words, I need more samples. BRENNAN: We all need more samples. CAM: I know. I would just like us all to stay alive during the process. VINCENT NIGEL-MURRAY: In 400 BC, Hypocrites declared that disease was not caused by demons. HODGINS: Great, so we can rule out demons. ANGELA: Alex Newcomb, 33. The FBI got an ID off his dentals. The dentist has the brother listed as the emergency contact. CAM: Perhaps you should help Agent Booth question the victim's brother. I'll call when you can have access to the remains. BRENNAN: Okay. (She leaves) (Cut to - Jungle Jim car dealer) BOOTH: (Booth and Brennan arrive on the scene) I thought the guy was d*ad. BRENNAN: He is d*ad, but his skin was moving. BOOTH: Wait a second. Moving skin on a d*ad guy? BRENNAN: Yes. Then he started foaming. BOOTH: Wait a second. Foaming? Okay, what would cause that? (They get out of the car and go in the building) Too much beer? Or maybe he ate soap? BRENNAN: You should stop using cartoons as a scientific reference point. BOOTH: Okay, you know the guy who owns this place, he has a monkey. BRENNAN: Does he feel that a monkey will inspire me to buy a car? BOOTH: Bones, it's marketing, okay. Look, hey, "We don't sell cars..." MAUREEN PEROT: "We sell adventure!" So, what can the Mighty Mo put you in today? Mmm, you look like a sporty two-door man. BRENNAN: Actually, he has a very nice car. MAUREEN PEROT: Ooh, I'll say. That Sequoia's a honey. BOOTH: Yeah, tell me about it. MAUREEN PEROT: Roomy enough, you could have a Super Bowl party back there. What is that, GPS, side air bags. BRENNAN: We're looking for... MAUREEN PEROT: Such great gas mileage for, you know, a can-do machine. Are you looking to trade in? BRENNAN: No, we're looking for... MAUREEN PEROT: Because I can offer you a sweet deal from the heart of the jungle. (She roars Booth) BRENNAN: We're here to see Chet Newcomb. MAUREEN PEROT: Okay. Between us, as much as we all love Chet, as Bwana of the Month, I'm really in a better position to offer you a deal.So... BOOTH: Right. And that'd be just great, Mighty Mo, if we were here to buy a car, but we're not. You know, FBI. MAUREEN PEROT: Well, he's back there. (Boots roars her) BOOTH: Thank you. What? She roared me first. BRENNAN: Doesn't mean you have to roar her back. (Booth and Brennan go in Chet Newcomb's office) JUNGLE JIM: The doctor said you have to take all of these on a full stomach. CHET NEWCOMB: Desmo... Desmopress... BRENNAN: Desmopressin? Do you have kidney problems? CHET NEWCOMB: No, it's just a, uh, slight infection. Hi. Chet Newcomb. What can I do for you today? BOOTH: Uh, with the FBI. I'd like to ask you a few questions, you know... in private. CHET NEWCOMB: Oh. Uh, well, this is my wife, Vanessa. BOOTH: How do you do, ma'am? Pleasure to meet you. BOOTH: We just, uh, have to have a few words. VANESSA NEWCOMB: Oh, well, I was just going. I have a fitting anyway- a client waiting on a bridesmaid's dress. BRENNAN: Actually, you might want to stay. Booth has some bad news about your husband's brother. He may need consoling. BOOTH: Bones... BRENNAN: Wasn't that sensitive? CHET NEWCOMB: What happened to my brother? BOOTH: He was found at the base of a cliff at Whitney Cove. VANESSA NEWCOMB: Oh, my God. I told him he that was crazy to try that bungee thing. CHET NEWCOMB: There was an accident? BRENNAN: No. He was... What's a sensitive way of saying m*rder? CHET NEWCOMB: m*rder?! BOOTH: Sorry. When you're ready, we'd like to ask you a few questions about your brother. CHET NEWCOMB: He was m*rder? BOOTH: Yeah, we're very sorry for your loss. Where was the last place your brother worked? CHET NEWCOMB: Um, until a couple of weeks ago he worked... he worked here. Uh, then he left and he went to work for Criterion across the street. BRENNAN: Can you think of anyone who wanted to do him harm? VANESSA NEWCOMB: He was a car salesman. CHET NEWCOMB: Jungle Jim and Alex got into it pretty bad when Alex quit. BOOTH: Jungle Jim? (Cut to - Jeffersonian lab - autopsy room) VINCENT NIGEL-MURRAY: Perimortem fractures on the victim's parietal. CAM: Cause of death? VINCENT NIGEL-MURRAY: No, though, you know, might stun him for a moment. Is there any chance we can remove the remains from the iso-t*nk? CAM: I can't get a definitive reading yet. I have organic matter, from the victim and numerous creatures that took a piece from him. I'm running another test for viruses that could've been transmitted from the animals. VINCENT NIGEL-MURRAY: Dr. Saroyan, uh, the bones- there's more foam. CAM: Where? VINCENT NIGEL-MURRAY: Ooh, uh, it's spreading. CAM: Originating from where? VINCENT NIGEL-MURRAY: The Chinese throw away 900 billion chopsticks every year. CAM: Any relevance whatsoever? VINCENT NIGEL-MURRAY: No, no, none. It's, uh... I'm just...I'm a tad disoriented. CAM: So when you spout facts, it's your way of maintaing focus. VINCENT NIGEL-MURRAY: Facts are the stitches that hold the fabric of existence together. CAM: In that case, is it individual chopsticks or pairs? VINCENT NIGEL-MURRAY: Individual. The foam is coming from inside the bones themselves. Through the periosteum. (Cut to - Jungle Jim car Dealer, head office) JUNGLE JIM: Wow. Alex Newcomb. That's terrible. BOOTH: Is that thing tame? JUNGLE JIM: Bananas? Oh, he ain't flung poo since I bought him this hat. Alex. He was one ornery son of a bitch, but what a salesman. BRENNAN: Why did he quit working here? JUNGLE JIM: Oh, he didn't quit. I fired him. He was Bwana of the Month every month for over two years. The last two, he dropped to bwana number three. I told him if he didn't pick it up, we'd have to reduce his commissions. I mean, why pay top bwana money for a number three bwana? BOOTH: And how did he react? JUNGLE JIM: This is tough to talk about. It's just tough. He shoved Bananas off my shoulders. Just... shoved him. I've been waiting for an apology. I would've taken him back if he'd just apologized to Bananas. BRENNAN: Apologize to a monkey? JUNGLE JIM: He's got a heart just like you and me. I think it shows a basic lack of humanity to push a monkey. No wonder somebody k*lled him. (Cut to - Criterion Cars) HAL SHAZIRI: Alex shoved Jungle Jim's monkey? BUDDY SHAZIRI: There's your motive. That man has an unnatural attachment to his monkey. HAL SHAZIRI: Everyone knows you don't touch the monkey. BUDDY SHAZIRI: Everyone. BRENNAN: We need some actual evidence. BOOTH: Listen, what can you tell us about Alex? HAL SHAZIRI: Alex was a very good salesman. You see, in the one month, he broke every sales record we had. BOOTH: Buddy, is it? Looks like he took your spot. BUDDY SHAZIRI: Hey, family business, man. It's all good. HAL SHAZIRI: My God, this is such tragedy. How did his, uh, brother take the news? BOOTH: Oh, you, uh, you know Chet? HAL SHAZIRI: Sure, Alex wanted me to hire him. But now I feel bad that I could not. BRENNAN: Why couldn't you? HAL SHAZIRI: The poor man is sick. I need a strong man to sell my cars. BRENNAN: Why? BOOTH: 'Cause you want to buy a car from a guy who's, you know, vital. Makes a... a man feel like, you know, he's on the winning team, makes a woman feel all protected and safe. BRENNAN: That makes no sense. BUDDY SHAZIRI: No, I believe he's correct. HAL SHAZIRI: Mm-hmm, as do I, yeah. BOOTH: Did Alex have any enemies? HAL SHAZIRI: Lemon guy. BUDDY SHAZIRI: Lemon guy. BRENNAN: Is that another car dealer? HAL SHAZIRI: No. Angry customer took a golf club- Tah!- like that to Alex's windshield. Seven iron. BUDDY SHAZIRI: No, it was a nine iron. Oh, yeah. He said Alex, uh, sold him a lemon car. Bashed in Alex's ride. BRENNAN: Did Alex sell him a lemon? HAL SHAZIRI: No way. We are a class act. BUDDY SHAZIRI: Yeah, that's simply not how we roll, man. (Cut to - Jeffersonian Lab - autopsy room) CAM: Every serologic and biologic diagnostic I've run comes up the same- no drugs, viruses, poisons. HODGINS: Mine show no evidence of arsenic, ethylene glycol or cyanide. No signs of any toxins. VINCENT NIGEL-MURRAY: Then we could let him out? CAM: Okay. But we proceed with extreme caution. VINCENT NIGEL-MURRAY: In the Dark Ages, it was believed that holding wine in the mouth while breathing through the nose would prevent the plague. HODGINS: That's the best idea I've heard today. Does it work with tequila? (Hodgins pokes the bone and more foam comes out) VINCENT NIGEL-MURRAY: Uh-oh. CAM: What? VINCENT NIGEL-MURRAY: This bone is, um, it's gone quite soft. Gelatinous. I believe it's disintegrating. HODGINS: We're losing our evidence? CAM: How much time do we have? VINCENT NIGEL-MURRAY: Uh... CAM: Tell me a little known fact. HODGINS: What? Uh... okay. Did you know that the international telephone dialing code for Antarctica is 672? CAM: Did you know that, Mr. Nigel-Murray? VINCENT NIGEL-MURRAY: I did not. I estimate that we are losing approximately 12% bone mass every hour. Which means... CAM: We could lose our evidence long before we solve our m*rder. ACT 2 (Cut to - Interrogation room, Brennan and Sweets are in the looking room)) BOOTH: (Booth swings a gold club) Nice grip on this iron. So, is this the type of club that you used to bash in Alex Newcomb's windshield? LEMON GUY: Hey, this guy took my money. And when there was a problem, it was like I didn't even exist. BOOTH: He's lucky the only thing you went after was his windshield. BRENNAN: That isn't what Booth really thinks? SWEETS: Uh, no, no. Booth sees that the man is humiliated and he displays empathy. BRENNAN: So, lying. SWEETS: Manipulating. Much like the car salesmen. I used to teach psychological techniques to car salesmen to make money for grad school. Not one of my finest moments. LEMON GUY: A lemon is a car that craps out on you three months to a year after you buy it. I didn't get more than ten miles off that lot when the brakes failed. That's not a lemon; that's a death trap. BOOTH: Yeah, you feared for your life. LEMON GUY: No, not my life- my kid... who was in the backseat, four years old, he cracked a rib, he... ...h*t his head, he got stitches. BOOTH: Wow, I mean, you expect a car like that to be safe. LEMON GUY: That's damn right. BOOTH: Yeah, right? I got a kid. If someone endangered his life, I'd k*ll the guy. LEMON GUY: Wait... Somebody k*lled this guy? BOOTH: k*lled him. d*ad. LEMON GUY: Whoa, whoa, whoa, hey, look... I busted up his windshield, all right. I- I l-lost my temper. But there is no way I'm gonna let my kid live without a father. BRENNAN: I want to do that. SWEETS: Do what? BRENNAN: Connect to people, like Booth does. You could teach me. SWEETS: Oh, I don't know. BRENNAN: In the spirit of scientific inquiry, I'd like to see if what you say about psychology is true. SWEETS: Did you just dare me, Dr. Brennan? (Cut to - Jeffersonian Lab, forensic platform) HODGINS: Hey, got something. I found some particulates on our victim's clothing. Simmondsia chinensis, mica Red 7 Lake, And Fragaria anassa. Also known as Lust Dust. CAM: Lust Dust? HODGINS: On his pants. His, uh, lap. Strawberry body glitter. Such as might be utilized by a lap dancer? (Vincent and Cam suddenly get it) CAM: Well, that's something I can tell Booth. HODGINS: That makes me King of the Lab. VINCENT NIGEL-MURRAY: A large percentage of the monarchy are actually ment*lly handicapped due to inbreeding. HODGINS: Can't ruin it for me. King of the Lab! (Cut to - Showgirls strip club) BOOTH: Hey, Bones, look, this is the only strip club in proximity to Alex's home and work, all right. You know what; you didn't have to come inside with me. BRENNAN: No, I look forward to observing your behavior. BOOTH: My what? BRENNAN: Sweets says you're manipulative. Like a salesman. I want to study your technique. BOOTH: My technique? Wait, I'm gonna smack that guy. BRENNAN: You put people at ease, get them to do your bidding. It's a very useful skill. One I wish my father had passed on to me. BOOTH: All right, look, your father is a con man, I am not a con man. Let us just remember that. Okay, just watch. Don't say anything. Excuse me, ladies, uh, if I may, um, which one of you likes to use this stuff? BRENNAN: It's strawberry Lust Dust. STRAWBERRY LUST: Well, that would be me. Strawberry Lust. BOOTH: Right. Strawberry Lust. The one and only. I'm sure you thought long and hard about that stage name, right? BRENNAN: We'd like to speak with you in private. BOOTH: No, not in private. I could just ask you a few questions here. All right, Bones, you know what? It's a little weird that you're here watching. Why don't you just go outside... STRAWBERRY LUST: It's not weird, baby. Lots of people like to watch. BRENNAN: Oh, thank you. I get tremendous satisfaction out of observing a whole variety of activities. BOOTH: I'd just like to ask you a couple questions. STRAWBERRY LUST: Your boyfriend's shy, isn't he? Sweet. That'll be 60 bucks. BRENNAN: Okay, I got that. BOOTH: Bones? BRENNAN: Here you go. STRAWBERRY LUST: Thanks. Hey, relax. She's going to be enjoying this, too. BOOTH: Right, just... Whoa, all right. STRAWBERRY LUST: Not so interested in talking now, are you, baby? BRENNAN: You have excellent control of your hips. STRAWBERRY LUST: So I've been told. BOOTH: Wh... Um, Miss Lust, um, Miss Lust, actually, I'm with the, uh, FBI. I need to ask you, um... few question about maybe a client? STRAWBERRY LUST: FBI? I'm a criminal science major at Georgetown. BOOTH: Yeah, and yet, here you are, right? Working off student loans? STRAWBERRY LUST: You know it. School's a fortune. BRENNAN: Well, I think you will pay off your loans very quickly. BOOTH: Bones? BRENNAN: She's quite arousing, which I imagine translates into excellent tips. BOOTH: All right, uh, Miss Lust, um, Alex Newcomb, um, Criterion Cars, uh, salesman. Uh, maybe a client of yours? STRAWBERRY LUST: Yeah, sure, regular. What about him? BOOTH: Well, we have evidence that you, um, gave him a lap dance on the night that he died. STRAWBERRY LUST: Died? Whoa. m*rder? BOOTH: Can you just answer the, uh... STRAWBERRY LUST: Right, cooperate fully. I aced my freshman criminology class. Um, I gave him a couple of dances Thursday night. He was pretty drunk. Started a fight and Billy had to kick him out. Wait... wait a minute. Am I a suspect? Because all I do is gyrate and that never k*lled anyone. BOOTH: Uh, did he get into a fight with one of the bouncers? STRAWBERRY LUST: No, with another car salesman. You know, the Indian guy? Buddy. BOOTH: From Criterion. BRENNAN: He lied to you. You should go talk to Buddy. BOOTH: Yes, I-I should. BRENNAN: Then tell Miss Lust to get up. STRAWBERRY LUST: I think that might be a little embarrassing right now, huh, baby? BRENNAN: That's my g*n. (To Brennan) Give us a minute? BOOTH: (She sits back on her chair) Okay. BOOTH: Outside. BRENNAN: What's outside? BOOTH: Can you go outside, please? BRENNAN: Wh... Did we get our 60 dollar's worth yet? (Cut to - Jeffersonian, Brennan's office. She and Sweets are sitting) SWEETS: We'll start with a simple exercise um, to recognize emotions from facial expressions. Then I'll give you skills to deal with those emotions. BRENNAN: Okay. SWEETS: Okay, just give me a moment. (He turns around and makes a face) Okay. BRENNAN: You're ill. SWEETS: Ill? No, Dr. Brennan, no. Ill is not even an emotion. My brow is furrowed, mouth slightly open, eyes quizzical. I'm expressing confusion, and its corresponding vulnerability. BRENNAN: What are you confused about? SWEETS: That's not important at this point. Now it's just important to recognize that when someone is vulnerable, you have the opportunity to help them feel secure. Thereby gaining their trust and forming a relationship. Having this skill can, ahh, it can enrich all aspects of your life. BRENNAN: And not just supply the world with dishonest car salesmen. SWEETS: No. SWEETS: Let's try another one. (He turns around again to make another face) Okay. (angrily) Okay! BRENNAN: Wha... What is wrong? I... You are very intolerant, Sweets. I am doing the best that I can. Okay. SWEETS: That's right, that's right, I was expressing anger. Excellent recognition. Very poor response to it, though. BRENNAN: Should I have become physical? SWEETS: No. Well, not if you're trying to establish an emotional connection. BRENNAN: Do you think that Booth was trained like this? SWEETS: Some people just have a natural ability. But, hey, hey, Dr. Brennan, you're a brilliant woman. And you'll get there, okay? (Cut to - Jeffersonian, autopsy room) HODGINS: Okay. The skull is melting. VINCENT NIGEL-MURRAY: We can use this C- Ring magnifier to enlarge a greater area. (VNM turns on the magnifier and an expl*si*n occurs on the body. All the lockdown alarms go on) HODGINS: Whoa! (Cam and Sweets join Hodgins and VNM) VINCENT NIGEL-MURRAY: Well... Uh, the f*re appears not to have damaged the remains. BRENNAN: How did it start? (Hodgins and VNM both point to the body) CAM: Oh, I see, so we're going with the old "blame the corpse" defense. VINCENT NIGEL-MURRAY: I just... I turned on the C-Ring magnifier, and then there was a little pop, and then... HODGINS: Whoosh. Pop, whoosh. BRENNAN: But if the light was the ignition source, that suggests the body was emitting some kind of gas. VINCENT NIGEL-MURRAY: Uh, diatomic gases emit a distinctive ultraviolet hue when they oxidize. CAM: These remains were emitting hydrogen gas. HODGINS: Not anymore- it all b*rned up. BRENNAN: Whatever mysterious process is destroying these bones emits hydrogen gas as a by-product. (Cut to - Criterion cars) BUDDY SHAZIRI: Agent Booth... is it the FBI's intention to confiscate our automobile? BOOTH: Oh, no, but, you know, I might be in the market to buy one, Mr. Shirazi. BUDDY SHAZIRI: Base price starts at $114,000, Agent Booth. BOOTH: Family money. (Buddy hands Booth his card) BUDDY SHAZIRI: Well, please, call me Buddy. (Cut to - in the Audi car on a test drive) BOOTH: Okay. BUDDY SHAZIRI: 4.2 liter V8, carbon ceramic brakes with monobloc Brembo calipers. BOOTH: Zero to 60? BUDDY SHAZIRI: 4.6 seconds, but, uh... please, not during the test drive. BOOTH: Right. You married, Buddy? BUDDY SHAZIRI: Yes, indeed, bro. Four blissful years, but, uh, I know you must be a bachelor, because this car is for prowling. BOOTH: That's right. I am a bachelor. I do like to prowl. I usually head over to that, uh... that strip club, uh, Imperial Showgirls over on, uh, Washtenaw. You know, where they have all that lap dancing. BUDDY SHAZIRI: (Uncomfortably) I- I don't know that place. BOOTH: No? (He slams on the gas) BUDDY SHAZIRI: Wait, wait, wait, wait, wait, wait! Oh, God, please... BOOTH: Imperial Showgirls? BUDDY SHAZIRI: Uh, did my wife send you? Okay, please, I implore you to slow down. Uh, the railway tracks. BOOTH: What? BUDDY SHAZIRI: The railway tracks are there, and you must please slow down to five miles an hour before we... okay What do you need to know? BOOTH: You got into a fight with Alex Newcomb at Imperial Showgirls the night he was m*rder. I want to know why. BUDDY SHAZIRI: He stole a client from me. I punched him in the nose. Please, man, the tracks. BOOTH: How do I know you're not lying? BUDDY SHAZIRI: I'm not lying. I'm not lying, I swear. I'm not lying. I'm not a liar. The tracks! The tracks! The tracks! The tracks! The tracks! (Booth stop the car just short of the tracks and turns around) Thank you, Agent Booth. Thank you. Okay! We were both thrown out of the club. I foolishly drove home drunk, and I apologize. I won't do it again. BOOTH: Okay, what did Newcomb do? BUDDY SHAZIRI: I don't know. Wait, wait, wait, wait, wait wait, wait, wait! Wait, wait! Wait, wait, wait, wait, wait, wait, wait, wait! Wait, wait, wait. Wait, wait! Wait, wait, wait. He, uh... he took a cab. He told the driver to... to-to-to take him back to Jungle Jim's. He said to me, "Screw you and everyone who works at Criterion. I'm going to get my old job back." BOOTH: Right. You know what; this baby definitely pulls to the right. You have alignment problems. You know what, I'm going to call my partner and get a ride back. (Booth gets out of the car) (Cut to - Booth and Brennan on the phone, each in their office) BRENNAN: Did you check with the taxi company? BOOTH: Oh, yeah. Alex Newcomb took a taxi to Jungle Jim's that night, uh, and the cabbie said that he was intoxicated. BRENNAN: Well, do you think that Newcomb was going to apologize to the monkey and get his job back? BOOTH: Well, yeah, he definitely wanted to get the monkey off his back. BRENNAN: But the monkey was on Jungle Jim's back. BOOTH: Well, Alex felt guilty for leaving his brother all alone at Jungle Jim's. BRENNAN: Oh, so Alex Newcomb's brother, Chet Newcomb, was the monkey on the back. BOOTH: Oh, you know what, I am getting off that merry-go-round right now, Bones. BRENNAN: Booth? Booth? (She arrives on the platform) Update? VINCENT NIGEL-MURRAY: I found perimortem Colles' fractures on both the right and left distal radii. Possibly from the breaking of a fall. BRENNAN: Where? VINCENT NIGEL-MURRAY: Already dissolved. BRENNAN: Any definite cause of death? VINCENT NIGEL-MURRAY: Oh, uh, areas on the left lateral thorax near the rib fractures show... (Vincent moves the camera to where it should be to see that it's gone) It's gone. CAM: More evidence is gone? VINCENT NIGEL-MURRAY: The rate of dissolution is accelerating. CAM: Are you hearing this, Dr. Hodgins? BRENNAN: We're losing the bones. We have to figure a way to arrest the destruction of... HODGINS: Ion chromatography takes time. CAM: Yeah, let's give him a little space. BRENNAN: Okay, so we know that the bones are dissolving faster than the rest of the body. Why should that happen? VINCENT NIGEL-MURRAY: What do bones have that the rest of the body doesn't? BRENNAN: Calcium. VINCENT NIGEL-MURRAY: Oddly enough, calcium is the fifth most abundant element in both the crust of the Earth and the ocean. BRENNAN: We're looking for a corrosive that produces hydrogen gas when it breaks down calcium. HODGINS: Fluoride ions would tear through cells and soft tissue until they met up with calcium. BRENNAN: All acids contain hydrogen. HODGINS: Hydrofluoric acid. VINCENT NIGEL-MURRAY: Used in various, uh, pesticides, rust removers, petrochemical development, to clean and brighten certain metals. HODGINS: Antacid. CAM: You think he's troubled by indigestion? HODGINS: Antacid contains magnesium hydroxide. If we cover the hydrofluoric acid in enough magnesium, it will stop attacking the bones. CAM: Makes sense... I hope. VINCENT NIGEL-MURRAY: The first recorded antacid was an amalgam of ambergris and musk, though since ambergris could only be obtained from whales, it wasn't readily available to all. (The foam turns into a solid crust) BRENNAN: Wh... it's working. HODGINS: Yeah. CAM: What's happening? HODGINS: The good news is that the bones stopped dissolving. The, uh, bad news is... VINCENT NIGEL-MURRAY: Our foamy friend seems to be petrifying right before our very eyes. CAM: Oh, God. (The lockdown alarm goes off again) BRENNAN: Mr. Nigel-Murray, perhaps you and Dr. Hodgins can figure out a way to free the victim's remains so that we can discover cause of death. HODGINS: Well, how do we do that? Drop it on the floor like a piggy bank? VINCENT NIGEL-MURRAY: I suggest we cut off one of the limbs- one of the less crucial limbs, of course- and run some tests. CAM: Are you serious? VINCENT NIGEL-MURRAY: No. (Cam leaves. Hodgins and Vincent lean in on the body) Would it interest you to know... HODGINS: No, at-at this moment, it-it would not. (Cut to - Interrogation room viewing room) BRENNAN: Please, Booth, I'm ready. BOOTH: One lesson with Sweets doesn't turn you into the master interrogator. BRENNAN: What, is master interrogator a real thing? SWEETS: Technically, no. BOOTH: You got to know exactly what you want to find out when you go in there. BRENNAN: Really, if you can do it, I can. BOOTH: Seriously. You think you can do anything I can do? BRENNAN: Not the big, strong, sheerly physical things, but otherwise... yes. BOOTH: Fine, be my guest. Be the big cheese. Fill the shoes. SWEETS: Here, take an earpiece in case you, you know need help. BRENNAN: Okay, but don't distract me unnecessarily. (Brennan goes in the interrogation room) BOOTH: It's all your fault. You know that, right? SWEETS: Why? You're the one that said yes. BRENNAN: I'm Dr. Brennan. MAUREEN PEROT: Yeah, I know. We met, like, five times. BRENNAN: Together, you and I are going to help each other out here. MAUREEN PEROT: If by "help," you mean put me in the electric chair. BRENNAN: Was that a confession? Because it sounded like a confession. MAUREEN PEROT: No, no, no, I was... I was being, um... Are you serious? SWEETS: I'm sorry. BRENNAN: Did you enjoy sex with Alex Newcomb? MAUREEN PEROT: No, I did not. It was over too quick, and he didn't put enough weight on his elbows. BRENNAN: So... you admit to a sexual relationship? No, no. No, once again, I was... I was joking, so... No. We just worked together. BRENNAN: Where were you last Thursday night? MAUREEN PEROT: Bowling. BRENNAN: Did you k*ll Alex Newcomb? MAUREEN PEROT: No. Did you? BRENNAN: No. SWEETS: Oh. BOOTH: Will you just... ask her if Alex Newcomb ever stole any of her customers. BRENNAN: Did Alex ever skate any of your sales? MAUREEN PEROT: Oh, yeah. Yeah, he did. I'd have referrals come in on my days off, and he would tell them I'd been fired. BRENNAN: That's terrible. MAUREEN PEROT: Look, the only person that he really cared about was his brother. BRENNAN: How do you know? MAUREEN PEROT: Why do you think Alex went from number one to number three? He punted sales to his brother. Made me number one. BRENNAN: So, you had no reason to k*ll him. MAUREEN PEROT: Nope. BRENNAN: Thank you for your cooperation. SWEETS: That's it? Okay. I'm sorry. I'm sorry. You were right she wasn't ready. BOOTH: No, she wasn't ready, Sweets, but we found out something really, really important. SWEETS: What, the woman bowls? BOOTH: No, we found out that the victim was secretly carrying his brother. (Cut to - Jeffersonian, foresic platform) CAM: Any good news? VINCENT NIGEL-MURRAY: I think I may have discovered cause of death. CAM: Even though the victim is still wearing his hard candy coating? VINCENT NIGEL-MURRAY: I went back over the X-rays and the MRI scans. This defect on the posterior aspect of the sternum. There. CAM: That's very small. VINCENT NIGEL-MURRAY: This shadow suggests that the margins bevel inward, which suggests that it was left by the tip of whatever w*apon, was used to k*ll the victim. CAM: How can we confirm that? VINCENT NIGEL-MURRAY: By cracking this baby open and taking a good look. HODGINS: So... IC results confirm anions of chloride, sulfate, phosphate, nitrate and fluoride. So his body was exposed to highly concentrated hydrofluoric acid. CAM: Ah, we got something right. Now, how do we get him out? HODGINS: No idea. VINCENT NIGEL-MURRAY: Perhaps... one good sharp shock with a mallet would free the remains inside. HODGINS: I also found some fecal matter on the bottom of the shoes. VINCENT NIGEL-MURRAY: 90% of the world's population have fecal matter on the bottom of their shoes. HODGINS: Not from a Cebinae Cebus. CAM: A what? HODGINS: Capuchin. VINCENT NIGEL-MURRAY: Jungle Jim's monkey Banas is of the capuchin variety, named thus for their uncanny resemblance to the, uh, Capuchin monks, uh, the- an sh**t of the Franciscan order. HODGINS: They had... Motile flagellates in the poop date the freshness to five days ago. CAM: The same day Alex Newcomb was k*lled. HODGINS: Has anyone suggested a pinata scenario? I'll leave you to it. (Cur to - Jungle Jim car dealer) JUNGLE JIM: You people better have a warrant. BRENNAN: We have reason to believe that Alex Newcomb was here the night he died. JUNGLE JIM: Well, I didn't see him. Monkey crap? You're here looking for monkey crap? BRENNAN: Feces, yes. It won't be hard to find. Maybe Banas should wear a diaper all the time. BOOTH: Diaper. JUNGLE JIM: All right, if Alex was here, I didn't see him. MAUREEN PEROT: Okay, what is going on now? JUNGLE JIM: Oh, they think that Banas k*lled Alex. BOOTH: We never said that. MAUREEN PEROT: O- Okay, wait a minute. You think Alex was k*lled here? JUNGLE JIM: N- No, n- nobody here k*lled Alex. Would you just go back to the floor? Go. Go. FBI TECH: Agent Booth, Dr. Brennan, we found blood. (Cut to - Back room) FBI TECH: So there's an additional wide stain around the blood where the concrete is clearly pitted. BOOTH: What is it? FBI TECH: It's congruent with a strong acid. BRENNAN: What is this, please? JUNGLE JIM: That's Gleam-o. BOOTH: What's that? JUNGLE JIM: It's a tire cleaner- it's-it's real concentrated. BOOTH: Is it corrosive? BRENNAN: 60% hydrofluoric acid. That would explain what happened to Alex Newcomb's bones. BOOTH: So we got blood, we got a method of disposing the body. Looks like you're going to have to shut the jungle down, pal. JUNGLE JIM: Why? BRENNAN: Because everyone who works here is now a suspect. Including you, Jungle Jim. (Cut to - Founding Fathers, Brennan, Booth and Cam are sitting at a table) WAITRESS: Here you go. CAM: So... the blood from Jungle Jim's is a match for Alex Newcomb. He was k*lled in the service area. BRENNAN: He was k*lled and then soaked in corrosive tire cleaner. CAM: So... the k*ller thinks the body is going to dissolve instantly, like it does in the movies, then nothing happens except every alarm in the lab goes off time and again. BOOTH: You okay? CAM: Yes. This is just really good wine. BOOTH: Right, okay, so the k*ller still has the body, so he tosses it off the cliff. CAM: What was Alex Newcomb doing back at Jungle Jim's that night? BOOTH: Ah... Bones here already figured that one out. BRENNAN: I did? How? Alex was there for his brother, trying to save Chet's job. You got that one right. (Cut to - Jeffersonian, forensic platform) VINCENT NIGEL-MURRAY: I've got dipsticks, pry bars, ceremonial w*apon, but the defect in the sternum is too small to make a definitive match. CAM: The s*ab perforated the spine. What about injury to the vertebrae? VINCENT NIGEL-MURRAY: According to my calculations, reversing the trajectory of the nick in the sternum, Alex was s*ab between the seventh and the eighth vertebrae. CAM: But we won't get anything from those vertebrae. They were already jelly when the X-rays were taken. I hate this case. Did you know that the earliest production of wine took place in 6,000 BC in what is now Iran? VINCENT NIGEL-MURRAY: From grapes. Rice was used in China in 7,000 BC. CAM: Is there anything you don't know? VINCENT NIGEL-MURRAY: Yes, the m*rder w*apon. Dr. Brennan is very adamant that without a m*rder w*apon it's much more difficult to prosecute a homicide. CAM: We have to find a way to unseal this body. (She takes a swing with a crow bar) VINCENT NIGEL-MURRAY: W- Whoa, whoa! Dr. Saroyan, okay, I'd just like to point out that this could very much resemble what happens when one strikes an egg with a sledgehammer. CAM: Can you see another choice? VINCENT NIGEL-MURRAY: Could we at least don some rain gear first? ANGELA: Maybe I could help. Why is it that nobody ever says to me, "Gee, Angela, this looks impossible, but maybe you're the person who could solve the problem"? (Cut to - Jeffersonian, Angela's office) BRENNAN: Cam says you might be able to do a virtual examination of the body. ANGELA: I've been working on a new program that uses Configuration-bias Monte Carlo method. Here are the bones currently left in the body. Now, there's not much left, but by factoring in rate of decomposition and bone destruction from the hydrofluoric acid, I can attempt to virtually regrow the bone. BRENNAN: I have been to 74 interrogations with Booth- 42 in the room and 32 observing. ANGELA: Uh-huh. BRENNAN: I should be able to do it. ANGELA: What, interrogate? BRENNAN: Yes. I-I even engaged in a very interesting session with Sweets to improve my ability to manipulate people. ANGELA: That wouldn't work. BRENNAN: Why not? ANGELA: Because what Booth has, you can't learn from baby boy shrink. Booth's brilliant at pretending to be stupider than he actually is most of the time. BRENNAN: Brilliant at stupidity? ANGELA: Especially around you. Okay, here is what Alex Newcomb's skeleton looked like 12 hours ago. BRENNAN: Why would Booth do that? ANGELA: Well, he knows that you like to be the smart one, so he lets you have that. All right, here's what Alex's bones looked like at the time of his death. BRENNAN: Huh. Jagged crenellations between the seventh and eighth vertebrae indicate the path of the m*rder w*apon. ANGELA: Combing trajectory analysis with force and thrust ratio. This suggests a square-edged blade with an overlying step that was at least 16 centimeters long. BRENNAN: You know I am smarter than Booth. ANGELA: Okay, so maybe you should just let him have the people skills part of the job to himself then. BRENNAN: Can you zoom in there? Okay, look at this. A curved notch, maybe from a small pin? ANGELA: Yeah, or a screw. BRENNAN: Screw. Two blades held together by a screw. Scissors. You are amazing, Angela. ANGELA: Eh, I just program the computer. You're the whiz master who makes the calls. You're welcome. Hey, sweetie? I think you'll find that the m*rder w*apon was a pair of tailor shears. BRENNAN: Why? ANGELA: Why don't you run this information by Booth and see how quickly he comes to the same conclusion? (Cut to - Jungle Jim car dealer) CHET NEWCOMB: Agent Booth, Dr. Brennan, how you doing? VANESSA NEWCOMB: Have you made any progress on the case? BOOTH: Yeah, here you go. (He hands Vanessa Newcomb a warrant) VANESSA NEWCOMB: What's this? BOOTH: That's a warrant to seize all your scissors and sewing shears. CHET NEWCOMB: Why? JUNGLE JIM: Hey, Newcomb, how long does it take to swallow a couple of pills? We got customers on the floor. Get your hat on. CHET NEWCOMB: What's going on? VANESSA NEWCOMB: Uh, get back inside, Chet. CHET NEWCOMB: What's happening? VANESSA NEWCOMB: Just go back inside. Don't lose your job. BRENNAN: Booth. BOOTH: Oh, look at that. See, our lab discovered that the m*rder w*apon was a pair of tailor shears. BRENNAN: And Booth immediately remembered that you're a seamstress. BOOTH: We're pretty sure we're going to find Alex Newcomb's blood on those. VANESSA NEWCOMB: Alex caught me with someone. BRENNAN: Sexually, you mean? BOOTH: Who? Jungle Jim? BRENNAN: Whoa, how did you get there? BOOTH: That's how your sick husband kept his job. First his brother tried to help, then you. VANESSA NEWCOMB: It was just one time. I told Jungle Jim I'd have sex with him just once if he wouldn't f*re Chet, and... my luck. Alex walked in looking to get his job back and... Alex wouldn't listen to me. He said he was going to tell Chet and I... I couldn't let that happen, so... BRENNAN: So you k*lled him? VANESSA NEWCOMB: Look, I love my husband. BOOTH: Yeah, so did his brother. (Cut to - Founding Fathers, Booth and Brennan are at the bar) BOOTH: Just give me a ten. BRENNAN: But you had most of the potatoes. BOOTH: Okay, then you have that, okay? All right. Bones, you ready? BRENNAN: You haven't said anything about my interrogation. BOOTH: Okay, you know what? You did great, okay, better than I thought. BRENNAN: I was terrible. Everybody's right. I lack empathy. BOOTH: You got empathy. You're awkward. That's different. BRENNAN: My stuff is bones, yours is people. BOOTH: Right. So you're admitting that I'm better at something than you are? BRENNAN: No... Yes. A lot better. BOOTH: Thanks, Bones. Hey. Can we go now? BRENNAN: Yes. BOOTH: Yes, wait till you see what's outside. (They go outside to see the Audi parked out front) BOOTH: So... what do you think? Right, huh? Buddy let me borrow it. BRENNAN: Can I drive it? BOOTH: Oh, no, no, wait a second. This is a very powerful machine. BRENNAN: Well, I can handle it. BOOTH: Okay, look, once around the block. Uh, maybe. Okay. Hey, driving a machine like this is like making love. You have to go gently. BRENNAN: I go more for passionate and uninhibited rather than gentle. BOOTH: Bones, gently. Go ahead. Gentle, Bones, gentle. Bones, easy on the gas. Easy. Whoa, stop! Brakes... BRENNAN: The car broke. BOOTH: Okay, let me drive. BRENNAN: No. BOOTH: Okay, fine, you know what? Just do it without me, okay? BRENNAN: Wait, no. It's no fun by myself. BOOTH: See you. BRENNAN: No, but at least help me get into first gear. BOOTH: First gear? You're a scientist. You can figure it out, right? BRENNAN: I'm a scientist, not a mechanic. BOOTH: A mechanic? What did I say? Drive it gently, but no, you don't listen to me. I'm done, forget it. BRENNAN: No, come on, Booth, come back. I am an excellent driver. BOOTH: See you. BRENNAN: Buddy's going to be very upset you're leaving it here without... BOOTH: Buddy will completely understand because of the way that you drove that car. I told you to go gently- everybody back out, back out. BRENNAN: Come on Booth! Booth! END

{"type": "series", "show": "Bones", "episode": "04x16 - The Bones That Foam"}

foreverdreaming

"The Salt in the Wounds" Episode 4x17 / Production 4x11 Airdate: March 19, 2009 Written By: Josh Berman & Carla Kettner Directed by: Steven DePaul Transcribed by: blandinavian Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (City Maintenance Storage Unit, two workers walking towards a truck.) TESS: Operation says we've got a black ice alert on the bridges. DARLENE: Weather guys are like psychics, man, they don't know squat! TESS: I went to a psychic once, talked to my mother. Mom even bothered me d*ad. DARLENE: All of the bridges? TESS: All of 'em! Okay, fill me up. (They reach the truck, DARLENE pushes a button and salt starts pouring into the truck.) (DARLENE sees something fall into the truck, and stops the salt.) TESS: What's up? DARLENE: Something in the salt. (She glances into the truck.) DARLENE: Aah! TESS: What is it? DARLENE: You know that Bible story about the woman who turns into salt? TESS: Lot's wife? DARLENE: I think maybe we found her! (Camera pans to a body/skeleton lying in the salt.) (Cut to later, police have arrived at the scene, Brennan is in the truck, and Booth climbs up.) BOOTH: So, the weather's been warm for the past six weeks, wow, so they haven't had to use rock salt. BRENNAN: The dermis is extremely desiccated, the salt quick-dried the tissues. (She is examining the body of a young woman, covered in salt crystals.) BOOTH: Looks like a really big Apple doll. BRENNAN: Teenage girl. Very tall, six feet. BOOTH: Looks like she's been d*ad for about a hundred years. BRENNAN: No, in fact less than a month. Salt is hygroscopic. It draws moisture from its surroundings and replaces it with crystals. BOOTH: You know what? I suddenly got a potato chip craving. (Cut to the Jeffersonian, Angela Montenegro is talking to her girlfriend, Roxie Lyon.) ANGELA: Cats are so disdainful. ROXIE: They're independent and self-assured. Like you. ANGELA: Dog? (She holds up a photograph of a dog.) ANGELA: Cat? (She holds up a photograph of a cat.) ANGELA: What'cha gonna pick? ROXIE: Uh, this is a lion eating a gazelle. What's with the sudden pet desire? We're not even living together. ANGELA: Yet. Look at him, Rox. Look at his warm, brown eyes. (She holds up the photograph, and they both smile and laugh.) (Cut to sh*t of intern Arastoo Vaziri praying on the floor of the Jeffersonian lab near the platform.) BRENNAN: He's going to do this five times a day. CAM: Mr. Vaziri is Iranian, he's an observant Muslim. HODGINS: Bright side? We'll always know which way is East. BRENNAN: I don't know if this is going to work out, Dr. Saroyan. CAM: This country was founded on the notion of religious tolerance. (The camera pans to a sh*t of the d*ad body lying on a table and they move around it.) BRENNAN: Well, I'm not discriminating because he is a Muslim. I find all religions equally irrational. (Arastoo comes running up to the platform.) ARASTOO: Thank you for your patience! BRENNAN: I had no choice; apparently it's a constitutional issue. (They both look towards a screen with x-rays.) ARASTOO: Eeh. Trauma to the temporal and sphenoid region, with buckling on the outer edges, probably from being dropped from the bin. Bonk. CAM: I see some red fibers. HODGINS: Oh, that's me. BRENNAN: Mr. Vaziri, do you see the ante-mortem skeletal trauma? ARASTOO: Significant remodeling of the metacarpophalangeal joint on the right thumb, a snap, an old fracture to the little finger, crack, and a bone chip at the dorsal radial portion of the left wrist. HODGINS: Pop? ARASTOO: I've seen this before in cases of abuse. A girl who was handcuffed to a radiator in order to preserve her virginity. (Angela enters the platform.) ANGELA: Well, it turns out, there aren't that many 16-year-old girls who are six feet tall on the missing persons list. (She hands over a printout with a girl's photograph and some information.) BRENNAN: Ashley Clark. Missing three weeks. ANGELA: So... Roxie and I are getting a dog. HODGINS: Wow. I had Roxie pegged as a cat person. (Arastoo turns around upon hearing talk about Roxie.) ANGELA: Hey! I'm Angela. ARASTOO: Oh. Arastoo Vaziri. Uhm, y-your boyfriend's name is Rocky? Like, pow? Like the famous boxer? ANGELA: No, uh, Roxie. BRENNAN: Angela's boyfriend is a girl. Perhaps your religion won't allow you to accept that. CAM: Blood chemistry shows unusually high levels of relaxin. ANGELA: Relaxin? Sounds like something you could get arrested for taking. BRENNAN: It's a naturally occurring hormone, secreted during pregnancy. CAM: So, if she was handcuffed to protect her virginity... Didn't work out so well. (Intro music) ACT II (Booth and Brennan are sitting with Ashley Clark's parents, Ellen and Bob Clark, at their house.) BOB CLARK: We last saw Ashley the afternoon before her high school dance. ELLEN CLARK: It was the end of winter dance. I remember because we made a bunch of jam that day and Ashley was worried that she'd smell like raspberries. BOOTH: Ashley never made it to the dance? (Ellen shakes her head.) BOB: We had to wait 24 hours before she was officially missing. BOOTH: Were there any major developments in your daughter's life in the weeks leading up to her death? ELLEN: He means drugs. Was Ashley doing drugs. BRENNAN: No, we don't mean drugs. BOOTH: No, no drugs. Were you aware that your daughter was pregnant? BRENNAN: Approximately twelve weeks. ELLEN: Pregnant? Ashley couldn't have been pregnant. BRENNAN: She was. Do you have any idea who might be the father? BOB: Is that who you think k*lled her? The father of her child? BOOTH: Well, we'd like to talk to him. ELLEN: My daughter and I were very close, and it simply isn't possible that she wouldn't tell me she was pregnant. BRENNAN: I would appreciate some insight into the high number of injuries your daughter sustained since puberty. ELLEN: So now you're saying that we abused our daughter? BOB: It's alright, they have to ask... My daughter was an athlete. She grew almost two feet over the last four years. You can confirm the injuries with her chiropractor. BOOTH: We are very sorry for your loss, sir. (He hands them his card.) ELLEN: Then you shouldn't say such terrible things. (Cut to the chiropractor's office, where Booth and Brennan talk to Dr. Sean Fitts.) DR. FITTS: Ashley wasn't a victim of abuse. She was the victim of athleticism and a competitive disposition. See this remodeling of the right thumb, the little finger, the dorsal radial portion of her wrist? (He points to a screen with x-rays.) BRENNAN: Volleyball, of course. DR. FITTS: That's right, that's very good. BRENNAN: Patella tendonitis. BOOTH: Jumper's knee! BRENNAN: How did you know that? BOOTH: Athlete, Bones. Thanks, Dr. Fitts, we appreciate your help. DR. FITTS: Yeah. (He hands Brennan an envelope with the x-rays.) BRENNAN: Thanks. BOOTH: Were you aware that Ashley Clark was pregnant? DR. FITTS: No! No, her last appointment was about six weeks ago. She didn't mention it. BRENNAN: Despite the fact that you aren't a real medical doctor, you have been quite helpful. Thanks. (She starts walking towards the door, but turns when Dr. Fitts speaks to her.) DR. FITTS: Oh, you're welcome. Oh, and by the way... You aren't a real medical doctor either. BOOTH: Ouch. (Booth and Brennan leave.) (Cut to a lab at the Jeffersonian, Cam and Arastoo are examining Ashley Clark's body, removing the top of her skull.) ARASTOO: No hematoma, meaning the skull was fractured post-mortem. Probably when the body tumbled out of the overhead bin. Clunk. CAM: Very descriptively put. ARASTOO: It has been pointed out to me that I tend towards onomatopoeia. (Brennan comes into the room.) BRENNAN: Dr. Saroyan! Why hasn't the body been defleshed? CAM: I'm still conducting the autopsy. BRENNAN: Well, if I can't remove the flesh, then I can't find cause of death. CAM: If you remove the flesh, I can't find cause of death. BRENNAN: What flesh? The body is completely desiccated. Any remaining indicators are going to come from the bones. CAM: Not if I can rehydrate the tissue. ARASTOO: Paleontologists have used Ruffer's solution successfully on mummies...but shush. CAM: The salt arrested bacterial development, there's no decomp. If I can rehydrate, I can do a proper autopsy. BRENNAN: No, it will take too long and a positive result is debatable. CAM: Lucky for me, I'm the boss. BRENNAN: I claim one of my freebies. CAM: I claim one of my freebie-declines. (Brennan angrily leaves the room and Cam sighs.) (Cut to Booth's FBI office. Bob Clark knocks on the door.) BOOTH: Come on in. What can I do for you, Mr. Clark? (Bob Clark sits down in front of Booth's desk as Booth moves behind it.) BOB: I, uh, wanted to tell you that I suspected my daughter was pregnant. BOOTH: Alright, have a seat. And you, uh, didn't wanna say anything in front of your wife? BOB: No. I found a pregnancy test in the wastebasket in the bathroom. BOOTH: Your wife is still young enough to have children. BOB: Sexual intercourse has not been a part of our marriage in several years. BOOTH: Did you talk to Ashley about the pregnancy test? BOB: Yes, but she denied that it was hers. She said it was a friend's. She asked me not to tell my wife. She called it a father/daughter secret. BOOTH: Was there a boy in Ashley's life? BOB: Ashley argued about a boy with her friend Becca. I overheard it on the phone. Didn't get a name. BOOTH: I see. Well, I'll look into it. (Mr. Clark gets up to leave.) BOB: Uh, I hope my wife doesn't have to find out that I kept this huge secret from her. I don't think she'd forgive me. BOOTH: Forgive you? BOB: Considering how it turned out... (Mr. Clark leaves.) (Cut to Angela and Roxie in the lab.) ANGELA: His name is Donatello, and he's a rescue, and he needs a good home. One caveat, though - he's afraid of the wind. (Roxie looks sad.) ANGELA: Wow, you really don't want this dog, do you? Is it because Donatello is a stupid name? (Roxie looks over to her, with tears in her eyes.) ANGELA: ...yeah. You're breaking up with me. (Roxie looks over at her, looking like she's confirming it, but doesn't know what to say.) ANGELA: You don't have to say anything, Rox, it's okay. ROXIE: I do wanna say something. Ange, you live in the moment, I know that, but moments are fleeting. They pass. ANGELA: Yeah, but we decide when the moments pass. ROXIE: This one has passed. ANGELA: Yeah... ROXIE: I've gotta think about the future. ANGELA: Okay. (Roxie gets up, kisses Angela on the cheek and leaves.) (Cut to Booth at the FBI building, by the vending machine.) BOOTH: You gotta be kidding me. (He's struggling with the vending machine, punching and shaking it. Becca Hedgepeth appears behind him, looking very pregnant.) BECCA HEDGEPETH: Excuse me, agent Booth? BOOTH: Yeah? BECCA: I'm Becca Hedgepeth. They told me I could find you here. BOOTH: Wow. Ashley Clark's friend. BECCA: Yeah. ACT III (Booth and Becca are sitting in a hallway in the FBI building.) BOOTH: So you heard that Ashley was m*rder on the news, right? BECCA: Yeah. BOOTH: It's my job to find out who did it. BECCA: 'Kay. Well, I hope you do. BOOTH: According to her father, he said the two of you got into a fight and you stopped coming to the house. BECCA: That's just because Ashley went behind my back with my boyfriend. BOOTH: What's your boyfriend's name? BECCA: Well, ex-boyfriend. Rory Davis. Wait. Do you think that I was jealous enough to k*ll my best friend? Or, are you saying Rory did it? BOOTH: Well, you're pregnant. Emotions run high during that situation. BECCA: Me and Ashley would've gotten past it. Because she broke up with Rory too. BOOTH: Looks like I'm gonna have to talk to "Love 'em and leave 'em"-Rory. (Cut to the lab, Cam, Hodgins and Arastoo are about to submerge the body in a t*nk.) CAM: Okay, very careful, the tissue is fragile. HODGINS: Alright, ready? On my count. One. Two... We're gonna completely submerge her in a bath of sodium carbonate, aqueous formalin and ethyl alcohol. Good. And somewhere between 24 and 48 hours from now, she should look practically human again. Ready? And, go. (The fluid starts being sprayed onto the body.) HODGINS: I got the trace back on those red fibers you found in her hair. They're tri-lobal, two red strands, one blue strand woven together. Given the length and texture, they definitely came form an automobile. ARASTOO. But the k*ller must have transported Ashley's body from wherever she was k*lled into the salt pile. CAM: Can you narrow down what kind of car? HODGINS: Yeah, I'm running the fibers through FACID, that should be able to give Booth make and model and year. (An alarm on Arastoo's watch beeps.) ARASTOO: Oh, time-out for Allah. (Arastoo leaves the room, while Angela is entering it.) ANGELA: Hey, Arastoo. ARASTOO: Hello, Angela. (Arastoo leaves, and Angela heads towards Cam and Hodgins.) ANGELA: Hey. Uh, listen, do you need me any more here today? 'Cause I could really use a... HODGINS: Angela. What's the matter? ANGELA: Roxie and I broke up, and I just... HODGINS: Uh, you know, I'm gonna take Angela for a cup of coffee, okay? CAM: Sure, yeah, go. This is a simple m*rder. Solves itself. (Angela and Hodgins leave the room, while Cam looks down at the body.) (Cut to Booth and Brennan entering a high school weight room.) BOOTH: Okay. Rory Davis? (Rory Davis is bench pressing, with Clinton Gilmour as his spotter.) RORY DAVIS: Yeah? CLINTON GILMOUR: Whoa, a little warning, dude, I'm only the Hulk when I get pissed. BOOTH: Listen, we'd like to talk to you about Ashley Clark. RORY: It wasn't me. BRENNAN: It wasn't you who - what? RORY: Becca texted me, saying that you think I k*lled Ashley, but I didn't. (Booth looks towards Clinton.) BOOTH: Excuse me, you wanna give me a moment here, I'd like to talk to him alone? CLINTON: Dude, you're a m*rder suspect! That's awesome. (Booth clears his throat and Clinton leaves.) BRENNAN: Becca said that you and Ashley connected sexually. BOOTH: Yeah, her exact words were "got all over"? RORY. This is completely not fair. BRENNAN: That you had sex with two girls and they got pregnant? RORY: We didn't have sex! BRENNAN: Pregnancy is unlikely without intercourse. BOOTH: Right. Thanks for the tip, Bones, yeah. RORY: No, we didn't have intercourse. I'm a Christian, I'm not gonna have intercourse until I'm married. BOOTH: Okay, so you got two girls pregnant, but you didn't have sex with either one of them? RORY: Well, uh, I think some of, uh, my...you know, stuff, may have found its way in there. I mean, the way Ashley came after me, it's like she was really, really...trying... BRENNAN: To get your sperm? RORY: Yeah, well, if it wasn't for my faith in Jesus, there would have been sexual intercourse. BOOTH: How did your relationship with Ashley end? RORY: Bad. Ashley was mad at me. Becca was mad at me. I did everything right, and it turned out all wrong. BOOTH: Mm. Did Ashley have any arguments with anyone else? BRENNAN: Or try to get their sperm? RORY: She had some sort of fight with Mr. Hawthorne. I heard it from the weight room. BOOTH: Who's Mr. Hawthorne? RORY: He's the volleyball coach. BOOTH: Where would he be? (Cut to the basement of the Jeffersonian, we find Hodgins and Angela in Cleopatra's bed, between loads of Egyptian artifacts.) ANGELA: Wow. That was great. HODGINS: Like I told you, I'll always be there for you when you need comforting. ANGELA: Heh, I didn't need comfort. But I needed a good tumble. HODGINS: Potat-oh, potah-to. (He kisses her shoulder.) ANGELA: I'm fine about Roxie. People come and go in life. HODGINS: What did she say? Aside from "So long"? ANGELA: Basically, she said she wants somebody who doesn't just live in the moment, but who considers the future. What's wrong with the moment? HODGINS: Nothing. ANGELA: But? HODGINS: But it's nice every once in a while to think about the future. (Angela starts to get out of the bed.) ANGELA: So let me get this straight. To be together, then it has to be all about the future? HODGINS: Yeah. ANGELA: So, this, right now, this isn't together? HODGINS: It was a moment. A great moment, but like all great moments, it passed. (Angela gets up and leaves, but Hodgins notices she has forgotten her earring.) (Cut to Booth, Brennan and coach Adam Hawthorne walking down a set of stairs at the high school.) BOOTH: We heard that you got into a loud argument with Ashley. BRENNAN: With shouting. COACH HAWTHORNE: That's true. Two fights, in fact. The first one was when she failed to seduce me, and the second, a couple of moths later, when she thr*at to name me as the father of her child if I didn't give her five grand. BRENNAN: Uh, she tried to seduce you? COACH HAWTHORNE: Alright, seduce isn't the right word. Look, that girl came at me like.... BOOTH: So, Ashley Clark tried to blackmail you? COACH HAWTHORNE: In case you're thinking that drove me to m*rder, you can check with the principal. I reported it. What with the way things are, I figured that that was the smartest move. BRENNAN: The way things are? COACH HAWTHORNE: Half my volleyball team got pregnant. BOOTH: We're gonna need a team roster. COACH HAWTHORNE: Well, if you wanna talk to them, go to the multi-purpose room. They're having another baby shower. (Cut to the multi-purpose room, where a group of girls, several pregnant, are having a baby shower.) BOOTH. Oh, you've got to be kidding me. This school ever hear of sex education? BRENNAN: Well, if so, there's gaps in the curriculum. BOOTH: That's for sure. (Pan to Becca, who is standing next to and talking to a girl, Alyssa Howland, who is holding an infant.) BECCA: These are the people I was telling you about. ALYSSA HOWLAND: Okay. (Booth and Brennan approach Becca.) BOOTH: That's Becca. ALYSSA: Hello! Hi, I'm Alyssa Howland. You guys have already spoken to Becca and Rory, so I imagine you're here about Ashley Clark. BOOTH: Wow. This texting thing is way out of control. BRENNAN: Were you by any chance the captain of the volleyball team? BECCA: Alyssa was the captain of all our teams. ALYSSA: Yeah, and I'm also valedictorian and student body president. Or I was until people decided that I was a bad example. BRENNAN: Well, as alpha female, you are a bad example. ALYSSA: Hey! BRENNAN: I'm sorry, but in this day and age of available contraception and easily accessed information, for a teen girl to become pregnant is clearly a lapse in judgment. BOOTH: Okay, girls, you do realize this is a m*rder investigation? ALYSSA: Oh, yeah, we understand that. BECCA: Yeah, we're quite intelligent. BOOTH: Right. So, Rory Davis was not the father of your child. BECCA: I never said he was. BRENNAN: And he wasn't the father of Ashley's baby either, was he? ALYSSA: No. No, as a matter of fact, the same guy is the father of my baby and Becca's. BECCA: And Ashley's. BRENNAN: What about the rest of them? BECCA: Jenny? ALYSSA: Yeah, uhm, her. And the others got pregnant by their boyfriends and whatnot. BRENNAN: So one boy is the father of four babies? ALYSSA: Mhm. BOOTH: Okay, and who would this stud be? ALYSSA: It's Clinton. BRENNAN: Oh. President Bill Clinton? (The girls laugh.) BECCA: Ew, no. ALYSSA: Clinton Gilmour. (She points him out and they wave.) ALYSSA: The cute one in the yellow shirt. BOOTH: The one in the yellow?! (Clinton leaves the multi-purpose room, and Booth and Brennan stand there, confused.) ACT IV (Cut to the weight room, Booth enters and finds Clinton putting small weight plates onto a bar.) BOOTH: Clinton? CLINTON: What? BOOTH: Alyssa Howland says that you had sex with the entire volleyball team. CLINTON: The girls' volleyball team, and not all of them. I don't like to boast. A gentleman does not kiss and tell. (He lies down on the bench and starts lifting the bar.) BOOTH: How old are you? CLINTON: Sixteen. My personality is completely formed. BOOTH: How'd you get those four girls pregnant? (Clinton gets up from the bench.) CLINTON: You want pictures? Check the Internet, that's what I did. (Booth starts adding heavier weights to the bar, eventually lying down to lift them.) BOOTH: Right. You know, I show no disrespect. I went to high school, and high school has not changed. The fact is, from what I remember, guys like you can't get that many girls. You know what I'm saying? CLINTON: Wait, you can't lift that. (Booth does a series of lifts.) CLINTON: Wow. BOOTH: Alright, see, the point is, I can do that, but I didn't get girls like that in high school. So, what you're saying happened really didn't happen, huh? CLINTON: Like a conspiracy. The conspiracy is that they like me. I'll tell you something else. More than one of them told me that I'm actually very considerate and sweet in the bed department. BOOTH: Ashley is d*ad. She was m*rder. The prime suspect would be the person who knocked her up. I need to know the person who did that deed. CLINTON: It was me. The sex deed-part! The k*lling part was definitely somebody else. BOOTH: You know what I think? I think those girls are up to something, and they're using you as a cover. It's okay. We'll just do a DNA test, and the truth will come out. Alright? (Booth heads towards the door, while Clinton shouts to him.) CLINTON: Take my DNA, and you'll find out the truth! I am the MacDaddy Supremo Baby Daddy of G.O.W. High School! (Booth leaves the weight room.) (Cut to the Jeffersonian, Arastoo is staring at the body in the t*nk. CAM: The Ruffer's solution is working. ARASTOO: I find myself wondering if the rate of tissue reclamation will accelerate over time, decelerate or hold steady. CAM: You're worried about what to tell Dr. Brennan. (Arastoo turns towards Cam.) ARASTOO: If Dr. Brennan asks, when do you think we will have access to the bones? CAM: Tell Dr. Brennan that unless she can think of a way to examine the bones while leaving the flesh intact, you're both out of luck. (Cut to the Founding Fathers Bar, a reporter on TV is talking while Angela and Brennan eat and watch.) REPORTER: During the investigation into the death of high school h*m* Ashley Clark, it was discovered the presumed m*rder victim was part of a group of girls who made a pact to get pregnant and raise their children together. (The camera pans from the TV to Angela and Brennan, and the noise from the TV fades out.) BRENNAN: No, there was no proof that there was a pact. ANGELA: See, this is what happens when all you worry about is the future. Pregnant teenagers. BRENNAN: I would argue that most pregnant teenagers get that way by becoming involved in the moment. ANGELA: Yeah. True. BRENNAN: Are you alright? ANGELA: Oh, yeah. Totally. It was so worth it. BRENNAN: Will you be able to remain BBFs? ANGELA: B-F-Fs. Best friends forever. BRENNAN: Oh. Will you resume a sexual relationship with Hodgins? ANGELA: I already did. BRENNAN: Oh. Well, good. ANGELA: Yeah, but he can't keep it casual. He's the marrying kind. BRENNAN: I am comfortable giving you advice in this area. ANGELA: sh**t. BRENNAN: I think you live your life very well. ANGELA: Thank you. BRENNAN: You are not afraid to change your mind when conditions change. ANGELA: Conditions always change. BRENNAN: The successful organism is the organism that adapts. This is one area where we are very similar. ANGELA: I was with you until there. BRENNAN: Like me, you are not swept away by your emotions. You remain rational. You use your brain to pick someone for sex and companionship. ANGELA: Uh, a minor correction there: I use my heart. BRENNAN: That is not - ANGELA: Metaphoric heart, sweetie. Stay with me here, right? Love, like art, comes from the moments where two people become one. BRENNAN: Minor correction: Love comes from a confluence of chemicals and hormones in the pineal gland. ANGELA: Right. But all beauty is transient and of the moment. BRENNAN: Like a sunset is beautiful. ANGELA: You know, it sounds like we are in agreement, which is worrying me just a little bit. (Brennan's cellphone vibrates, and she looks down at it.) BRENNAN: Hodgins says he found pectin in the scratches he swabbed on the victim's arm. ANGELA: How did he find scratches? The victim looked like beef jerky. BRENNAN: Well, apparently Cam had some limited success in rehydrating the body. ANGELA: That's impressive. BRENNAN: Yes. Pectin is used in making preserves, right? ANGELA: Sure, I remember that from growing up a farm girl in Amish country. (Brennan gives her an odd look.) ANGELA: Sarcasm, Brennan. I'm sorry. (Brennan gets up to leave.) BRENNAN: The victim and her mother were making jam the afternoon before she disappeared. ANGELA: Have you ever noticed that a sunset looks more beautiful when you share it with somebody that you care about? BRENNAN: No. I haven't. But I'll pay better attention next time. ANGELA: Okay. (Brennan leaves the bar, leaving Angela there.) (Cut to an interrogation room at the FBI building. Booth is interrogating Ellen Clark.) BOOTH: So, we have evidence that you scratched your daughter shortly before she died. ELLEN: I grabbed her arm is all. BOOTH: Hard enough to leave marks? (Booth shows her photographs of her daughter's arm.) BOOTH: Was it because you found out she was pregnant? ELLEN: No. I still find that hard to believe, Ashley and I talked about everything. (Brennan and Sweets are standing in an adjacent room, watching the interrogation through a two-way mirror.) BRENNAN: Why can't this woman face the facts? SWEETS: Perhaps because the facts are so painful. BRENNAN: Do you suspect the father of incest? SWEETS: It would explain the mother's behavior. ELLEN: I didn't know about the pregnancy, I was angry because... (She hands Booth a piece of paper.) BOOTH: You wrote your daughter a check for $5,000? ELLEN: No, she forged my signature. I caught her before she could cash it. BOOTH: Why did Ashley need $5,000? ELLEN: I don't know. She wouldn't say, she just...was always hanging around Becca and the rest of that team, and suddenly I didn't exist. And now the news is saying that she had some kind of pact. (Sweets speaks into a microphone.) SWEETS: Booth, I have a theory. BOOTH: Can you excuse me for a moment there, Mrs. Clark? (Booth leaves the interrogation room and heads into the adjacent room.) BOOTH: What do you got? SWEETS: Okay, it's possible that Ashley Clark was k*lled by the pact for not coming up with the $5,000. BOOTH: So you think this whole pact-thing is true? BRENNAN: There have been many instances in history where women group together to raise their children, and the men become nothing more to them than sperm donors. The "walking marriages" of the Mosuo in the Himalayas, for example. BOOTH: Right. Okay, so you think that the Himalayan Momos just k*lled each other when things got dicey? BRENNAN: k*lling is a more male response. Women tend more toward shunning. SWEETS: I might be able to figure out the nature of the girls' relationship. BOOTH: How? SWEETS: Let me at the alpha girl. Psychologically, I mean. (Cut to the lab, where Arastoo is working in the bone room/limbo, and Cam enters.) CAM: Mr. Vaziri, do you have any idea where all the monitors on the forensic platform have gone? (She sees that Arastoo has arranged all the monitors to show an oversized x-ray version of the body.) ARASTOO: I appropriated them. I sent you an e-mail. CAM: I didn't have a monitor to check my e-mail. You have created a virtual skeleton. ARASTOO: It was your idea, Dr. Saroyan. CAM: No, I don't recall - ARASTOO: In speaking of Dr. Brennan, you said to me "Tell her that unless she can think of a way to examine the bones while leaving the flesh intact, you're both out of luck." CAM: Well, I'll make sure you get the credit for this with Dr. Brennan. ARASTOO: No, no, no, no, no. CAM: You don't want credit? ARASTOO: No, I would rather not be the person to point out to Dr. Brennan that she was incorrect about retaining the soft tissue at the expense of exposing the skeleton. CAM: Meaning you found something? ARASTOO: I would never have seen this on the actual bone, but when I blew up the digital x-ray... (He shows Cam a blown up version of an x-ray.) ARASTOO: Here, in the middle ear, there is a hairline fracture on the stapes. CAM: What does that suggest to you? ARASTOO: v*olence, Dr. Saroyan. ACT V (Cut to Angela sitting in her office, sipping tea, while Arastoo pokes his head in the door.) ARASTOO: Ms. Montenegro? ANGELA: Yeah. Hi, Arastoo, how are you? ARASTOO: I would like to pass onto you my condolences that your heart has been broken. CAM: Oh. Here we go. Are you gonna quote the Quran? ARASTOO: No, no. I - I put together a CD with some songs that I have found to be cathartic. "Hope There's Someone" by Mr. Antony and the Johnsons, "Breathe Me" by Sia, "Heartbeats" by Mr. José Gonzalez, "Fade Into You" by Mazzy Star - this is not a person, but a band, "Lullaby of Loneliness" by Aaron English and of course, the finest of the melancholy songs, "Dust in the Wind". Very melancholy that. I wish you peace, Ms. Montenegro, and I wish that you find love again. ANGELA: Thank you, Arastoo. Thanks very much. (She gives Arastoo a hug and he leaves.) (Cut to the forensic platform, Cam is photographing the body when Arastoo arrives.) ARASTOO: Dr. Saroyan? CAM: Tell Dr. Brennan she cannot have the remains yet. Hovering will not make this go any faster. ARASTOO: Dr. Brennan required me to hover. CAM: How's about you go bank a prayer, and give me a little breathing space? I apologize, I quip sometimes. ARASTOO: Believe me, it is nothing compared to the 1st Batallion, 9th Marine Regiment, Regimental Combat Team One. (He does a military salute and Cam gives him an awkward look.) CAM: Glycerin, please? (Arastoo gets the glycerin for her.) ARASTOO: What are you going to do? CAM: Ruffer's only gets us so far, so I'm going to inject some glycerin around the soft tissue of the ear. ARASTOO: Oh, to see if there's any tissue damage which might explain the fractured stapes. (Cam injects the glycerin next to the victim's ear.) (Cut to an interrogation room at the FBI building, where Sweets is interrogating Alyssa Howland.) ALYSSA: A pact? There's no pact. The papers totally made that up. SWEETS: Okay, but you are very close? ALYSSA: Yeah, we played on the same team together since we were freshmen. We've traveled a lot too. I mean, we've been through a lot together. SWEETS: Boys...? ALYSSA: Boys come and go, you know, but your friends, that's who you can really count on, right? SWEETS: Count on? ALYSSA: Yeah, they don't pressure you like boys. Like parents. SWEETS: Uh, pressure? ALYSSA: Pressure to succeed, yeah. SWEETS: Well, you're a very high achiever, Ms. Howland. Student body president, valedictorian, full scholarship to Amherst, all of which went away when you got pregnant. ALYSSA: Yeah, it's okay. I mean, I'm totally cool with being a mother. SWEETS: Is it a coincidence that once you got pregnant, seven of the others on the volleyball team did the same? ALYSSA: It's not my fault that people wanna be like me. I'm a natural leader. SWEETS: They look to you as an example. ALYSSA: It was my idea that we all get a house together. Help each other raise our kids. SWEETS: Where would the money come from? ALYSSA: Oh, uhm, I mean, we'd all put in. I'd figured out how much we'd need. SWEETS: $5,000 each. ALYSSA: That's right. Wait, how did you know? SWEETS: You said it wasn't a pact. Then how do you explain that four of you got pregnant from the same boy? He seems an unlikely choice. ALYSSA: Clinton wasn't a choice. I didn't plan the baby. I'd...just found out I'd won the scholarship, and my parents started to plan my whole life. I just went to the park, I couldn't...breathe, I couldn't think. SWEETS: Too much pressure? ALYSSA: Yeah. And Clinton was there and I was crying and I just - I felt like I was being banished. You know? I mean, nobody asked me what I wanted. And Clinton understood. And he held my hand and he let me cry and, you know, one thing led to another. And he's been great. SWEETS: Great how? ALYSSA: Well, he's a kid, you know. He doesn't really wanna raise kids. SWEETS: Right. Maybe that's why the other girls chose him to get them pregnant? ALYSSA: Yeah, yeah! And it's gonna be great. We all are gonna have these cute kids, and we'll all be there for each other. SWEETS: Except Ashley? ALYSSA: Yeah. (Cut to the forensic platform, Cam and Arastoo are working.) ARASTOO: What exactly are we doing? CAM: I couldn't see any contusions around the ear, but perimortem bruising is often only visible under certain light wavelengths. ARASTOO: You're using colorimetrics? CAM: That's right. ARASTOO: I read an article in a forensic journal. A Japanese scientist published his study. CAM: We read the same article. Could you turn on the UV light? (Arastoo turns on the light, and they examine the area around the ear.) CAM: Look at that. (Brennan arrives on the platform.) BRENNAN: Are you switching teams, Mr. Vaziri? ARASTOO: No, no. My preference is forensic anthropology, but Dr. Saroyan's use of colorimetrics was thrilling. CAM: Look at the monitor. Assuming sufficient force, that perimortem bruising explains your stapes fracture. BRENNAN: The bruise is directly on top of the vagus nerve. CAM: And...? ARASTOO: Cowabunga! CAM: What? BRENNAN: When the vagus nerve is triggered with enough force, the victim will go into cardiac arrest and die. You have discovered the cause of death. (Cam looks please, Arastoo looks pleased, but worried, Brennan looks slightly annoyed.) ACT VI (Cut to the autopsy room, where Brennan and Cam are examining the body.) CAM: The tissue damage is distributed evenly. BRENNAN: What does that indicate? CAM: That it was a single blow. BRENNAN: Whatever did this is completely flat and round. CAM: Some kind of hammer? (Hodgins enters the room.) HODGINS: Anyone interested in our mysterious red fiber? BRENNAN: Oh! You identified the vehicle? HODGINS: Late-model German sedan, Mercedes or BMW. CAM: Let Booth know. (Hodgins starts to leave again.) HODGINS: And just so you know, Arastoo is praying again. Either that, or he's doing a very repetitive yoga move. (Hodgins leaves.) BRENNAN: Is that appropriate in the lab? CAM: Some of us take coffee breaks, some of us take smoke breaks, Mr. Vaziri takes a spiritual break. BRENNAN: Who smokes? CAM: Nobody. Not very often, anyway, just very rarely in times of great stress. BRENNAN: If you had release the remains to me when I'd asked, and Mr. Vaziri had removed the flesh, then we'd never have found cause of death. CAM: Thank you. BRENNAN: Why are you thanking me? I'm simply stating a fact. CAM: I am thanking you for stating the fact that you were wrong. BRENNAN: Oh. You're welcome. (They both nod.) BRENNAN: The odds of hitting the vagus nerve by accident are very slight. CAM: So, do you think this was done by someone who knew what they were doing? BRENNAN: Yes. Someone who is very familiar with human anatomy. Like a physiologist or a doctor... Or a chiropractor. CAM: Let's check out the victim's chiropractor's ride. (Cut to the FBI building, Booth is entering his office, where Cam and Brennan are waiting.) BOOTH: So, Dr. Fitts drives a 2007 BMW sedan. CAM: So you got a warrant? BOOTH: There are 1,208 BMW sedans in D.C. CAM: So you didn't get a warrant? BRENNAN: But how many of those drivers know how to k*ll using the vagus nerve? And how many of those drivers had access to the victim? CAM: And own chiropractic tools we might be able to match with the m*rder w*apon? BOOTH: Guys. No warrant. BRENNAN: If Booth and I hadn't questioned Dr. Fitts, we could mount one of our clever undercover operations. (They all exchange glances.) CAM: Hey, not me. But I do have a great idea. (Cut to the waiting room at Dr. Fitts' office, Sweets is posing as a patient with Angela as his significant other. Sweets is pretending to have back issues.) SWEETS: How long have we been married? ANGELA: Just concentrate on your symptoms. That's all he's gonna ask about. I'll look for this thing here. Brennan says it's the m*rder w*apon. (She shows Sweets a drawing of a chiropractic instrument.) ANGELA: So you heard about me and Roxie? SWEETS: Yeah. I'm sorry. ANGELA: Oh, no, really, it's absolutely fine. SWEETS: Okay. ANGELA: I also had a little afternoon delight with Hodgins, but let's just say it's not really his thing. SWEETS: Again, I'm sorry. ANGELA: No, it's totally fine. SWEETS: Then why are you telling me? ANGELA: Brennan approves of the way that I conduct my love life. SWEETS: Ooh. ANGELA: Yeah. What's wrong with living in the moment? SWEETS: Nothing, nothing. As long as it's working for you. ANGELA: Oh, it is. Definitely. SWEETS: If it weren't - ANGELA: No, it is. SWEETS: Well, if it weren't - ANGELA: It is. SWEETS: If it weren't, I'd suggest to you... ANGELA: What? SWEETS: You won't like it. ANGELA: Oh, no, I'm... I'm happy living in the moment. What you say is merely interesting. SWEETS: Well, what I would advice you to do, is remove sex from the situation. ANGELA: I don't like that. SWEETS: You're a beautiful woman. You're confident in your sexuality, which is laudable, but you need to connect with people on another level. ANGELA: Why? SWEETS: Why? Because sexual attraction is only one facet of the human romantic experience. ANGELA: So, don't have sex? SWEETS: I - I'd suggest you be celibate for, say, six months. ANGELA: Oh, my G... Six months? Why not ten years? SWEETS: You asked my opinion, and that's it. Forgo sex in favor of other connections. Shouldn't we have like a cover story in order to reassure the chiropractor that we're married? (Dr. Fitts opens a door to the waiting room.) DR. FITTS: Mr. Sweets? SWEETS: Yeah. (Angela kisses his cheek.) ANGELA: Okay, honey, we're up. This is us, a happily married couple. SWEETS: Uh, help me, please. (Angela helps Sweets to get up.) ANGELA: Okay. SWEETS: Thank you. (They are now in the treatment room. Sweets is sitting on a massage table while Dr. Fitts examines him and Angela is walking casually around.) DR. FITTS: You've had some discomfort in your lower back? SWEETS: Uh, yeah, yeah. As a fireman, I often have to carry heavy - (Dr. Fitts does several maneuvers twisting Sweets' back.) SWEETS: Oh! DR. FITTS: Oh, it's very tight. It's very tight. SWEETS: Oh, ow, what are you - oh God! What are you doing? DR. FITTS: Okay, frankly, these knots I feel in your lumbar region are more congruent with sitting hunched over a desk than they are pulling people from a burning building. ANGELA: Oh, well, he's not a fireman yet, Dr. Fitts, he's just training. SWEETS: Yeah, almost. Another week. ANGELA: Spends a little too much time on the Internet, if you know what I mean. DR. FITTS: Well, I feel knots in your lumbar region. I'm going to give you a minor adjustment. This won't hurt. (He picks out an instrument from a drawer, which looks exactly like the drawing of the suspected m*rder w*apon.) DR. FITTS: But you will feel some pressure. (Angela takes a photo of Dr. Fitts using the instrument on Sweets, and whispers to herself.) ANGELA: Not as much as you. (Cut to a montage set to "Heartbeats". We start off in the interrogation room, where Booth is interrogating Dr. Fitts, showing him the instrument, and Dr. Fitts looking guilty, followed by Angela looking at photos of herself and various previous lovers - Hodgins, Roxie, Birimbau - and putting them in a box, followed by Cam finishing up with the body, Hodgins sitting by his desk while looking at Angela's earring and then Arastoo praying while Brennan is watching.) (Cut to the Founding Fathers Bar, where Booth and Brennan are sitting by the bar.) BOOTH: Ashley needed $5,000 to leave home and raise her baby, so she tries to blackmail her coach. BRENNAN: But it didn't work, because he'd never had sex with her. BOOTH: Right, so she has to go and seduce the chiropractor and thr*at him with statutory r*pe if he doesn't pay up. BRENNAN: And he k*lled her. BOOTH: Horrible. Wow. BRENNAN: So, are the rest of the girls still renting a house together? BOOTH: Right. You know what I don't get? How is it that eight beautiful girls could just give up their whole lives during high school? BRENNAN: It's a rational decision. BOOTH: On what planet? BRENNAN: Earth! BOOTH: Earth? BRENNAN: Given the current environment, the paradigm within which a group of girls band together to raise their offspring has merit. BOOTH: Without their fathers? BRENNAN: Anthropologically speaking, those girls have grown up in a culture that reinforces the sad truism that women cannot count on men. BOOTH: Don't say "men" like that. Men do not like a world without responsibility. BRENNAN: Well, that boy whom these young girls chose as their sperm donor, he seemed more than happy with the arrangement. (Booth looks at her, thoughtfully, before getting his phone out of his pocket.) BRENNAN: Booth? BOOTH: You're right. BRENNAN: I know. Who are you calling? (Booth starts speaking into the phone.) BOOTH: Clinton, listen, it's Agent Booth, I need to talk to you. BRENNAN: The kid? BOOTH: Listen, meet me at the Royal Diner, uh, in 20 minutes. Yeah, just get there, okay? Thanks. I'm buying. (He hangs up the phone.) BOOTH: Look, I know you want to come along and all, but - BRENNAN: No, I get it. Go on, it's a... guy-to-guy-thing. BOOTH: Thanks. (Cut to the Royal Diner, where Booth and Clinton are sitting by a table.) CLINTON: Why did the chiropractor k*ll Ashley? BOOTH: Well, Ashley seduced him, you know, and tried to blackmail him. CLINTON: So he m*rder her? Dude. BOOTH: Yeah. You know, Ashley needed money, to raise her baby. Your baby. CLINTON: You didn't think those girls would have sex with me because I can't bench press enough. BOOTH: (chuckles) DNA tests, they prove that I was wrong, so... yeah, I owe you an apology. CLINTON: I did... I told you. BOOTH: Yeah. You know what? You are a smart kid. CLINTON: I know. BOOTH: But you're also a real smart-ass kid. Okay? There's something I want you to think about, alright? Sex is never free and easy. (Booth starts taking something out of his pocket.) CLINTON: I beg to differ. BOOTH: Because the fact is, any one of these girls, they could change their mind, and you would be paying child support for the rest of your life. CLINTON: Wait. What? BOOTH: You see these four girls right here? (He lays out photos of four girls in volleyball uniforms.) BOOTH: You are responsible for bringing their children into the world. Whether they think so or not, they are your responsibility. Your children, your responsibility. Do you understand? (Clinton looks petrified.) BOOTH: And what you do about that will define what kind of man you are. CLINTON: No, no, hold on a second. BOOTH: But if you ignore that - ignore your children - that's exactly what you're going to become: A loser. A deadbeat. For the rest of your life. You know what, there's something else that you should think about. Ashley Clark? She was going to have your baby. According to our pathologist, it was gonna be a boy. CLINTON: A boy? BOOTH: Mhm. A son. (Booth rips up the photo of Ashley Clark.) BOOTH: Who died... With his mother. CLINTON: What did you have to tell me all that for? BOOTH: Because you needed to hear it. Do you understand? CLINTON: Yes. (We see Brennan watching Booth and Clinton through the window.) END.

{"type": "series", "show": "Bones", "episode": "04x17 - The Salt in the Wounds"}

foreverdreaming

"The Doctor in the Den" Episode 4x18 / Production 4x12 Airdate: April 2, 2009 Written By: Janet Lin & Karine Rosenthal Directed by: Ian Toynton Transcribed by: Sabrina_bay Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Rock Creek Wild Life Park - A vehicle drives through grass lands past zebras, elephants. It stops near a tiger. Bill and Trysta, employees at the park get out of vehicle) TRYSTA: These tigers eat better than I do. BILL: He. Yesterday's food is still here. TRYSTA: And the day before's. I don't think Matilda's moved in two days. I hope she's not sick. BILL: Maybe there is something wrong. Should we call the vet? (Matilda, the tiger, gets up and walks over to a bloody, half eaten piece of lower leg with the shoe still attached. She picks it up and reveals the rest of the body, which now is mostly bones with little flesh still in tact.) (Bill and Trysta run back to the vehicle.) (Cut to: A different Park Vehicle - Brennan and Book are in the back of the vehicle.) PARK EMPLOYEE 1: Let's Go. DRIVER: Thanks. BOOTH: I was here last weekend with Parker. They got monkeys swinging free - right over there (Points). Do you think we have time? BRENNAN: Booth, we're here to recover a set of remains. BOOTH: Come on, Bones. You gotta take time to smell the primates. BRENNAN: Why? They are malodorous and they throw their excrement. (Cut to: Melinda, the tiger, pacing in a cage near the body. Booth and Brennan approach the remains.) BOOTH: Who wanders around in an animal park? BRENNAN: Someone with extremely poor judgment. BOOTH: Ha, guess no one told this guy it's not a petting zoo. (Brennan gives him a look.) Nevermind. BRENNAN: Flesh has been gnawed and baked in the sun. But the nasal root suggests a black male. Over six feet tall. BOOTH: According to, uh, Parker's big book of animals, they can pounce at 35 miles an hour and leap 30 feet. BRENNAN: The tiger fed on the flesh and internal organs before he started cleaning the bones. BOOTH: You know, I'm thinking the victim wandered away from his car, he was drunk, and he ended up in this area. Same thing happened to a guy last year in the giraffe section. BRENNAN: Giraffes are herbivores. They don't eat people. BOOTH: That part is different. The guy broke his arm. Did you know that giraffes can weigh up to two tons? BRENNAN: Yes, everyone knows that. BOOTH: And they sleep less than two hours a day. BRENNAN: That I did not know. BOOTH: Yes, Pinky stumps the Brain. BRENNAN: Well, I have no way of determining cause of death out here. So we should pack everything up and bring it back to the lab. BOOTH: Pack it up! (Cut to: Lab - Clark, Cam, Hodgins and Brennan are examining the body)) CLARK: Teeth marks on the manubrium and the sternum. CAM: Nice to have you back Dr. Edison. Wasn't sure we'd see you again. CLARK: Dr. Brennan assured me that I could count on a strictly professional atmosphere. BRENNAN: I admire your focus and dedication to your work, Dr. Edison. CLARK: Thoracolumbar fascia has been eaten. CAM: No stomach contents for me to analyze because the tiger ate the stomach. CLARK: Don't blame the tiger. Animals shouldn't be confined for human amusement. HODGINS: A zoo hater? CLARK: and a vegan. HODGINS: Oh, Someone's revealing their plant-based personal life. CLARK: It relates to the case. BRENNAN: Zoos have many breeding programs to preserve endangered species. CLARK: Animals bred in the zoos have weak natural instincts. They're basically just imprisoned pets. HODGINS: Pets generally don't eat you. BRENNAN: A common house cat will devour you before you're cold. CLARK: The victim's hyoid and spinal cord are still in tact. BRENNAN: There are no indications of a traditional tiger throat bite or strangle hold. The tiger was not the cause of death. CAM: I agree. Some kind of w*apon sliced along what's left of the right pelvis and thigh transecting the femoral artery. He died of a good old-fashioned bleed out. HODGINS: There is a shoelace mixed in with the flesh. BRENNAN: The tiger could have coughed it up, like a fur ball. CAM: Judging from decomp and... the amount the tiger ate, I estimate time of death to be late Friday night, early Saturday. ANGELA: (entering) Welcome back, Clark. Whoa, have you been working out? CLARK: Excuse me? ANGELA: You look so solid and compact. CLARK: I believe that all conversation should relate to this man's m*rder. HODGINS: Angela's taking a s*ab at celibacy. ANGELA: Sweets thinks it will help me form more committed relationships. HODGINS: But it just seems to rev up her libido. CLARK: (avoiding the conversation) Chewing...has embedded particulates into the teeth marks in the medial malleolus. ANGELA: Okay, I get it. But you're squeezable. You should thank our tiger for not eating the victim's teeth. Dentals gave us an easy match. BRENNAN: Dr. Andrew Welton. CAM: (stunned) Are you sure? ANGELA: Yeah, it's...it's dentals. It doesn't take a rocket scientist to ID off dentals. It's sad, huh? He's handsome. He's hot, really. CAM: Okay, that's enough, Angela. BRENNAN: Are you alright, Dr. Saroyan? CAM: No. I knew Dr. Welton. We lived together for two years. ANGELA: Oh...my god, Cam. I'm really sorry. CAM: No...Let's just find out who k*lled him, okay? (She walks away.) (Opening Credits) ACT 1 (Open - Lab - upper level sitting area - Booth and Cam) BOOTH: So, I called the hospital and Dr. Welton has been missing for two days. I'm sorry, Cam. CAM: I haven't even seen Andrew for 10 years. It's silly for me to be reacting like this. BOOTH: No, it's not. You know what, it was a big part of your life. CAM: What about his daughter? Who's going to tell Michelle? Had he remarried? BOOTH: No. No other family. CAM: Yeah, I'm not surprised. Michelle's mom died during childbirth. I don't think Andrew could ever go through loving anyone like that again. Michelle became everything to him. BOOTH: She must be, what, 16 now? CAM: Yeah. What a terrible time to lose her father. BOOTH: Look, Bones and I will get the social worker. CAM: No, no social worker. If there's no one else, I have to do it. I'll talk to her. BOOTH: Cam, it's been 10 years since you've seen her. CAM: I was her mom for almost two years, Seeley. She should hear it from someone who loved her father. (Cut to: Booth's car pulling up outside the Welton house) BOOTH: So, you're sure you don't want us to come in with you? CAM: No, I'll be fine. (Cam exits the car and approaches the house. Michelle opens the door) BRENNAN: Did Cam raise her? BOOTH: Yup, for two years. (Cut to: inside the house) CAM: Camille Saroyan? MICHELLE: And you know my dad? CAM: You were 4 when your father and I were together. I moved away just after you turned 6. But I remember your party. You were sitting on the clown's lap while he made balloon animals. And you kept handing them to me and I had this armful of... MICHELLE (interrupting): I don't remember...and my dad's not here right now. CAM: I know. I am working on a case with the FBI, Michelle. Could you please sit down? (Cut to: Brennan and Booth in the car outside the house) BRENNAN: Well, she told me she never wanted to have kids. BOOTH: Maybe Michelle is the reason. BRENNAN: I don't understand. BOOTH: She loved Welton and lived with him for about two years and she raised Michelle like she was her own. And then she's been alone for all that time because she doesn't want to put herself in that position again. BRENNAN: But that was 10 years ago. BOOTH: For Cam there are emotional considerations here. That's why she has to be involved in the case. BRENNAN: With us? BOOTH: It's best that you...stay in the lab a little bit more. Just this time around. BRENNAN: Because that's where I'm most useful. I understand. You and Cam can rely on your statistically inaccurate guts to solve the case. BOOTH: She needs this. Just trust me on this, Bones. (Cut to: Inside the Welton house) MICHELLE: Last time I saw him was Friday night. He was getting ready for some hospital party at the Animal Park. I spent the weekend at my friend's. I'm sure that he's still at the hospital. CAM: Michelle, we've found your father. I'm very sorry to have to tell you that he's...he passed away. MICHELLE: What? No. No! He was fine. He was fine. I saw him two days ago. You're wrong. CAM: I'm so sorry, honey. Is anyone staying with you? MICHELLE: Um, our housekeeper, Mrs. Jenks, but she... What happened? He was healthy. CAM: We believe he was k*lled. MICHELLE: What!? Oh my god. Oh my god. Look, I don't even know you, okay? Why don't you just do your job and find out who did this to my dad? MRS. JENKS: Is everything alright? MICHELLE: My dad...She says that my dad has been m*rder. MRS. JENKS: Oh, good god. How could you tell her alone? Why didn't you call me? CAM: I thought she'd remember me. I was a friend of the family. MRS. JENKS: I think you should go. CAM: I know this is difficult, but I have to ask a few questions. MRS. JENKS: Now? CAM: In order to pursue an investigation... MICHELLE (cutting her off): What? What do you want to know? CAM: Did your father have any enemies? Any difficult relationships? MICHELLE: No. Everybody loved him. You said that you knew him. You should know that. (Cut to: Booth's Car - Cam gets into the car) BOOTH: How'd it go? CAM: You should have brought a social worker. She...didn't remember me at all. (They drive off) (Cut to: the Lab - Clark, Brennan and Hodgins examine the wound.) CLARK: Look at the pelvis. BRENNAN: Surface lacerations to the periosteum of the pelvic bone. HODGINS: Those aren't bone chips. Whatever caused the laceration embedded something in the bone. Look at the injuries near the femoral artery. It looks like there are particles of mica in here. CLARK: The scarring of the ilium indicates that something gouged the victim. I'll start testing possible w*apon. CAM: (entering) Do you have anything? BRENNAN: Well, a thorough investigation takes time. CAM: Let's not take too much time. CLARK: We're being so thorough that we... CAM: (interupting) There's a k*ller out there, Dr. Edison, so be thorough and fast. I have the results of Weldon's tox screen. There were opiates in his blood. Hydrocodone and carisoprodol. HODGINS: Perhaps he was self-medicating. CAM: That doesn't sound like Andrew. BRENNAN: You haven't seen him in years. CLARK: These are very high levels of opiates to have in your system if you're a surgeon. HODGINS: It's not uncommon for doctors to have substance abuse issues. CAM: Andrew was not a drug abuser. Look for physical indicators that might warrant opiate use. (pause) I am meeting Booth at the hospital if you have any information, which I hope you will. (Cam walks out.) Cut to: Outside the Hospital. Cam and Booth enter. CAM: I took Michelle to ballet class and parent/teacher conferences. I read her to sleep. When I saw her and it all came back. I thought it would for her. Some of it at least. BOOTH: Look...Parker's seven and he can't even remember how to put on his underwear. CAM: Yeah, but he knows you. He knows what you've done for him. BOOTH: It's been ten years. People move on. It was just a relationship that didn't work out. CAM: It's a family, Seeley. A family that didn't work out. DR. MAURA BAILEY: (turning around and seeing Cam and Booth) Camille. CAM: Maura. It's been a long time. BAILEY: It's horrible what happened. CAM: Yeah. This is Special Agent Booth. Dr. Bailey's Roosevelt's Chief Administrator. BOOTH: Dr. Bailey. I would like to ask you a few questions about Dr. Welton. BAILEY: Of course. Let's find some privacy. (Bailey walks. Cam and Booth follow behind her) CAM: (aside to Booth only) We were both residents here. It was a really competitive environment. BAILEY: Does Michelle know? CAM: Yes, I saw her this morning. BAILEY: Oh, Poor kid. You two were pretty close as I remember. BOOTH: Dr. Bailey, we believe that Dr. Welton was k*lled at the benefit on Friday night. BAILEY: At the animal park? CAM: He was found in the tiger habitat. We need a list of everyone who attended the benefit: staff, caterers, park personnel assigned to the event. BAILEY: Of course. BOOTH: Did Dr. Welton have any enemies? BAILEY: The staff loved him. In the spirit of full disclosure, though, you should know that Dr. Welton and I had our fair share of disagreements. It's an occupational hazard. CAM: You always did like being in charge. BAILEY: I am in charge now, Camille. Andrew and I had policy disagreements, but I admired him. He was the best cardiovascular surgeon I knew. BOOTH: Any other patients, people inside the hospital...? BAILEY: Malpractice suits are par for the course in any hospital. And we are fighting 15 right now. BOOTH: I'm going to need a list of all those lawsuits naming Dr. Welton. BAILEY: Of course. CAM: Andrew usually made his rounds at night. Who would have seen him before he went to the benefit? BAILEY: You should check with the nurses in the Cardiac unit. (Cut to: Nurse's Station in the Cardiac Unit - Roosevelt Hospital) NURSE 1 (GRETCHEN KUJAWA): Dr. Welton was the best. Everyone loved him. NURSE 2 (NANCY LAUDER): He lived for his patients. NURSE 3 (LAUREN DOBBS): And his daughter. NURSE 2 (NANCY): Dr. W made his rounds before the benefit. I helped him change a chest tube. I had to push him aside so his tux didn't get dirty. Other than that, it was like any other night. BOOTH: And no arguments with patients or family members? NURSE 2 (NANCY): Dr. Welton? No. CAM: Do you know if he was taking anyone to the benefit? NURSE 1 (GRETCHEN): I told him he could take me. ... He looked like James Bond. NURSE 2 (NANCY): You never knew who Dr. Welton was dating. He wasn't the type to settle down. CAM: Right. (Cut to: the Lab. Angela enters Hodgins' area) ANGELA: How's it going? HODGINS: Hey. ANGELA: Ooh. What is that smell? Are you wearing cologne? HODGINS: It's urine. I found traces of ureic acid on the victim's clothing. It was the pheromones you found pleasing. ANGELA: Yeah, yeah. Uh, the pheromones in tiger urine? HODGINS: Well, I assume it's tiger urine. The cat was probably marking it's territory. ANGELA: I was turned on by tiger urine? HODGINS: HaHa. Celibacy isn't easy, Ang. ANGELA: Tell me about it. I don't know why Sweets thinks this is going to help form more s*ab relationships. Sex is the glue. We were like epoxy. HODGINS: Sometimes relationships need more than just sex. ANGELA: Okay. Okay, I get it. I wasn't wrong about Clark though, was I? He's cute. And he's built. HODGINS: Yeah. Not too comfortable with this part of the conversation. ANGELA: I'm just saying, I'm allowed to look, right? And remember? 'Member? HODGINS: Yeah. You should join a gym. Go for a run to burn off some of your excess...whatever it is. I really need to get back to my... ANGELA: Urine. HODGINS: Yeah. (Cut to: Lab - Autopsy Room - Brennan enters to speak with Cam) BRENNAN: I found nodules of ossified cartilage on Welton's thumbs between the metacarpals and carpals. He was suffering from synovial chondromatosis. CAM: He was in pain. That would explain the opiates. I also found ibuprofen, which he would've taken to reduce the inflammation. BRENNAN: The bony growths in his wrists would have caused him pain and severely restricted his mobility. It would have been very dangerous for him to perform surgery in his condition. CAM: Well, he wouldn't have done it. Not Andrew. BRENNAN: You can't know that. People change in ten years. CAM: Not someone's nature. BRENNAN: We're scientists. We can't quantify or rely on our emotions. They're arbitrary and indeterminate. CAM: We know people through our feelings, Dr. Brennan. You trust Booth because of what you feel. BRENNAN: No, I trust Booth because of past actions. CAM: And faith in the future. I'm sorry, but feelings are important. Even to you. (phone rings) CAM: (answering phone) Saroyan. BOOTH: A guy named Brandon Casey filed a malpractice suit after his wife died during surgery on Welton's operating table. After the suit was arbitrated in Welton's favor, Welton filed a restraining order against Casey. CAM: You think Casey k*lled Welton? BOOTH: Well, I don't know, but I do know that Casey bought a ticket to the benefit. BRENNAN: Why would someone who sued the hospital pay to go to its benefit? Act 2 (Open: Interrogation Room - Booth interrogates Brandon Casey - Dr. Sweets is observing behind the glass.) CASEY: I, uh, don't understand why I'm here. BOOTH: Your wife died during surgery performed by Dr. Andrew Welton. CASEY: Yes, that was two years ago. She was only 32 years old. She had a congenital heart defect. BOOTH: And yet he had to take out a restraining order against you? CASEY: I was crazy when Alex died. I needed to blame someone. BOOTH: And you att*cked him, which is why he had to take out a restraining order. Which I get because, you know...got to let the anger go. CASEY: I needed to find forgiveness, even compassion for the doctor. SWEETS: (from behind the glass) He seems sincere, but he still violated the restraining order. BOOTH: And yet you went to the benefit last Friday night ignoring the restraining order? CASEY: I went to apologize. I had accused this man of m*rder. I owed Dr. Welton an apology. BOOTH: And what did he say to you after you apologized? CASEY: Well, we didn't get a chance to talk. He was arguing with a woman. They were off to the side, really going at it. I didn't want to get in the middle of it. Okay...what's going on here? Did something happen to Dr. Welton? BOOTH: Yeah. He was m*rder Friday night. CASEY: Uh. Oh my God. BOOTH: Do you know what this woman looked like? CASEY: No. I don't.... BOOTH: What she was wearing? CASEY: I don't know. BOOTH: Was she tall? Was she short? Nothing? CASEY: I'm sorry. I don't remember. SWEETS: (from behind the glass) It's possible, Booth. People don't retain what they don't think is important. BOOTH: Great. CASEY: Beg your pardon. BOOTH: Nothing. SWEETS: But! The memories are still formed. See if he'll agree to hypnosis. (Cut to: the Lab - Brennan and Clark are examining the body.) BRENNAN: The gouge that extends from the ilium to the femur is deep and seems to have torn through the bone. CLARK: I found wounds on the proximal phalanx of the right fifth digit as well as the ulnar tuberosity. BRENNAN: Defensive wounds. CLARK: Yes. Caused by blunt force. ANGELA: (entering) Hey. I used the measurements of the injuries to run different scenarios on possible w*apon. CLARK: And you did this while jogging? ANGELA: Well, yeah...I was burning off a little of my extra desire on the way to work, sweet pea. CLARK: Is sweet pea an appropriate workplace moniker? ANGELA: Don't worry, Clark, I won't eat you. Not that I'm not tempted. CLARK: Thank God. BRENNAN: Most men would be flattered by Angela's sexual interest in them. CLARK: Well, my sexual needs are well taken care of. Thank you. ANGELA: Really? CLARK: Your results, Ms. Montenegro (They move over to look at the computer) ANGELA: The force that would take to inflict injuries this severe would dictate either an extremely strong person over seven feet tall wielding a two-foot long metal pole. CLARK: Someone at the party would have noticed a giant. ANGELA: Or...Someone between 5'7" and 5'11" wielding a five-foot metal pole with a ten-centimeter diameter. BRENNAN: A metal pole of that length and diameter would be consistent with the defensive injuries we found. Now we have to determine what gouged the bone. ANGELA: Yeah, well, I'm going to need more information for that. SWEETS: (entering) Angela? Can I borrow you for a little while? ANGELA: To do what with? Sorry, that just popped out. I needed a longer run. SWEETS: Yeah, I understand. I am going to be interviewing a witness who can't remember a suspect and I need a sketch artist. ANGELA: Oh. (turns to look at Brennan) BRENNAN: We're finished. ANGELA: Cool. All yours, Sweets. SWEETS: Alright. (Cut to: an FBI room for the hypnosis) SWEETS: You are relaxed, Mr. Casey. Totally relaxed and completely aware of your surroundings. Can you tell me my name? CASEY: Dr. Sweets. SWEETS: Yes. And we are here together at the animal park, at the hospital benefit. CASEY: Yes, there are so many people here. And I keep missing the hors d'oeuvres. ANGELA: HaHaHa. You've got to be kidding me. SWEETS: (to Angela) Shh. (to Casey) Have you spotted Dr. Welton yet? CASEY: I know he's here someplace. (Cut to: Casey, Sweets and Angela "at the benefit" in Casey's memory) SWEETS: (sounds far away) How do you feel Mr. Casey? Are you angry? You thought this man k*lled your wife. SWEETS: No, no, I was wrong. I'm looking forward to seeing the doctor and making amends. Would you like some champagne? SWEETS: No thanks. ANGELA: Absolutely. (Angela picks up a glass off of a waiter' platter) SWEETS: Alright. Have you spotted Dr. Welton yet? (Cut to: FBI room) CASEY: No, I keep trying to get something to eat. I didn't have lunch. ANGELA: I'd like something to eat, too. SWEETS: Okay, here comes a waitress. (starts to sound far away - Cuts to: them in Casey's memory again) She's giving you what you want. CASEY: Thank you. SWEETS: Now, can you, can you see the doctor? CASEY: Yes. He's over by the path. SWEETS: What path? CASEY: The path that leads to the animals. I hear there's no fence. What if the animals can get out? SWEETS: Don't worry. You're perfectly safe, Mr. Casey. (Casey sees an elephant, zebra, emu and giraffe mingling with them and the other guests. He looks concerned.) (Cut to: FBI room - reality) The animals won't hurt you. They are very friendly. CASEY: Yes. Yes, they are. (A giraffe and zebra are seen walking in front of Casey, Angela and Sweets) SWEETS: You can see Dr. Welton very clearly now. Can't you? Is he alone? CASEY: No. He's with a woman. SWEETS: And they're arguing? CASEY: Yes. She's...she's yelling at him. He's trying to calm her down. She's pushing him. SWEETS: Look closer. Tell me what she looks like. CASEY: No, I need to move away. This is embarrassing. SWEETS: No, no, no, no. Not yet. Look at the woman. You can see her clearly now, can't you? CASEY: Yes. (Cut to: FBI room - reality) ANGELA: Okay, so let's sit here and we'll sip a little champagne and...(Cut to: back in Casey's memory) you can describe her to me. In detail. CASEY: She's about 50. Oval face, strong features, high cheekbones, hazel eyes, pointed nose... ANGELA: (to a giraffe) Uh, dude, you're blocking my light. (Cut to: Roosevelt Hospital - Booth and Cam question Dr. Bailey) BOOTH: Do you recognize this woman, Dr. Bailey? BAILEY: Of course I do. (walks to show them a portrait hanging on the wall) This is Diane Annenburg. She's one of our biggest donors. BOOTH: We have a witness who saw this woman arguing with Dr. Welton the night of the benefit. BAILEY: A woman that generous is used to getting her own way, but she's not a k*ller. CAM: She wouldn't have been happy knowing that your best surgeon was disabled. Why didn't you mention that Andrew had synovial chondromatosis when we spoke? BAILEY: Because it didn't affect the investigation. BOOTH: If you think about it, the hospital would've been ruined if it came out that Dr. Welton was operating when he shouldn't have been. Annenburg would've looked like a fool. BAILEY: I know it's been a while, Camille, but you knew Andrew. He would never jeopardize a patient. We agreed he would only supervise during surgery until he decided what sort of treatment to follow. CAM: Is there any other reason Annenburg might have been angry with Andrew? She seems a little old for him. BAILEY: Her son, Rick, is in his last year of med school. He applied to Roosevelt for his surgical residency. Andrew ran that admissions committee. BOOTH: Did he reject her son? BAILEY: He did. We supported that decision. BOOTH: Looks like we have one unhappy mom. Act 3 (Open: Booth's office - Booth questions Mrs. Annenburg.) BOOTH: So, you were seen arguing with Dr. Welton the night he died. MRS. ANNENBURG: At the benefit? That wasn't an argument. BOOTH: Then what was it? MRS.ANNENBURG: I was expressing my disappointment with Dr. Welton's decision to exclude my son from the residency program at Roosevelt. BOOTH: Money doesn't make you a god, Mrs. Annenburg. MRS. ANNENBURG: My son should've been accepted because he's deserving. Richard never wanted to be anything but a doctor. He worked for it. He finished second in his class. Obviously...Dr. Welton had some sort of personal issue with my son or with me. BOOTH: Right, and removing him would solve all your problems. MRS. ANNENBURG: Yes. I wanted him removed from the Board of Admissions. I-I do feel that my generosity entitles me to some sort of influence. But I did not want Dr. Welton k*lled. BOOTH: Well, I can only imagine that Richard was pretty angry with Welton, too. A young man like that who's used to getting whatever he wants might lose control. MRS.ANNENBURG: Don't be ridiculous. BOOTH: Was your son at the benefit that night? MRS ANNENBURG: Richard is a good boy, Agent Booth. BOOTH: Thank you for your time, Mrs. Annenburg. (Cut to: Lab - Brennan and Clark. Cam enters.) CAM: (enters) Anything of value yet? BRENNAN: We are cataloguing injuries. I thought you would be with Booth. CAM: Questioning people isn't really my thing. Most of the time I just want to b*at them until they tell me what I want to hear. BRENNAN: I know. It gets frustrating, and hitting can often be quite effective. EDISON: And you both work with the Justice Department? BRENNAN: Yes. EDISON: Ironic... BRENNAN: How is Michelle? The loss of a father can be quite devastating. CAM: I haven't seen her again. I imagine Child Services will probably be moving her to a foster home soon. HODGINS: (entering) Those white flecks that were embedded in the pelvic bone? They're polymerized hydrocarbon from the serrated edge of a plastic Kn*fe. Seems our victim was att*cked in the groin with disposable cutlery. CAM: Didn't we find a blood-soaked shoelace in the remains? BRENNAN: Yes. We assumed that the tiger coughed it up. EDISON: Under normal circumstances, a plastic Kn*fe could barely cut flesh. CAM: But if there was already an open wound caused by whatever punctured the artery... BRENNAN: Then a plastic Kn*fe could be used to enlarge the opening. HODGINS: Why? Make him bleed out faster? CAM: No. Someone was trying to make the bleeding stop. BRENNAN: The puncture wounds were too high for a tourniquet, so they used the Kn*fe to gain access to the vascular area. CAM: The shoelace was probably used to tie off the femoral artery, but the procedure failed. EDISON: Who would att*ck him and then try to save him? BRENNAN: Someone with a medical background. (Cut to: Interrogation room - Booth interrogates Richard Annenburg.) BOOTH: So, uh, tell me about Dr. Welton. RICHARD ANNENBURG: He was a...good man. A good doctor. It's terrible what happened to him. BOOTH: I heard he made the mistake of getting between you and something you've been working for your whole life. RICHARD: My mother tell you that? BOOTH: She said you wanted to be a doctor. RICHARD: She's right. BOOTH: Roosevelt's got some of the best residencies. I can see why you wouldn't want anything to get in your way. RICHARD: What does that mean? BOOTH: Well, you see, the suspect that we're looking for had motive, opportunity and a medical background. Does that sound like anyone in this room? RICHARD: You think I k*lled Dr. Welton? I want to save lives, Agent Booth, that's why I'm a doctor. BOOTH: Someone tried to save Dr. Welton. You know, they tried to stop the bleeding after they att*cked him. RICHARD: I didn't even want the residency. I begged Dr. Welton to reject me. BOOTH: After all that hard work. Now why would you do something like that? RICHARD: To get away from my mother. She seems all benevolent, but she's a control freak. And Dr. Welton, he understood that I had to get away from her to be the kind of doctor I wanted to be. BOOTH: So he stood up fro you, even though he might lose his job? RICHARD: Yeah. Look, you don't have to believe me. If somebody tried to stop the bleeding, then they'd be covered in blood themselves. Take my clothes. You can run all the tests you want. (Cut to: Porch of the Welton house) CAM: I just wanted to find out how you were doing. I know how difficult this must be for you. MICHELLE: Aren't you supposed to be finding out who did this to my dad? CAM: And I will. I swear to you. I know what a good man he was. And what a great father. (shows Michelle a picture of the three of them) You don't remember? MICHELLE: Yeah. Yeah, I remember. I remember that you said you loved me and that we were a family. And then you just left. CAM: The reason I left... was between your father and me. It had nothing to do with you, Michelle. MICHELLE: Yeah. That's what he always said. But if you care so much, why don't you explain it to me right now? CAM: I don't know, if he didn't talk to you about it, I... MICHELLE: I waited for you. I looked out the window for weeks waiting on you to come home. You don't say that you love somebody and then just walk out like that. CAM: Your father and I were going to get married, Michelle. But your father, he... (she pauses) MICHELLE: What? CAM: He was still seeing other women. Even after we were engaged. And I tried to work through it. I loved him. I still do. But after your mother...I don't think your father could ever commit like that again. And that wasn't something I could live with. MICHELLE: Maybe, because he knew that you weren't good enough. Maybe he was just waiting for the right woman. CAM: Maybe. I'm...I'm sorry I brought it up. I never stopped thinking about you, Michelle. And if there's anything... MICHELLE: (interrupting) I don't need anything from you. Just go. Leave me alone. Go! (Cam picks up her bag and walks off the porch) (Michelle picks the picture of the three of them and looks at it. She sobs.) Act 4 (Open: Lab - Angela, Cam and Brennan sit around table in upstairs lounge) ANGELA: So what did Michelle say to you? CAM: She said, uh, that I wasn't good enough for her father and that was why he saw other women. BRENNAN: Welton cheated on you? CAM: That's why I left. BRENNAN: Did that bother you? ANGELA: Sweetie, how many times do I have to tell you that most people don't like to be cheated on? CAM: The only people who don't mind have just given up. ANGELA: (jumping in) Or are very, very rational and above those archaic notions of monogamy. CAM: Right, yes, of course. I'm not quite evolved enough. BRENNAN: Excuse me, this is not my area of expertise, but if Welton cheated on you, he may have been cheating on other women. CAM: Probably was. The only person he ever was faithful to was Michelle. ANGELA: Well, there you go. He was playing the field and somebody probably nuked him for it. BRENNAN: Well, how do you know? ANGELA: Because. Despite the fact that I would love to have my legs wrapped around one right now, men are awful. HODGINS: Hey. (Cam, Angela and Brennan glare at him) Whoa. What'd I do? CAM: You're a man. HODGINS: I have information. BRENNAN: Go ahead. HODGINS: The ureic acid on the victim's clothing, it's feline, but it's not tiger pee. Sediment composition and pH level suggest that it was from a lion. CAM: Are you aware that lionesses do all the hunting? BRENNAN: Yes, the males simply copulate and eat what the females catch. ANGELA: And when they get cranky, they eat the cubs. Mm-hmm, men. HODGINS: Wow. Before I flee for my life, the particles I found in the wounds around the femoral artery, the ones I thought might be mica? They're scales. BRENNAN: Hmm, fish? HODGINS: No, snake. I can maybe have a species by tomorrow. ANGELA: Hey. You wanna stay and have a drink? (Cam snaps her fingers at Angela) ANGELA: Oh. Yeah. We hate men. HODGINS: I'm going to go...now. ANGELA: He does have a terrific ass. BRENNAN: Perhaps, that's why you're always making him leave. (Cut to: Lab - Forensics platform) BRENNAN: No lions? HODGINS: None in the whole park. There are tigers. BOOTH: How much difference can there be between lion urine and tiger urine? BRENNAN: There are no stripes in tiger urine. BOOTH: I didn't say there are. BRENNAN: I just know how much you love cartoons. HODGINS: Tom and Jerry? BOOTH: Bugs and Daffy. HODGINS: All right, now, this is the Capybara enclosure. (brings up a picture of a capybara on the Wildlife Park) Now, they use crystallized lion urine around the edges of this enclosure to keep the capybaras inside. Then, look at this. (Hodgins brings up another picture) BRENNAN: The reptile shed. BOOTH: (going up behind Brennan) Snakes! BRENNAN: Ahhh. What is that? HODGINS: It's a snake hook. It's used for picking them up, but keeping them at a safe distance. BRENNAN: That hook could have severed the artery and deposited the snake scales in the gouge in the femur. BOOTH: So, he was k*lled around that area with something like that thing. BRENNAN: That is very imprecise. BOOTH: Works for me. (Cut to: Angela's office - Clark enters with Dr. Nora Oldhouse.) EDISON: Angela? ANGELA: Clark...Hello. EDISON: I would like you to meet my romantic partner, Dr. Nora Oldhouse. ANGELA: Hello, romantic partner. EDISON: Yes, we're romantically involved...together. She and I. NORA: Clark, she heard you. EDISON: Nora, these are not like regular people. It's best to be very, very clear with them. Nora is a tenured Professor of Women's Studies at Georgetown. And a vegan. ANGELA: Could you be any more politically correct. Or cute? EDISON: See? See what she just did there. I mean, it's harassment, baby. Hey, we're in a monogamous relationship. I need you to back up off me, lady. NORA: I understand you've recently decided to be celibate, Ms. Montenegro? ANGELA: Uh, temporarily, yeah. NORA: That can have some physiological repercussions. ANGELA: Tell me about it. But unbelievable fantasies. NORA: Did you know that women in the 19th century would visit their physicians for anxiety and hysteria? And as treatment the doctor would provide manual sexual stimulation to the women and the subsequent orgasm provided - EDISON: (interrupting) Oh, God! Nora, what are you doing? ANGELA: I don't think that my insurance covers that. NORA: Well, I'm just saying that these women weren't getting what they needed at home, you understand? In the absence of a sex partner, there are other alternatives. EDISON: (vehemently adding in) To me. Alternatives to me. NORA: Vibrators, other sex toys. EDISON: Oh, God, oh God, why am I here for this? I don't need to be hearing this, excuse me. ANGELA: He's very sweet. NORA: I know. It was nice to meet you. ANGELA: you, too, thank you for the tip. (Nora starts to walk away) Hey, Dr. Oldhouse? I wasn't wrong about Clark, was I? He's tightly wound, but- NORA: Dynamite, Ms. Montenegro. A briefcase b*mb. ANGELA: That's what I thought. EDISON: (walking in to take Nora's arm) Baby. (Cut to: FBI hallway - Cam and Booth walking to a meeting room) CAM: When I was talking with Ang and Brennan last night about men, it occurred to me that Andrew probably didn't change much when it came to women. BOOTH: Come on, it's been 10 years. You think Andrew was still visiting the same place? CAM: Andrew was set in his routines and if I remember Langston correctly, this guy didn't miss a thing. (Cam and Booth enter the meeting room.) Hiya, Langston. LANGSTON: I know you. CAM: It's been awhile. LANGSTON: Three-zero-one. Wednesday afternoons with Dr. Welton. Noisy afternoons. You always left smiling. BOOTH: Hey. LANGSTON: You were a nurse at the hospital. BOOTH: She was a doctor. Okay, and now she's a Federal Coroner. So a little respect, okay, Rumpelstiltskin? LANGSTON: Coroner, huh? Somebody die? CAM: Yeah, Langston, Dr. Welton. LANGSTON: My bet, a jealous husband. Or a jealous ex, maybe. BOOTH: You're wearing on me, sport. CAM: I'm gonna guess that Andrew kept coming to your motel after me. LANGSTON: Uh, yep, he kept coming. BOOTH: With anyone special? LANGSTON: I don't know her name. CAM: Describe her then. LANGSTON: Good looking, like all of ya. Uh, tall. He liked them tall. Pretty face, sharp features. And red hair. CAM: Red hair? Act 5 (Open: FBI meeting room) (Brennan puts down a snake hook on the table in front of Dr. Bailey) BAILEY: I have no idea what that is. BOOTH: That's the m*rder w*apon. BRENNAN: The point of the hook tapers in a manner identical to the fatal wounds we found on the head of the femur and the pelvic bone. BOOTH: Plus, the curved nature of the w*apon resulted in, what was that? BRENNAN: Cortical splintering. BOOTH: See, Dr. Brennan's people found that Dr. Welton was truck with this between two and...(looking to Brennan) BRENNAN: Four times. BOOTH: Four times. BRENNAN: And then was s*ab with this. In the femoral artery. BOOTH: Would you be willing to give us the clothes you wore the night of the benefit? BAILEY: If you had any evidence implicating me, you'd have a warrant. I believe I'll decline. BRENNAN: We know you had an affair with Dr. Welton. BOOTH: Which means your husband is a suspect. We'd have to question him, too. BAILEY: I don't appreciate your veiled attempt at blackmail. BOOTH: (to Brennan) She thought that was veiled! BAILEY: My position dictates that any legal dealings that concern me have to go through the hospital's attorney. I'm sure you understand. BOOTH: Right, got her on the run, Bones. (Cut to: the Lab - Cam sits at the table in the upstairs lounge with a salt/pepper shaker) BRENNAN: Hodgins found another way to track the k*ller. Angela is going through all the digital photos from the benefit now. You want to hear the details? CAM: Not right now if you don't mind. BRENNAN: (seeing the figurine) What's this? CAM: When I left Michelle 10 years ago, I knew Andrew wouldn't say what needed to be said so... BRENNAN: You did it. CAM: No. I didn't know what to say. She was so little and I loved her so much. And I haven't had a child of my own, but I find it impossible to believe anyone...anyone could love a child more. But I had no place in her life anymore so, I had to... BRENNAN: You had to leave room in case Andrew found someone else who might help raise Michelle. CAM: I had this old salt and pepper set my grandmother gave me before she died. Fits together. I kept this one and I gave Michelle the other half. And I told her that whenever she looked at it she should know that at that exact moment, I'd be thinking of her and loving her. BRENNAN: That is not strictly... CAM: I know, Dr. Brennan. But I swear sometimes I looked at my half and I knew that little girl was missing me. BRENNAN: Perhaps you should take her in now. CAM: What? BRENNAN: She's an orphan. She's alone in the world. She needs a parent. CAM: Michelle stopped loving me years ago. BRENNAN: But you never stopped loving her. She'll know that. The Mohawk Indians have a saying that when a child falls in the rapids, the one who rescues her will share in her new life forever. I assume that doesn't only apply to a potential drowning victim. I have to go help Angela find a snake. (Brennan gets up. Cam looks at the salt/pepper shaker) (Cut to: Angela's office - Brennan stands over Angela looking at her computer) BRENNAN: Hodgins says the scales from the wound didn't come from any snakes at the park. ANGELA: So we should look for bloody clothing or snake skin. Dr. Bailey is here but she's wearing this white dress. BRENNAN: Well, that's late in the evening. If she'd been the k*ller, it would be covered in blood. ANGELA: (zooming in on a photograph) Oh, boy. BRENNAN: A snakeskin handbag. Can you magnify that more? (Angela zooms in on the handbag alone) ANGELA: That is definitely torn. BRENNAN: Could be from the m*rder w*apon. Can you pull back to see the person? (she pulls back on the picture and move a few frames forward - the picture clearly shows the person) ANGELA: It's Nancy Lauder. BRENNAN: The nurse. But her dress is black. It wouldn't have shown blood. (Cut to: Roosevelt Hospital) (Brennan, Booth and Cam approach the Nurses' station) BOOTH: We have a warrant for the snakeskin handbag and the dress you wore to the fundraiser that night. LAUDER: I b*rned the dress. I was covered in blood. BOOTH: I'm placing you under arrest for the m*rder of Dr. Andrew Welton. (Booth cuffs her) LAUDER: I thought he'd change. BOOTH: Yeah, you knew Dr. Welton was having an affair with Dr. Bailey. LAUDER: All those years. I was always there for him. If anyone knows how I felt, it's you. CAM: No, we're not the same, Nancy. I left Andrew. (Cut to: Welton house - Cam and Michelle are talking in the living room.) MICHELLE: Why did she k*ll my father? Yeah, I got it. CAM: Your father was a good man, Michelle. I still carry him with me. And he loved you. We're both very lucky. MICHELLE: I miss him so much. CAM: I want you to consider something. You need a place to live now. MICHELLE: Yeah, uh, my dad has some kind of cousin in Chicago. CAM: I...(Cam puts the salt/pepper shaker on the coffee table) would like you to come live with me. (Michelle runs upstairs. Cam starts to walk out the front door.) MICHELLE: (coming down the stairs holding the other salt/pepper shaker) Where you going? CAM: I thought... (Michelle puts the two salt/pepper shakers together so they fit into a hug. Michelle runs to hug Cam. They both cry.) END.

{"type": "series", "show": "Bones", "episode": "04x18 - The Doctor in the Den"}

foreverdreaming

"The Science in the Physicist" Episode 4x19 / Production 4x13 Airdate: April 9, 2009 Written By: Karina Csolty Directed by: Brad Turner Transcribed by: cece2087 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (A vacant lot) PHOTOGRAPHER: Okay, give everything, my darling. Everything. Utter draw, stop or clasp gloss. Okay, keep her lit. (instructing assistants) Keep her bathed in the glow. Alright, yes. Okay good. (to the model) Now look up. Alright, yes, nice, okay. Right in front of you. That's it. That's the future. Yes, okay. (crows start to caw) What the hell is that? MODEL: Pigeons or blackbirds or crows. Something along those lines. PHOTOGRAPHER: (to his assistant) Telephoto. (the assistant brings over a new lens) MODEL: (to herself) God, he has an idea. PHOTOGRAPHER: (taking pictures of the crows) This is what we need. Caw, caw. Yeah, flap, flap. Yeah, yeah. Give me more. Yes, this! Aviary! Wings! Yes! Beaks! Caw, caw, caw, caw, caw. Those creatures...they are death. (to the model) Flap you're arms, chaste at the way, but remain beautiful. You understand? MODEL: Running through a vacant lot. (laughs). And a bunch of birds. In six inch heels. (The model runs into the group of crows. They fly up around her and she screams) PHOTOGRAPHER: Ooh, excellent. Good, good, good. You're a leopard. Leap! You're an angel. Yes, beautiful! Beautiful! Terror! Fear! Okay, gaze heavenward. Look at the beastly birds, my darling. Look up. Oh, I love it! Yes! (the model stops moving. She's seen something in the grass. It is an ear) Gaze heavenward, darling. Yes, look up at the beastly birds. Look up at the... (the model screams. The camera flashes become those of the forensic crime scene team. Techs are walking all around the crime scene gathering evidence. The model and photographer are being interviewed. Brennan kneels down to investigate the remains. Booth stands behind) BOOTH: Okay, so what's it look like to you? BRENNAN: An ear. BOOTH: Did you just make a joke? BRENNAN: No. BOOTH: Cause that wouldn't be like you. BRENNAN: (shaking her head) I didn't. It looks like an ear. BOOTH: What do you make of the stuff in the blue bag then? BRENNAN: It looks like chili con carne. BOOTH: Could this be the rest of the person who lost the ear? BRENNAN: I don't know. It looks like chili con carne. There's no single piece here bigger than the skull of an australopithecus. BOOTH: Sports terms, Bones. Remember we talked about this. BRENNAN: Oh um... (she demonstrates the size with her hands) BOOTH: Ah, softball. Good, you're getting better. Size of a softball. BRENNAN: At first guess, the total mass in this garbage bag does not add up to an entire human being. BOOTH: Right. I'll just get forensics to scour the entire lot. BRENNAN: Yes. BOOTH: (leans down and whispers) Hey, would you even want to guess what happened to this human being? BRENNAN: No. BOOTH: I knew you'd say that. I just have to ask. (stands straight and yells) Alright, let's scour it up. (Medico-Legal Lab: the Platform) (Cam, Vincent Vincent and Hodgins are looking over two bags of human remains) HODGINS: Wow. CAM: I've been a pathologist for 13 years and I admit, I am...a little nauseated. VINCENT: It's going to fall to me to empty these bags, isn't it? (Cam and Hodgins look at him) Alright, fine. I may need a pot of tea waiting. HODGINS: (moving a light over one of the bags) Maggots place time of death somewhere between 48 and 72 hours. CAM: I'm gonna go with the wood chipper on this. HODGINS: (picking something out of the remains) In this case it was a gold wood chipper. This looks like gold. VINCENT: The ancient Samarians were prone to spreading gold dust over the body during funeral rights. CAM: Did the Samarians chop up the body into little tiny bits first? VINCENT: Not to my knowledge. HODGINS: (picking out another substance from the remains) What is this? CAM: A black pearl? VINCENT: Pearls: symbolizing eggs or rebirth and resurrection were used in many south seas funeral rights. CAM: Did they chop the bodies into little tiny bits first? VINCENT: Uh...(Cam nods her head) I've g*n to apprehend your point, Dr. Saroyan. CAM: Find out how many corpses we're dealing with. HODGINS: I'll find out if these are really gold flecks and pearl fragments. (Cam and Hodgins both walk away leaving Vincent with the two bags of remains) (The Royal Diner) (Angela and Brennan are eating and drinking coffee) ANGELA: Celibacy is a lot like fasting. BRENNAN: So you've become sexually anorexic? ANGELA: At first you're out of sorts and agitated and then you sort of push through to a kind of clarity. BRENNAN: Have you reached clarity? ANGELA: No. I'm still at the agitated and horny stage. BRENNAN: Why are you fasting sexually? ANGELA: Sweets thinks it will do me good to put sex on the back burner in order to related to people in other...(she looks out the window and sees her father standing in the street. Heavy electric guitar is heard in the background) BRENNAN: Why are you listening to Sweets? ANGELA: (still looking outside in shock. She turns back to Brennan) Um... (she turns to look back outside and her father is gone) BRENNAN: Angela, I asked, "Why are you listening to Sweets?" ANGELA: Sweetie, can you pay for this? I have to go. BRENNAN: Sure, why? ANGELA: I have to save Hodgins' life. (She pauses then walks out. Brennan looks confused) (Medico-Legal Lab - The autopsy room) (Cam is inspecting the remains. Booth is standing, looking in the opposite direction) CAM: I found something interesting on the cellular level. BOOTH: I don't care about the cellular level. CAM: No hemorrhagic tissue. BOOTH: (turning around) What? CAM: It means the victim was d*ad before being chopped up. You care about that right? BOOTH: No, not really. What I'm interested in is how this guy got chopped up. (Cam takes off her gloves and grabs the remote for one of the monitors. She zooms in on a picture of a cell) CAM: Now this here shows that the cell burst from the inside out. BOOTH: Gives me nothing. (Booth turns and begins to leave) CAM: Frostbite can do that. BOOTH: Oh, what? Like climbing a mountain? CAM: (running after him) Yes! Exactly! The water in the cells crystallizes and explodes. (Hodgins walks up to them as they reach the platform area) HODGINS: I have got an absolutely fascinating clue to tell you. (Angela runs in, interrupting) ANGELA: Hey, hey. Uh, you have to leave town. HODGINS: What? Why? BOOTH: No. Fascinating clue first. HODGINS: The pearl we found in the victim wasn't a pearl. (back to Angela) Why do I have to leave town? ANGELA: My father is here. CAM: (to Hodgins) What was it then? HODGINS: carbonaceous chondrites. It's what meteorites are made out of. (to Angela) You're father blames me for our break-up? ANGELA: Well he has sort of a blind spot when it comes to me so I think you should just get out of town until I can call him off. BOOTH: Stop. Okay, stop it. d*ad guy. What about the d*ad guy? CAM: It's obvious. He was frostbitten while climbing Everest. Then struck by a meteor then dumped into a vacant lot in two garbage bags and eaten by crows. BOOTH: (walking away) Alright, obvious. It's so obvious. CAM: Hey, it's a start. (Opening Credits) (Medico-Legal Lab - Experiment room) (A crash dummy is standing with a target on its chest. Vincent circles around it and removes the target) VINCENT: The slowest meteorite travel at 25,000 miles per hour. HODGINS: (setting a dial on a piece of equipment) Uh-huh. VINCENT: I'm not just spouting useless facts. You do not have a chance at recreating those velocities with a glorified blow-g*n. You simply want to f*re a cannon at a dummy. HODGINS: (with a pair of noise canceling headphones around his neck and goggles on, he offers a pair to Vincent) You staying or going? VINCENT: (taking the headphones and goggles) Another set of eyes and ears taking note can never be a miss. (They put on the goggles and headphones and about to f*re when Brennan walks in. She looks at what they are about to do) BRENNAN: What possible information could this experiment provide us that you couldn't get mathematically? HODGINS: Mathematics is theory. This is a real world recreation. BRENNAN: In order to prove what exactly? VINCENT: That a frozen person struck by a meteorite would turn into chili con carne. BRENNAN: NASA has no record of a meteorite of the size and type striking North America at the time of death. HODGINS: Oh. BRENNAN: According to NASA, the meteorite matching these characteristics is right here in D.C. VINCENT: Oh. HODGINS: I'm all set up and everything. BRENNAN: You're experiment is not pertinent. (She leaves) (Hodgins and Vincent look at each other and then proceed to put the headphones back on) (Medico-Legal Lab: The floor) (Booth is standing around as Brennan walks towards him from the experiment room) BOOTH: So you find out where the meteor came from? BRENNAN: From the solar nebula. BOOTH: Alright. Anything more current than that? HODGINS: (from inside the experiment room) f*re IN THE HOLE!! (Booth and Brennan both turn to look when an expl*si*n goes off in the room shaking the walls. Booth throws Brennan against the wall in an effort to protect) BOOTH: What the hell was that? (Hodgins and Vincent walk out of the room coughing and trying to clear the smoke) HODGINS: We're okay. Everything's fine. (Cam walks up to them) BRENNAN: We should get out of here before lockdown. Let Cam deal with them. BOOTH: Yeah. (They grab hands and run out just as the alarms go off the and doors shut) CAM: (to Hodgins and Vincent) You know you're grounded, right? (The Collar Institute for Physics Research) (Booth and Brennan step up to a meteor displayed in the middle of the lobby) BOOTH: So you think the piece of meteor we found in the m*rder victim came from this? BRENNAN: Yeah, it's an exact match. The sillicate oxite ratios are indistinguishable. Well, you've heard of Landis Collar, right? BOOTH: Sure I have. Mmmhmmm. Blind guy. World's leading expert in super-conductivity. BRENNAN: Do you even know what super-conductivity is? BOOTH: I know it's better than normal conductivity. (A young man dressed very casual approaches Booth and Brennan) MAN: Agent Booth, Dr. Brennan. I'm Christopher Beaudette, senior scholar here at the Collar. Shall we? BOOTH: Yes. (they follow Beaudette) So you work in super-conductivity. BEAUDETTE: Uh, no, Agent Booth. I'm doing research into generating power from earthquakes. BOOTH: Groundbreaking. BRENNAN: (laughing at the pun) That was a funny joke. BEAUDETTE: (sarcastically) Yeah. One I've never ever heard before. BOOTH: (to Brennan) Are these people here smarter than you? (Landis Collar approaches) COLLAR: (joining the conversation) That would depend on how one defines intelligence. I'm Landis Collar. Thank you, Christopher. BEAUDETTE: Landis. (he leaves) BOOTH: I'm Special Agent Seeley Booth. This here is uh... COLLAR: (finishing his sentence) Dr. Temperance Brennan. BRENNAN: Is that clicking noise attached to your blindness, Dr. Collar? COLLAR: Yes. Prototype. Sonic Echo Locater. (demonstrating while speaking) It allows me to (he grabs Brennan's arm) apprehend my surroundings. Have you forgiven me? BOOTH: Forgiving him? BRENNAN: I was turned down for a fellowship here at the institute. COLLAR: No, no. That is not true. Your anthropological research was rejected because it looked to the past, not the future. ad etierno ad glorium ad posterus. BRENNAN: (translating the Latin) To eternity, to glory, to the future. BOOTH: Right. Then why say your motto in a d*ad, ancient language? BRENNAN: Okay, Booth. COLLAR: How can I help? BOOTH: (takes out the evidence bag with the meteorite piece) Uh, this...if you put your hand out I'll...here you go. BRENNAN: What Agent Booth has given you is... COLLAR: I know what it is. (pause) It's a piece of my meteorite. BOOTH: That's impressive for a blind man. COLLAR: I know because I had it made for Diane. BOOTH: Diane? COLLAR: Dr. Diane Sidman, my fiancé. The meteorite was set in her engagement ring. BRENNAN: (to Booth) Well that would explain the gold flecks. COLLAR: What's happened? Is Diane alright? BOOTH: When was the last time you saw Diane? COLLAR: A few days ago. She was ill which is understandable considering the pressure she's under. BOOTH: Pressure? COLLAR: She's editor-in-chief of the Collar Journal, perhaps the most important venue for scientific publishing in the world. (he turns to Brennan) Please, what has happened? BRENNAN: We have discovered some human remains which contain what is most certainly your fiance's engagement ring. (Collar looks down and turns his Sonic Echo Locater back on. He walks over to a bench and sits) BOOTH: We'd like to talk to anyone who may have interacted with Diane before she disappeared. COLLAR: You must speak with Diane's students, chief among them Jennifer Keating and Milton Alvaredo. I'll have Dr. Beaudette bring them to you. (he stands and returns the meteorite piece to Booth) If you need anything else I'll be in my office. (Another section of the Collar Institute) (Booth and Brennan are following a student, Milton Alvaredo) MILTON: My god, Dr. Sidman is d*ad? BRENNAN: We have not yet made a positive identification. BOOTH: When was the last time you saw her, Milton? MILTON: Um, I suffer from a kind of chronological dyslexia which makes it very difficult for me to place discrete events accurately on a linear timeline. BOOTH: Whoo. (to Brennan) This one's all yours. BRENNAN: What exactly are you working on? MILTON: I'm endeavoring to find a way to transmit single celled organisms using common pond scum from one location to another. BOOTH: Ever try a spoon? MILTON: I've had some success vibrating two separate samples of single cell scum in complete symmetry in a quantum level. BRENNAN: That's very impressive. (to Booth) You wouldn't understand, Booth. BOOTH: Of course I do. Beam me up, Scotty. MILTON: Very good. Yes, exactly. BRENNAN: Dr. Sidman must have been eager to publish that in the journal. MILTON: Very excited, yes. Pending a few questions. BOOTH: Is this publishing thing important? BRENNAN: Publisher parish! BOOTH: I mean is it motive? MILTON: For m*rder you mean? Definitely. BRENNAN: Definitely. MILTION: But only on the level of vengeance. k*lling her would not reverse the decision unless of course the person who k*lled her wanted to take over her position. I last saw Diane when Jennifer asked us to stop arguing so loudly. BRENNAN: Jennifer Keating, Dr. Sidman's other grad student? MILTON: Yes. Jenny works in cosmogenic isotope research. It can make her cranky. (he walks away) BOOTH: This place is making me cranky. (Collar Institute - Jennifer Keating's Office) JENNIFER: I asked Milton to quiet down, not Diane. I would never get made at Diane. BOOTH: Why? JENNIFER: She's editor-in-chief of the Journal. BOOTH: (to Brennan) Publisher parish, right? (to Jennifer) What were they arguing about? JENNIFER: I have no idea. Could have been about anything. Landis encourages a free exchange of ideas and it can get pretty intense. BRENNAN: You specialize in cosmogenic isotope research? BOOTH: Cosmogenic? BRENNAN: It's a new way of dating artifacts using 14-C isotopes. JENNIFER: Through accelerated mass spectroscopy. BOOTH: Oh. That'd make me cranky too. BRENNAN: I can't imagine that your project excited Diane Sidman. BOOTH: Vini vidi vici. Look to the future. Carbon dating is all about the past. JENNIFER: You're right. There was no way she was going to publish me. This time next year I'll be looking for post-graduate work. BOOTH: Was that the last time you saw Diane Sidman? JENNIFER: Yes. Three days ago. Why? Is something wrong? BRENNAN: It is possible that she is d*ad. (Medico-Legal Lab: the bone room) (Vincent has all the bone fragments laid out on the table and is explaining his findings to Hodgins) VINCENT: Bones account for approximately 15% of the mass of a human being. Given that the total bone mass here comes to 8.9 kilograms, that would suggest a human being who weighed approximately 59.33333333 kilograms. HODGINS: 131 pounds. Well, it matches the victims stats. (Hodgins pulls up Diane Sidman's file on the monitor) VINCENT: Oh, it's Diane Sidman alright. Dr. Saroyan got DNA confirmation. (Cam walks by the room. She sees that both are in the room alone and does a double take) HODGINS: There are not other particulates outside of the gold flecks and meteorite. (Cam enters the room) CAM: What'd I tell you? (Hodgins and Vincent slowly turn around) HODGINS: That we aren't allowed in the same room without supervision. CAM: Why? VINCENT: Because we were stupid enough to f*re a cannon indoors. CAM: And? HODGINS: You know you're here which counts for supervision so (see Cam's face) I'll leave. (Hodgins exits) VINCENT: There's a deep pitting in these bones which may or may not be connected to the fractures. Also, I excluded wood chipper as a possibility. CAM: How? VINCENT: Whirling blades would create parallel and evenly spaced fractures. (pointing to monitor) These patterns appear to be completely random. Even more puzzling, they are unusually clean. CAM: (studying the photos) What if the cellular damage and the fractures were caused by the same thing? (changing the image on the screen to a close up of the cells) The cells could have burst as a result of ice micro crystals having formed as the body was rapidly frozen. VINCENT: You mean freeze the body and then shatter the bones? (Cam nods) Liquid nitrogen? (She nods again. He looks nervous as he points to the door) CAM: You have my permission to confer with Dr. Hodgins on the subject. (She turns to leave) VINCENT: In the same room, yes? Just to be clear. CAM: (as she exits) Any damages come out of your pay. (Collar Institute - Diane Sidman's work area) (Landis Collar is leading Booth and Brennan into the room. There are equations and mathematics over every whiteboard surface. There are two tables both with nothing but lamps on them) COLLAR: As requested, Diane's work area. BOOTH: Woah. Looks like somebody cleaned it out. BRENNAN: Oh, no, Booth. Dr. Sidman was a theoretical physicist. She didn't do experiments. She figured everything out through equations. (She gestures to the ones on the wall) COLLAR: Diane was a member of the Large Hatrin Collider team. BOOTH: Isn't that that thing in Europe that's going to create a black hole and end the universe? BRENNAN: There's only a very small chance of that actually occurring. COLLAR: And yet Diane received a number of death thr*at. BRENNAN: Diane Sidman's role was important to the Large Hatrin Collider team? COLLAR: The effort to find the Higgs Boson will be set back months. BRENNAN: (very interested) The God particle? BOOTH: What's that? COLLAR: Uh, theoretical particle which explains why matter has mass. BOOTH: Mass and matter aren't the same? (Collar and Brennan look at each other as if Booth must be joking) BOOTH: Oh come on. Don't look at each other like that. I bet neither one of you know how to make your own beer. BRENNAN: You realized you just said "Don't look at each other" to a blind man? BOOTH: You have records of the thr*at made against her? COLLAR: Yes. Ever since one of our scientists was att*cked for his work in cloning. BRENNAN: Milton Alvaredo suggested that we look at whomever was going to replace Diane Sidman as editor-in-chief. COLLAR: That would be the senior scholar, Chirstopher Beaudette. BRENNAN: You can understand how that makes him a suspect. BOOTH: I'll tell Sweets to look into the thr*at to see if they're worth following up. (He turns to begin to leave) COLLAR: If it matters, Diane and Christopher were also enjoying a sexual relationship. BOOTH: (stepping towards Collar) Woah. If it matters? I thought you were going to marry her. COLLAR: At which time by mutual agreement, Diane and Christopher's sexual relationship was to cease. BRENNAN: Completely rational. BOOTH: Except for the completely insane part where somebody k*lled Diane Sidman. (FBI Interrogation Room - The Observation Section) (Sweets is in the Interrogation section with Beaudette) SWEETS: (from the room, through the speaker) I'll be right back, Dr. Beaudette. (He leaves the room) BOOTH: You know it's a good thing they didn't accept you at that place. BRENNAN: Why? BOOTH: It's creepy. Everyone there is creepy. BRENNAN: Well if you think they're creepy then you must think that I'm creepy. BOOTH: Well, you have a creepy mode, Bones. (Sweets enters the observation section) SWEETS: Very interesting man. Highly self-aware, major league smarty-pants. BOOTH: Ah, right. Little brain checks in, big brain checks out. BRENNAN: Uh, I don't know what that means. Little brain, big brain? SWEETS: He freely admits he had an ongoing sexual relationship with the victim. BRENNAN: Ohhhh. That little brain. SWEETS: But, he denies ever having been (using air quotes) "in love" with her. BOOTH: What's with the hooked fingers? SWEETS: Well he said (using air quotes) "in love" very sarcastically like it was something that happened to (using air quotes) "lower primates." BOOTH: Okay. Who else was he sleeping with? SWEETS: I didn't ask. BRENNAN: What does that matter? BOOTH: Because maybe not everybody is so (using air quotes) "adult" or (using air quotes) "rational" or hey, (using air quotes) "clear thinking." Or (using air quotes) "heartless" as him. (He leaves the observation room to go interrogate Beaudette again) SWEETS: That was a lot of quotation marks. (Booth enters the interrogation room) BOOTH: So, sexual relationships are pretty casual over there at the Collar Institute, right? BEAUDETTE: We're young, close-quarters. We stimulate each other. BOOTH: Mmmm. Who else were you sleeping with? BEAUDETTE: Jennifer. Who was also seeing Milton. BOOTH: So is it possible that Jennifer was trying to get rid of a romantic rival? BEAUDETTE: By that retrograde manner of thought, Landis could have k*lled Diane for sleeping with me. Or I could have k*lled Diane for sleeping with Landis. Or Miltion could have k*lled Diane for sleeping with me and Landis. (Medico-Legal Lab) (Hodgins and Vincent are about to perform an experiment. All the scientists are watching) HODGINS: Ladies and gentleman. What I propose to show you today is how our victim's skeletal structure came to shatter into tiny bits. Mr. Nigel-Murray. (both men place their protective masks down) CAM: (to Angela on the floor) He enjoys this way too much. ANGELA: Basically, Hodgins sees himself as Dr. Nemo. HODGINS: (pulling out a turkey from a freezer) Liquid nitrogen freezes at 63 degrees Kelvin which is -210 degrees Celsius or -346 degrees Farenheit. VINCENT: It's unnecessary to say degrees Celsius. It's implicit. HODGINS: Shhh. (taking the turkey from Vincent) When I drop this super cold turkey. VINCENT: Once again, technically not super cold. HODGINS: (ignoring him) It will shatter into hundreds of bits on the concrete floor. (Cam and Angela back up a few steps) Shards are going to fly in every direction so...ready? 3...2...1... (Hodgins drops the turkey where it bounces and comes flying towards Cam and Angela. Cam moves out of the way fast enough but Angela is too slows. She gets h*t by the flying bird in the eye. The bird crashes behind her and Cam immediately checks to see if she's alright. Hodgins races to the stairs to climb down the upper platform.) ANGELA: It's just a glancing blow. (FBI Interrogation Room) (Sweets and Brennan are in the room with a Asian man) SWEETS: Dr. Lance Sweets. I work for the FBI as a psychological profiler. MAN: Psychiatrist or psychologist? BRENNAN: He's just a psychologist. SWEETS: Uhh, the point is I looked through over 800 thr*at made against Dr. Diane Sidman. You, Dr. Mullins, are the only person I thought merited questioning. MULLINS: Using psychology? SWEETS: That's correct. (Mullins gives a short laugh and smirks, glancing towards Brennan) MULLINS: You might as well picked my name from a hat. BRENNAN: Normally, I'd agree but your disapproval of Dr. Sidman's work makes me wonder if you're a religious fanatic. MULLINS: No. Like most reasonable human beings, I'm an agnostic. SWEETS: You have a doctorate in physics from Princeton, right? Yet, you work as a welder? MULLINS: Welding is a real job. Unlike...psychology. BRENNAN: How can a reasonable human being with a physics degree honestly believe that a particle accelerator in Europe is going to create a black hole which will destroy the solar system. MULLINS: Would you like a list of Nobel Laureates who agree with me? The odds are 1 in 50 million. Slight, I admit. Too high when you not only consider the loss of humanity but the only planet in the cosmos that we know for certain is capable of generating and sustaining life. SWEETS: Uh-huh. Uh-huh. (to Brennan) Um, I hate to say it but I'm totally with him on this one. BRENNAN: Would you k*ll someone on 50 million to 1 odds? MULLINS: k*ll someone? Who's d*ad? BRENNAN: Diane Sidman. SWEETS: Of the 800 thr*at I studied, 106 of them were from you. BRENNAN: Evidence indicates that Diane Sidman was frozen using liquid nitrogen after she was k*lled. SWEETS: Then her body was dropped and shattered. MULLINS: (laughing) Ridiculous. A frozen cadaver would simply bounce. (to Sweets) Any moron should know that. BRENNAN: The point is, as a welder you have access to liquid nitrogen. MULLINS: My IQ is 162. SWEETS: What about it? MULLINS: I'm smart enough to know when to shut up and ask for a lawyer. Except I've got one last thing to say. Knowing that Diane Sidman is d*ad, I'm going to sleep about 50 million times better tonight. (Medico-Legal Lab - Cam's Office/Autopsy Room) (Cam is on the computer. Brennan enters hurriedly) BRENNAN: I got here as soon as I could. What's up? CAM: Lab results, from the CBC and biopsy on our victim. BRENNAN: Abnormal proliferation of leukocytes in the thoracic and lumbar bone marrow. CAM: These numbers are fatal. BRENNAN: She died of leukemia? CAM: Diane Sidman had a full physical two weeks ago. Guess what? (Brennan shrugs) Clean bill of health. BRENNAN: How does a perfectly healthy young woman develop advanced leukemia in two weeks? (The Royal Diner) (Sweets, Hodgins and VINCENT are eating) VINCENT: Leukemia doesn't just appear in two weeks. SWEETS: What about radiation? HODGINS: There's gotta be some source of radiation in that place to cause cancer. Someone accidentally irradiates this poor woman and then covers it up by freezing her and smashing her remains into little...bits. (Hodgins looks out the window and sees Angela's dad) SWEETS: You know, ironically, intelligent people are known to commit m*rder in ludicrously complicated ways, virtually insuring their capture. (Sweets turns to see what Hodgins is staring at) Isnt' that... HODGINS: It's...uh...Angela's dad. (Vincent leans over to see. Angela's dad points at Hodgins in a thr*at manner) VINCENT: It's not uncommon for men to fear that a lover's male parent. HODGINS: You know what creeps me out? You know that way English people say lovah. SWEETS: You know attacking Vincent like that clearly indicates that what he said is true. HODGINS: The man is from Texas. He told me that if I messed up...uh, I don't remember what he said exactly but he mentioned the key G-demolish and it sounded pretty bad. VINCENT: The blues is known as the devil's music because those most adept are thought to have made a pact with the devil and thus fear no earthly law because they're already doomed to eternity in hell. SWEETS: Harsh. HODGINS: Thank you, Vincent. I feel much better now. SWEETS: I happened to have a great deal of insight into the whole blues culture. I could talk to him for you. HODGINS: (he looks out the window again.) Uh thanks. But, uh, too late. (Angela's dad is gone) (Medico-Legal Lab: The bone room) (Brennan is there inspecting the bones. Cam enters) CAM: Have you found something? BRENNAN: Posterior of the T7. (she shows Cam the bone) CAM: Looks very smooth. BRENNAN: This indentation could very well be the result of a tumor. CAM: A possible source of Diane Sidman's leukemia. BRENNAN: A tumor this size over two weeks would require a radiation source of between 1000 and 5000 REMs. CAM: And that would have b*rned the victim. We would have seen that. BRENNAN: It must have been a steady exposure over time. CAM: The woman spent almost all her time at work. (Collar Institute - Diane Sidman's work area) (Brennan and Booth are in blue hazmat suits with masks behind one of the work boards. Techs are tracing the place for signs of radiation. One tech comes to Booth and Brennan and removes his mask) TECH: Everything's coming up clean. BOOTH: Nothing? TECH: Nope. (Booth and Brennan come into the main area) BRENNAN: There should still be some evidence of radioactivity. TECH: There's nothing radioactive in this room. (he shrugs and walks away) (Brennan and Booth take off their masks. Booth sits in the chair) BOOTH: God, I don't know how you wear these things. (Brennan sees something on the chair. She walks to him) Hot suits. BRENNAN: Woah. BOOTH: What? (Breannan sees a spot on the chair. She matches it to where it would touch Booth's spine. Booth has no idea what's going on) BOOTH: Ooh, right. There. (She leans him back in the chair) What are you doing, Bones? BRENNAN: Well this stain here must have h*t Diane Sidman almost exactly where the tumor formed. BOOTH: (leaping out of the chair) You're testing me on the cancer chair? BRENNAN: What? You're wearing a suit plus it's not radioactive anymore. We're going to need to take this chair. BOOTH: No, no, no, no. You don't just go around doing human testing on people, Bones. I got to go to the bathroom. (he turns and runs out) BRENNAN: Well I touched it with my bare hands. See? (she touches and then looks to the door shrugging her arms.) (Medico-Legal Lab: The bone room) (VINCENT is staring at the bones. Cam enters) VINCENT: You may be wondering why I'm going through these bones again. CAM: Probably because you feel bad that Dr. Brennan found evidence of a tumor that you missed? VINCENT: The average chocolate bar has 8 insect legs in it. CAM: So she said hopefully, metaphorically you're looking for insect legs? VINCENT: And I may have found some. These cylindrical notches on the left clavicle. (He pulls up an image on the monitor) See? CAM: Two of them, yes. VINCENT: They may be s*ab wounds. CAM: Okay. I'll have Dr. Hodgines check them for microscopic particulates, if he hasn't lit out for Timbuktu yet. (Medico-Legal Lab: Hodgins' workstation) (Hodgins is presenting his findings on the chair to Brennan) HODGINS: The discoloration in the fabric was not radioactive but because of your suspicion I tested for daughter isotopes. BRENNAN: Daughter isotopes? HODGINS: Daughter isotopes are what's left behind after radioactive isotopes decay. BRENNAN: So there was a radioactive isotope on Diane Sidman's chair. HODGINS: Yeah. A strong one. Is anyone at that place doing cancer research? BRENNAN: No. It's not that kind of place. HODGINS: Yeah. Right. "To eternity. To glory. To the future" (he scoffs) BRENNAN: You disapprove of the Collar Institute? HODGINS: Up and forward are only two directions. Science should look in all directions. You taught me that. BRENNAN: I did? HODGINS: Every day. BRENNAN: Thank you. (she smiles and walks away) (the Collar Institute: at the bottom of a stairwell leading to a lab) (Booth and Brennan are approaching the lab door. There are passionate moans and screams from a woman coming from inside. Booth pulls out his g*n) BOOTH: Get to the door. BRENNAN: What? BOOTH: Just get the door. BRENNAN: What? Now? (Brennan reaches and opens it. Booth enters, g*n ready. The noises were coming from Jennifer and Milton who have just finished having sex. They turn and look to Booth and Brennan) BOOTH: You've got to be kidding me. It's like ClubMed Mensa around here. (He turns to leave. Brennan follows, stifling a laugh) What are you laughing at? (Milton kisses Jennifer. They go back to their business) (The Collar Institute: The hallway outside Jennifer's office) (Brennan is pacing while Booth sits against the wall.) BOOTH: You know, most people you bust in on having sex with a g*n, you know, (he whistles) it kinda disrupts the mood. BRENNAN: Perhaps they decided to start all over again from the beginning (she leans against the wall and slides down into a sitting position next to Booth. She laughs and Booth looks away, embarrassed) It's just sex Booth. BOOTH: It's not that. Look, I'm not a prude. BRENNAN: Well...you have what they would call hang ups. BOOTH: (looks around to make sure no one is around.) You know that guy Landis? BRENNAN: Yes. BOOTH: He's about to make a move on you. BRENNAN: (she shakes her head) How do you know? BOOTH: Because it is the rational and smart thing to do and he is all about that. I see how he looks at you. BRENNAN: How he looks at me? He's blind. BOOTH: It's too literal, Bones. His fiancé was just m*rder and he's already moving on. BRENNAN: Well she's gone. He has accepted it. BOOTH: Look, good people. They leave marks on each other. The least we could do is let them fade away naturally, not you know, scrape them off, or paint over them with new marks. BRENNAN: So you're not a prude? BOOTH: (laughs) Moi? Hey, I am a very fun and (he stands and does a little dance) very sexy guy. (Brennan laughs) That's right. BRENNAN: (standing) So you just think that if two people care about each other they leave metaphorical marks which should be allowed to fade naturally? BOOTH: You heard me but you just didn't understand me. BRENNAN: Ya, I wonder that about you call the time. (Booth looks at her quizzically) (Jennifer exits her office and walks towards her disrupting the moment) JENNIFER: My apologies. Were you looking for me? BRENNAN: We need to see your radioactive isotopes. (Milton comes out of the office) BOOTH: Hey, how you doing there, pal? Did you knock one out of the park? MILTON: I'll be off then, Jennifer JENNIFER: Good-bye, Milton. Thank you very much. MILTON: You're more than welcome. (he climbs the stairs to leave) (Collar Institute: Jennifer's office) (Jennifer is leading Booth and Brennan to the isotope storage wall) BOOTH: Thank you, Milton. No, thank you, Jennifer. They're so polite here except for the m*rder and cheating. BRENNAN: We can get a warrant for the isotopes if that's what you require. JENNIFER: (putting on gloves) That won't be necessary. I don't know what use you could have with these. I haven't used them for months. (She removes a tray and stares at it. Two bottles are missing) BRENNAN: Something wrong? JENNIFER: (looking very confused) Some of my vials are missing. BOOTH: Hmmm? BRENNAN: We'll need to know how many people aside from yourself had access to them in the last month. JENNIFER: Everyone in the institute had access. Everyone. (A street corner) (Angela's dad is playing guitar and spectators are watching and dropping money in his case. Sweets approaches and listens for a bit.) SWEETS: This guy's good. SPECTATOR: Hell yes. (Angela's dad finishes the song and everyone claps and cheers. They throw money down and head off. Sweet's approaches Angela's father.) SWEETS: Why would a guy like you play on a street corner? ANGELA'S DAD: Well I guess that would depend on who exactly you think I am. SWEETS: I'd like to speak with you about Hodgins. ANGELA'S DAD: Uh-huh. SWEETS: I'd like to help. ANGELA'S DAD: No thanks, son. I can handle Hodgins all on my own. SWEETS: Oh, no. I mean I'd like to help with the situation. See, I'm a psychologist. It's kinda my mojo. ANGELA'S DAD: You misunderstand the term. (He begins to play another song) SWEETS: (touching Angela's dad's shoulder) What I meant was... (he glares at Sweets. Sweets removes his arm. They stare at each other and Angela's dad begins to play again. Sweets walks away a little scared.) (Medico-Legal Lab: Angela's office) (Angela is showing 3D graphics of the bones and Diane on the computer to Cam and Vincent) ANGELA: Vincent pointed out that each break appears to have happened at the weakest part in each bone. VINCENT: X-rays permeate on that. The most damage was done to the weakest bones. The anvil, the hyoid, these points on the spine. CAM: I don't get what that means. VINCENT: Essentially the skeleton broke apart at the weakest points. ANGELA: The way a building would fall apart during an earthquake. CAM: The victim was k*lled, we're not positive how yet, then frozen then shaken until all the bones fell apart? BRENNAN: (having just entered the room) Not shaken. Vibrated. Vibrated until the frozen bones shattered like crystal. (Angela plays the shattering scenario on her computer with the bones breaking at the weakest points) (Medico-Legal Lab: Hodgins' platform) (Hodgins is looking through a microscope. Sweets comes up) SWEETS: Hodgins! HODGINS: (jumps) Don't sneak up like that. I could put out an eye on my microscope. SWEETS: You got to run. HODGINS: You talked to Angela's father? ANGELA: (running to them) Oh god. Well what did he say? SWEETS: I have no idea. But he's very...he's got a very disturbing effect. Sinister. HODGINS: I am not scared of him. SWEETS: Okay. Okay, you know that whole...that whole sell your soul at the crossroads thing? I'm buying it. (Hodgins shakes his head) You got to run for it man. ANGELA: I told you so. (she leaves) SWEETS: Yeah. Hey, you know what? I secretly had a thing for Angela (Hodgins looks up) Now. It's gone. Like wiped from the memory banks. (Hodgins looks at Sweets. Sweets walks away but does one last glance back.) (Booth's Car) BOOTH: So it had to be Milton Alvaredo, right? BRENNAN: Why? BOOTH: He's the one who's working on transporting matter through vibrations, right? BRENNAN: (impressed) You understood that? BOOTH: Hey... He kills Dr. Sidman, flash freezes her and then tries to transport her to outer space, the moon, whatever. And ends up with frozen chili con carne. BRENNAN: I'm very impressed, Booth. BOOTH: Yeah, well I've learned a lot from you. (looks away and then quietly says) And a lot from watching the Discovery Channel with Parker. BRENNAN: Milton Alvaredo is not our only suspect. BOOTH: Jennifer Keating. Well I mean her only motive is revenge and like you said, that's just not logical. And despite her being, you know, a...sex kitten scientist, she's still logical. BRENNAN: No, not Jennifer Keating. Christ Beaudette. His project concerns extracting energy from earthquakes. BOOTH: Ohhh BRENNAN: Plus Dr. Collar's working on echo location for the blind. BOOTH: So basically we're back to square one. BRENNAN: I suggest we find an apparatus capable of shattering a flash frozen human cadaver. BOOTH: Apparatus... (he looks confused) BRENNAN: Yup. BOOTH: Right. Gotcha. (Collar Institute: A experimentation lab) (Booth and Brennan enter) BOOTH: Hello? Dr. Earthquake? (no one responds) Okay, so tell me what I'm looking for. BRENNAN: Any apparatus that might facilitate the creation of a sonic standing wave. BOOTH: (leaning against a large silver container) Right. Tell me what I'm looking for again. BRENNAN: (turns and looks at where he is. She sees the container and points) You're leaning on it. BOOTH: Right, I knew that (he turns to open it up) Look at this. (he opens the heavy door) Right, I'll just get forensics to uh, look for blood. BRENNAN: (inside the container) No, there won't be any blood. The remains were frozen solid by this point. (Booth steps inside) The natural frequency of the human body is between 3 and 7 hertz. BOOTH: Humans have natural frequencies? BRENNAN: Naturally that would increase dramatically if the body was subject to (someone slams the door shut locking them in) BOOTH: Woah. (he slams against the door trying to open it) Hey. BRENNAN: (screaming) Forget it, Booth. We're in a high pressure chamber. That door can withstand the force of at least... (the chamber makes a noise as if turning on) Oh no. BOOTH: Oh no. What oh no? BRENNAN: (scared) We have to get out of here. BOOTH: We have to get out of here or what, we'll explode? (An extremely high pitched noise starts forcing Booth and Brennan to grab their heads in pain. They scream and lean against the wall) BRENNAN: Booth, what we have to do here is we have to try to counter...counteract the wavelengths. BOOTH: The what? (Brennan begins screaming a really high pitched noise. Booth emulates.) BOOTH: It's not working. BRENNAN: If we stop our brains will turn to pudding. (They begin making siren noises again. They can't keep it up for long and they fall to the floor. Right before passing out, Booth grabs his g*n and sh**t at the window in the door.) (Collar Institute: Experiment Room) (Brennan comes over Booth who is passed out on the floor outside the chamber. She is yelling very loudly) BRENNAN: Booth? Hello? (he wakes up) Booth, are you okay? (he stares at her confused) Are you alright? Can you hear me? BOOTH: (shouting) What? BRENNAN: (shouting) Are you alright? BOOTH: (shouting) I'm alright. How about you? (he moans and feels his head) COLLAR: I called the paramedics, they should be here any second. BRENNAN: (still screaming and helping Booth to stand) Landis pulled us out. COLLAR: I heard sh*ts. BOOTH: (shouting) Woah. BRENNAN: (shouting) Booth, are you okay? BOOTH: (shouting) It was my sh**ting that saved our lives. COLLAR: You should have been d*ad in 5-7 seconds BOOTH: (shouting) Bones, it was my g*n. BRENNAN: (interrupting Booth, still shouting) My sonic interference idea worked. BOOTH: (shouting) It wasn't your siren. BRENNAN: (shouting) Can you hear me? (Booth moans and holds his hand to his head) BOOTH: (shouting) Bones, it was my g*n. BRENNAN: (shouting) If I hadn't started my interference we'd be d*ad before you started sh**ting. COLLAR: You two might want to try resting before communicating. I don't need to be deaf as well as blind. BOOTH: (shouting) What? (Medico-Legal Lab: Hodgins's workstation) (Hodgins and Vincent are looking at a picture of the clavicle on the computer) HODGINS: Alright, now this notch you found in the clavicle? VINCENT: Yeah? HODGINS: I found minute traces of graphite, clay and co-polymer. VINCENT: Pencil lead? Which of course is not lead at all. (Hodgins glares at him) Uh, is that even possible? HODGINS: (takes pencil out of Vincent's pocket to demonstrate with) Alright. Say a fairly heavy mechanical pencil, right? (demonstrating violently) To the windpipe, or the carotid. Victim dies, is deep frozen and then shattered. VINCENT: Uh, the freeze dried chunks are swept into garbage bags and dumped for birds to eat. HODGINS: Hmmm. (Hodgins hands Vincent is pencil back. Vincent jumps) VINCENT: Ooooh. (laughs) No. No. Please, you keep it. I don't think I could ever regard it again since...(pantomimes the s*ab motion. Then pats Hodgins on the shoulder) Thank you very much. (he walks away) (The Royal Diner) (Angela and her father are eating) ANGELA'S DAD: I warned the man, Angie. I told him that if he hurt you he would have me to contend with. ANGELA: Did you take off your glasses when you said it? ANGELA'S DAD: (laughs and removes sunglasses) I definitely did. ANGELA: It was a mutual break-up. ANGELA'S DAD: Were you hurt? ANGELA: (shakes her head) Dad... ANGELA'S DAD: Could he have stopped it? ANGELA: Yeah...Yeah...But so could I. ANGELA'S DAD: Well, his daddy can come down...and kick your ass. (she laughs) I can't do everybody's job. ANGELA: I wish you wouldn't. ANGELA'S DAD: Okay, sweet girl. I will ameliorate my vengeful intentions. ANGELA: Ameliorate? (she shakes her head) Honest? ANGELA'S DAD: (nodding his head) Honest. Honest as a Texas sundown. (He puts his glasses back on) (FBI Interrogation Room) (Booth, Brennan and Sweets are there interrogating Milton, Collar, ad Beaudette) BRENNAN: One of you k*lled Diane Sidman. BOOTH: And tried to k*ll us. SWEETS: I think we can rule out sexual jealousy as a motive for this m*rder. ALL 3 SUSPECTS: Of course we can. BRENNAN: Yea, of course we can. BOOTH: Woah, wait a second why? Because these robots don't feel like humans? SWEETS: No. Because radiation poisoning is the opposite of a crime of passion. BRENNAN: Well my people say that Diane Sidman was s*ab to death with a pencil. SWEETS: Well indicating that the m*rder suddenly became impatient or approached a deadline. If you figure out that deadline, you'll figure out your m*rder. BRENNAN: Well it has to be the publishing deadline from the Journal. BOOTH: (showing pictures of the chamber to the suspects) Look at this, huh? We found blood in your resonance chamber. (to Collar) Obviously you can't see that but it's right there. BRENNAN: (pointing to the first picture) That's not blood. (pointing to the second picture) That's not blood. BOOTH: (behind his hand to Brennan only) Luminol means blood. BRENNAN: (at a whisper) There's no evidence of smearing) SWEETS: If the m*rder had seen blood he would have cleaned it up. COLLAR: Luminol reacts with copper, iron, peroxides and cyanide. BEAUDETTE: Which provides for a number of false positives: vegetables, fruit pulp... MILTON: Cleaning agents, insecticides... BRENNAN: Various glues, rust remover, ketchup, seaweed, sap, algae. SWEETS: Is this luminal stuff every useful? (Brennan gives him a look) I'm just asking because...yes, it is. (Brennan nods) Fine, I'll shut up. BRENNAN: Booth. BOOTH: What? BRENNAN: Luminol reacts with pond scum. BOOTH: So? (Brennan glances at Milton) Right...Right. Pond scum Scotty. You're our guy. You're under arrest. Knew it all along. Let's go. Come on. Up. (Collar stands and walks over to punch Milton. By accident he hits Booth) Ahh. God. Ow. COLLAR: That's for k*lling my fiancé. BRENNAN: One person to your left, Dr. Collar. (Collar faces Milton, pauses, then punches him) COLLAR: My apologies, Agent Booth. My echo locater must have malfunctioned. (Booth stands to cuff Milton. Collar turns and walks towards Brennan) This may not be the most apropos time, but... BOOTH: Oh, here we go! SWEETS: Here we go, what? (Booth motions towards Collar and Brennan) COLLAR: I was wondering...could I have your phone number? SWEETS: Wow. BOOTH: Told ya. SWEETS: Really? BRENNAN: I have been considering how to respond if you asked and have decided upon, "No." (Collar looks a little shocked) BOOTH: Oh. BEAUDETTE: (standing) I can go right? BOOTH: (opening the door) Yup. BEAUDETTE: Cause I have some actual save-the-world work to do. Dr. Collar. (Collar takes his hand and follows Beaudette out the door) (Booth takes Milton and begins to lead him out. He moans in pain a little from being punched) BRENNAN: You okay? (she holds his chin to inspect his face) BOOTH: Yeah, I'm alright. You know you're the only smart person I really like. BRENNAN: Thank you. (they begin to leave) SWEETS: Oh, that's...what about...what about me? (Booth slams the door without responding) (The Founding Fathers) (Booth and Brennan are at the bar) BRENNAN: So Diane Sidman agreed to publish Milton Alvaredo only if he shared credit with her. BOOTH: Right, so she said that he was using his theories about that God particles... BRENNAN: Particle. There's only one. BOOTH: Right. Particle to vibrate the pond scum. BRENNAN: He gives her cancer, but she lives too long. BOOTH: Wow. Then he kills her with a pencil and feeds her to crows so he doesn't have to share a credit. Wow, that is cold. BRENNAN: And creepy? (Booth looks at her) BOOTH: I didn't mean to call you creepy. BRENNAN: You said I have a creepy mode. BOOTH: I apologize. Okay, look, I wasn't in my element. BRENNAN: What? Every element is your element. BOOTH: No, that is not true. Okay, listen. (he pauses) We just got to stop hanging out with geniuses because you're going to figure out that I'm really stupid. BRENNAN: What? Don't worry about that. I figured out a long time ago how stupid you are. BOOTH: (thinks about that for a sec) Hmmm BRENNAN: What I just said is true and yet it really sounded wrong. What I should say is I don't care how stupid you are. (Booth doesn't say anything) It's not any better? BOOTH: No. No. Not at all. (Vincent, Sweets and Angela all come into the bar and sit around Booth and Brennan) BRENNAN: Well, there is intelligence that I have and Mr. Nigel-Murray. VINCENT: Oh, thank you. BRENNAN: And...Sweets...even though his is so misdirected as to be meaningless. BOOTH: Right. SWEETS: Wow, back hand full of knuckles with that compliment. BRENNAN: And Hodgins, and Angela...not so much but she's very talented. ANGELA: (sarcastically) Thank you...very much. BRENNAN: (not picking up on the sarcasm) You're welcome. But then there's another quality which is the ability to use intelligence. That is what you have. BOOTH: (he thinks about that and then smiles) Thanks, Bones. (they have a moment) ANGELA: Hey, wait a minute. Speaking of Hodgins...has anybody seen Hodgins? (they all shake their heads) Oh God. (the desert) (Hodgins wakes up. His upper left arm is bandaged. He is in pain. He looks down and takes off the gauze pad. There is a tattoo of Angela's head with the words "Angie Forever" below. He lays back and sighs as crows fly overhead.) END

{"type": "series", "show": "Bones", "episode": "04x19 - The Science in the Physicist"}

foreverdreaming

"The Cinderella in the Cardboard" Episode 4x20 / Production 4x14 Airdate: April 15, 2009 Written By: Carla Kettner & Josh Berman Directed by: Steven DePaul Transcribed by: Lucy/zerodetorres Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER [OPEN: INT. GARBAGE DUMP - DAY. Two workers, JUAN and BARNEY, are standing around, about to move packed cardboard.] JUAN: Hey, who's the new guy? BARNEY: That's not a guy. (turns to female worker, whistles) Hey, baby! (to JUAN) I swear to God, I'd give my left cajone to take her for a spin. JUAN: Hey, the Lord is not pleased with lustful thoughts, man. BARNEY: Hey, He put her here. If He wants me to keep it in my pants, tell Him to send me a sign. [JUAN and BARNEY pull a block of packed cardboard, turning it to its side.] JUAN: Holy Mary, Mother of God. BARNEY: (kneeling down) It's the Blessed Virgin. Please forgive me. [JUAN makes a sign of the cross while BARNEY dials a number on his cell phone.] JUAN: (into phone) Mama! Llame al padre Fisher, digale que miré la bendita Virgen; aqui en el trabajo. Si, es un milagro mama. Es un milagro! [Translation: Call Father Fisher, tell him that I saw the Blessed Virgin; here at work. Yes, it's a miracle, Mom. It's a miracle!] [CUT TO: INT. GARBAGE DUMP - DAY. Police tape is surrounding the scene. Curious workers are observing. Enter BOOTH, BRENNAN, and CAM.] BOOTH : All right, let's go everybody. Move back. Hello? FBI. Watch out. Excuse me. Watch out. You folks clear a path, please. (ducks under police tape) Thank you, let's go. POLICE OFFICER: Folks, I'm gonna ask you to please stay back. This is an active crime scene. BOOTH: Whoa. (makes a sign of the cross) Oh, my God. It's the Virgin Mary. CAM: Have you googled the grilled cheese Jesus? 'Cause that was just a faulty griddle. BRENNAN: We're here because someone suspected a crime, Booth. BOOTH: Oh, I'm just saying, life is a lot more than what you can cook up in your chemistry sets. Miracles do happen. BRENNAN: Well, religious visions are nothing but pareidolia, random stimulus being perceived as significant. BOOTH: Oh yeah, did you ever hear of the Shroud of Turin, Dr. Burn-In-Hell? CAM: Sorry, big guy. That was debunked 20 years ago. Carbon dating doesn't lie. BRENNAN: Neither does phenolphthalein. (holds up pink cotton pad) This was not a miracle. It's dried blood. BOOTH: Oh, all right. Let's get this bale of hay down. Come on. [Two police officers begin moving the packed cardboard.] BOOTH: All right, here we go. Don't got all day. There you go. [BOOTH cuts the wiring attaching the cardboard together.] CAM: All right. Let's do it. [BOOTH, BRENNAN, and CAM begin moving the cardboard. A few layers down, a d*ad body is revealed.] BRENNAN: Careful. BOOTH: Whoa! Okay. Okay, I'm going to give you this one. Maybe it's not a miracle. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. BRENNAN, CAM, and WENDELL are examining the body.] BRENNAN: The fractures I can see are consistent with the baling machine. CAM: Based on lack of hemorrhagic tissue, she was d*ad before ending up on the baler. BRENNAN: Can we remove her from the cardboard? CAM: Not until she's completely processed. I don't even know how I'm going to tox her. The cardboard soaked up most of her bodily fluids. WENDELL: Her blouse looks like it's got patches of glaze on it. BRENNAN: Could be extruded body fat. CAM: Ooh, hello, maggots. Maybe Hodgins can use these little devils to give us time of death. WENDELL: The second joints of the victim's middle toes have been shaved. I think she was tortured. BRENNAN: (examining the toes) No. The victim had her toes surgically shortened. WENDELL: On purpose? CAM: For vanity. Women love shoes. [CUT TO: INT. FBI BUILDING - BOOTH'S OFFICE - DAY. BRENNAN and BOOTH are speaking to DR. MARCUS SCHEER, the victim's plastic surgeon.] SCHEER: Like I said on the phone, this is definitely my patient. I remember I threw in a toe tuck for free. BOOTH: A toe tuck? SCHEER: What can I say? Toes are the new nose. BRENNAN: The Board of Plastic Surgeons hasn't approved this for elective surgery. SCHEER: They haven't condemned it either. BOOTH: Right, okay. So, who's our girl? SCHEER: Oh, um, Meriel Mitsakos. She wanted the surgery 'cause she was getting married. Had her eye on a pair of Christian Louboutin sandals, but her middle toes stuck out. I said it was an easy fix. BOOTH: What, you cut her toe off, so she could fit into a pair of shoes? BRENNAN: Self-mutilation for an antiquated ritual. It's barbaric. BOOTH: Well, come on, marriage is very important to a lot of people, Bones. BRENNAN: It's ridiculous. No one can guarantee how they're going to feel about someone for life. We're not a monogamous species. BOOTH: Marriage has been around since the beginning of time. BRENNAN: Women from Amazonian tribes expressed their love by spitting in their partners' faces. I hope we've progressed past that. BOOTH: Okay, well, you know what? Sometimes love trumps logic. BRENNAN: Love is a chemical process which causes delusion. An intellectually rigorous person would never get married. BOOTH: Never say never. BRENNAN: That's a paradox. It makes no sense. SCHEER: Am I still needed here? Because if you two are having relationship issues... BRENNAN: (grimacing) We're not a couple. BOOTH: We just work together, that's all. [Uncomfortable looks are exchanged.] BRENNAN: Merial Mitsakos was m*rder. BOOTH: And as of now, you're the only one we know who's taken a Kn*fe to her. OPENING CREDITS [CUT TO: FBI BUILDING - CONFERENCE ROOM - DAY. BOOTH is asking the victim's fiancé, BOB CAVERLY, and the victim's best friend, GENIE GORMON.] CAVERLY: Meriel wanted everything to be perfect for our wedding. BOOTH: Including her feet? CAVERLY: I told her I loved her just the way she was, but that... that doctor made her... feel like her feet were unsightly. You checked him out, right? BOOTH: Yeah. He was in Europe at the time of Meriel's m*rder. GENIE: Meriel was my oldest friend. I was going to be her maid of honor. She asked me in tenth grade. BOOTH: Why would Meriel plan a wedding if she didn't have a groom? GENIE: You had to know her. Meriel got everything that she wanted. And all she ever wanted was to be a bride. CAVERLY: But don't misunderstand. We loved each other very much. BOOTH: Listen, Mike, when was the last time you saw her? CAVERLY: Four days ago. About 2:00. We had a... wedding cake tasting. BOOTH: I don't want to come off as sounding offensive, but do you think maybe she got cold feet? CAVERLY: We were in love. All we wanted... was each other. BOOTH: I'm very sorry for your loss. GENIE: Just find out who did this to Meriel. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. WENDELL is pulling a fluoroscopy machine over the body. Enter ANGELA.] ANGELA: Where did this come from? WENDELL: The Egyptology department. ANGELA: They let you borrow it? WENDELL: Oh, well, no one was using it. ANGELA: Tell me you're kidding. WENDELL: No. I left a note. [ANGELA chuckles in disbelief.] WENDELL: Uh, well, Dr. Saroyan won't let me take the victim off the cardboard, and Dr. Brennan's going to k*ll me if I don't get her complete X-rays, right? ANGELA: Wendell, you cannot just take a- WENDELL: Fluoroscopy machine. I've always wanted to use one, and this is the perfect opportunity. [Enter CAM.] CAM: I just got a call from Ethan Lawrence in Egyptology. Something about a Post-it note where his fluoroscopy machine used to be. WENDELL: Oh, um, well, their victims have been d*ad for thousands of years. There's very little chance of catching the perpetrators. I figured it was a priority thing, right? CAM: No, really it's more of a f*ring and arrest thing. Did you really think for one minute- WENDELL: I found something! Looks important. Very important. Would have gone unnoticed without the, uh, fluoroscopy. (looks at CAM) I'm sorry. Did I interrupt you, Dr. Saroyan? ANGELA: Oh-ho-ho, he's good. CAM: Just show me. [WENDELL zooms in to the pelvic bone.] CAM: Something embedded in the anterior superior iliac spine. [CAM uses tweezers to remove something from the body.] WENDELL: What is it? CAM: A straight pin. ANGELA: Right. d*ad bride wearing a strapless bra, plus a straight pin. She must have had a bridal gown fitting right before she died. [CUT TO: SOME BRIDAL PLACE - DAY. Shoppers are checking out bridal gowns. Enter BOOTH and BRENNAN.] BOOTH: Yeah, well, according to her maid of honor, this is where she ordered her dress. [Enter LUCIA BERTOLINO, manager of the store. She is pushing a rack of gowns.] LUCIA: Size six, coming through! [A hoard of women begins scrambling toward the rack, running into BOOTH and BRENNAN.] BOOTH: Ow, ow. Ladies, watch the toes. Man, these women are crazy. BRENNAN: Well, you know how I feel about weddings. BOOTH: Yeah, what's happening here is definitely not about love. LUCIA: Hello. (looks BRENNAN up and down) Ah, you're beautiful. (pointing) Your size is on that rack. BOOTH: Oh, no, we're not looking for a dress. BRENNAN: No, never. Ever. Ever. LUCIA: Oh, cold feet. You'll get over it. You two are obviously meant for each other. [BOOTH and BRENNAN look at each other and chuckle awkwardly.] BRENNAN: No... BOOTH: We're, uh, looking for the manager. LUCIA: I'm Lucia Bertolino. Is there a problem? BOOTH: I'm Special Agent Seeley Booth. (flashes badge) This here is my partner Dr. Temperance Brennan. BRENNAN: (points to a bouquet of flowers in a glass case) How are these treated? LUCIA: We dip them in glycerin. They're free-dried. They last forever. BOOTH: I'm sure they do. Listen, we're investigating a m*rder. We believe the victim was here getting a bridal fitting shortly before she was k*lled. Uh, a Meriel Mitsakos. LUCIA: Oh. Hard to forget Miss Mitsakos. She had a fight with Anya, our best bridal consultant. She was screaming at her, and calling her incompetent. BOOTH: Right. Is Anya here today, working? LUCIA: Actually, I had to let her go. Anya slapped her. Miss Mitsakos thr*at to sue. I didn't have a choice. BOOTH: Did Anya show any other signs of v*olence? BRENNAN: Was she dealing with something else in her life? LUCIA: Oh, this place was her life. BOOTH: Well, I'm going to need her contact information. LUCIA: Oh, Anya couldn't k*ll anyone. BRENNAN: Well, had she ever slapped anyone before? LUCIA: (realizing) Let me get it for you. BOOTH: Thank you. [Exit LUCIA.] BOOTH: (reaching for a gown) Oh, come on, Bones, huh? (picks up a gown) You must've dreamt about being a bride before your heart turned to stone. [A shopper plucks the dress out of BOOTH's hands.] BRENNAN: Just because I don't want to take part in a meaningless ritual doesn't mean that I'm not a warm and affectionate person. There are even some children who have taken to me. [BOOTH looks over to see DAISY WICK standing on a platform, trying on a dress. An unknown man is standing in front of her.] DAISY: Oh, my God, I love it! Isn't it perfect? Do you think it's perfect?! BOOTH: (to BRENNAN) It's Daisy! BRENNAN: What? BOOTH: (grabbing BRENNAN) Turn around. Turn around. That's Daisy Wick. Sweets' girlfriend. Don't look. No, she cannot see us. BRENNAN: Why? BOOTH: Why? Because she is buying a wedding dress, and some guy is hugging her. BRENNAN: She's marrying someone else without telling Sweets? Don't you think he'd be upset about that? BOOTH: Yeah, of course. BRENNAN: Well, I like Sweets. We should tell him. BOOTH: No, no, no. No. No. It's got to be our little secret. Shh. [Return LUCIA with the information BOOTH had requested.] LUCIA: Here's Anya's information. BRENNAN: Oh, thank you. BOOTH: Thanks. LUCIA: (picking up a veil off a rack, to BRENNAN) You know, this veil would be perfect for you, dear. BRENNAN: Oh, well, it's a symbol of virginity, and I've been sexually active since I was- BOOTH: (interrupting) Okay, Bones, we really have to get going. (to LUCIA) Thank you so much for your help. (guiding BRENNAN away) Come on, this way. [CUT TO: INT. FBI BUILDING - BREAK ROOM - DAY. BOOTH and BRENNAN are discussing SWEETS and DAISY.] BRENNAN: A woman buys a wedding dress to get married, Booth. You know, if you're such a strict adherent to monogamy, then shouldn't you warn Sweets that he's being cuckolded? BOOTH: There are complicated emotions that are involved here. It's definitely not your thing. BRENNAN: It's a matter of honesty. BOOTH: Bones, just trust me on this one, all right? It's none of our business. It's none of our business. [Enter SWEETS.] SWEETS: What's none of your business? BOOTH: Hi! SWEETS: Hey. BOOTH: Hey! We were just discussing our latest case. SWEETS: The d*ad bride? BOOTH: Yeah. SWEETS: That would be completely your business though, wouldn't it? BRENNAN: (nodding) Mm-hmm. BOOTH: No, we were just... SWEETS: Am I missing something? BRENNAN: Daisy. SWEETS: What? BOOTH: No, crazy. Daisy. You must really miss Daisy. SWEETS: Yeah, we manage. BOOTH: Let me ask you a question. Could dealing with crazy brides all day make someone, you know, snap and commit m*rder? BRENNAN: No, the bride snapped first. She had a fight with the bridal consultant. SWEETS: Right. Well, if the bride's physical or emotional needs are not met, yeah, she might act out. v*olence is rare though. Infidelity is more common; using some disposable sap as an emotional Band-Aid. BOOTH: Right. BRENNAN: Fascinating. BOOTH: (to BRENNAN) Let's go. BRENNAN: (to SWEETS) So a woman could be buying her wedding dress with her fiancé, and spending her free time with her lover. BOOTH: Right, but, uh, physical v*olence is definitely a possibility, right? SWEETS: Yeah. BOOTH: So we gotta get going. Come on, Bones. SWEETS: It is, but you interrupted Dr. Brennan. BOOTH: (over BRENNAN's protests, to SWEETS) We have somewhere we have to be. We're late. See you later. Later. [BRENNAN hands SWEETS her coffee mug. Exit BOOTH and BRENNAN.] [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. BOOTH and BRENNAN are interrogating ANYA PERTEL.] ANYA: I worked at Bertolino's for 29 years. No matter what a bride looked like coming in, when I was done with her, she was beautiful. But that one, Miss Mitsakos, ugly from the inside out. BOOTH: Okay, why don't you just tell us about Meriel. ANYA: Every time she dropped a pound, she made me adjust that bodice, which would have been fine, but Friday, she decided instead of a drop waist, she wanted a natural waist. She suggested I start from scratch. She insinuated I didn't know what I was doing; that her dress issues were my fault. She pushed me away. Pushed me! BRENNAN: And then you slapped her? ANYA: No. I slapped her after she threw the pins at me. BOOTH: You got fired. You must have been angry. ANYA: I pride myself on being a gentlewoman. I would rather not talk about this any further. BOOTH: I understand. Just one more thing. You had Meriel's personal information - her account, address, et cetera. Can you account for your whereabouts the day after you got fired? ANYA: I know what you're implying, Agent Booth. I was at home. I live alone. But I have spent the last 29 years bringing joy to young women. BRENNAN: So, no alibi. ANYA: I am a gentlewoman. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. Enter CAM and WENDELL.] CAM: Hodgins found gravel in her hair, but death by gravel is unlikely. WENDELL: Time to get her off the cardboard? CAM: How? She's basically been absorbed into the substrate. We could cut underneath, but that runs the risk of compromising the bones. WENDELL: We have to scrape her off. [Enter HODGINS. He approaches the computer.] HODGINS: Look at this. Tox screen results on the pureed maggots: tequila. The maggots were hammered. CAM: Which means Meriel was, too. HODGINS: Yeah, but it gets better. The weird glaze on the vic's clothing wasn't extruded fat. It was glycerin. WENDELL: According to Dr. Brennan, Bertolino's uses glycerin to preserve bridal bouquets. CAM: Looks like Bridezilla might have messed with the wrong old lady. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. Enter CAM, HODGINS, ANGELA, WENDELL and a lab assistant with a large metal platter.] WENDELL: I used to work at Anthony's Famous in Georgetown. HODGINS: Oh, that is some seriously good pizza. WENDELL: The secret is the crust. It's all in the crust. CAM: Does this relate to our victim at all? WENDELL: This is basically how we get the pizzas out of the oven. And every pie was perfect. Everybody ready? ANGELA: This is so far out of my job description, it's not even funny. HODGINS: Okay, we are in. CAM: Mm, she's sticking. WENDELL: It was always tough getting the pie out. The cheese would bubble over onto the oven and stick. The pie could break apart. I wouldn't serve a pie like that. CAM: Can we save your w*r stories for a more appropriate time, Mr. Bray? WENDELL: Yeah. CAM: (as she and the team slide the platter between the body and the cardboard) Careful. Careful of the skull. HODGINS: Okay, perfect. WENDELL: Now that's something I'd serve. [CAM and ANGELA sh**t WENDELL looks.] WENDELL: (backtracking) If she were a pizza... which she's not. So-so, I'll-I'll stop now. HODGINS: Ready? HODGINS: Carefully. Careful. WENDELL: Can I remove the flesh? CAM: Knock yourself out. [INT. FOUNDING FATHERS BAR AND GRILL - DAY. BOOTH and BRENNAN are discussing the case over coffee.] BRENNAN: So, do you think the bridal consultant k*lled Meriel? BOOTH: Not really, but, you know, hey, I've been wrong before. BRENNAN: You're usually quite certain. BOOTH: No, that would be you, Bones, okay? (mocking BRENNAN) I'm never getting married. BRENNAN: You've never married. BOOTH: Well, I will. BRENNAN: That's impossible to know. BOOTH: You know what? Obviously, you have issues with this, so next time we see Sweets, you should bring it up? BRENNAN: Sweets is having an affair with a woman who's engaged. He's hardly one to give advice. BOOTH: You know what? You are scared. That's what it is. You're scared of love. [Enter SWEETS and DAISY.] SWEETS: Dr. Brennan, Agent Booth. Hey, mind if we join you? BOOTH: Look at that. It's Sweets and Daisy. DAISY: Dr. Brennan, it's so good to see you. I want you to know, that even though you fired me twice, I have nothing but warm feelings toward you. BRENNAN: Then you wouldn't mind if I spoke freely? DAISY: Of course not. BOOTH: All right! (rising from his seat) We were just leaving. BRENNAN: No, we haven't gotten our food yet. BOOTH: We don't need the food. DAISY: (sitting in BOOTH's seat) Oh, great! BOOTH: And she sits. DAISY: (to BRENNAN) You know, every time I get stuck on my dissertation, I think to myself, "WWBD." BRENNAN: I have no idea what that means. DAISY: "What Would Brennan Do?" I mean, it really should be "WWDBD" - "What Would Dr. Brennan Do?" but that seems unnecessarily formal since I'm only thinking it silently. SWEETS: (chuckles) Isn't she cute? BOOTH: (mockingly chuckles) Yeah, she's adorable. (to BRENNAN) Come on. BRENNAN: Multiple wives is the norm in most of the world. Sweets and Daisy would have no problem if the same were true here. SWEETS: Beg your pardon? BOOTH: You see, Bones is just so into the m*rder of this bride, that the facts just start pouring out. (to BRENNAN) You would really kick ass on that Millionaire show. Come on. DAISY: I can only imagine what it would be like to have your brain. BRENNAN: That's true. BOOTH: Oh, look at that. Text flying in. We gotta go. BRENNAN: I don't see a text. SWEETS: Hey, how about the four us grab some Mongolian barbecue tonight? DAISY: Oh, I'm busy. I already have plans. BRENNAN: With whom? BOOTH: That's none of our business. DAISY: I have yoga class. (to SWEETS) You don't mind, do you, Lancelot? (grabbing SWEETS' tie) It makes me limber. BOOTH: Oh, here we go. We really have to get going here. Come on. Come on. Let's go. SWEETS: Uh, so we can take your table? BOOTH: Have the food, too. SWEETS: All right! DAISY: Wow, they're so nice. BRENNAN: (to BOOTH, on their way out) If they want a healthy monogamous relationship, they should be forthright and honest. BOOTH: Yeah, well, that's not the way a relationship is supposed to be. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. BRENNAN and ANGELA are working with the cardboard.] ANGELA: Most of the boxes don't have any identifiable markings, but the surface scratches on this one look like they may be handwriting. BRENNAN: Daisy Wick is having an affair. ANGELA: Really? BRENNAN: She's getting married, and she's cuckolding on her fiancé with Dr. Sweets. ANGELA: Poor Sweets. He loves her. BRENNAN: Booth doesn't want to tell him. He says it's none of our business. ANGELA: Exactly. BRENNAN: But wouldn't it be kind to spare Sweets any emotional pain Miss Wick's infidelity might cause him? ANGELA: If Sweets is in love with Daisy, and she's cheating on him, somewhere inside he knows. And if he doesn't, then it's because he doesn't want to. Will you hand me that lemon juice? BRENNAN: I think you are correct. ANGELA: Good. A person's love life- BRENNAN: The scratches on the cardboard should take on a higher concentration of lemon juice than the surface area. ANGELA: You just want to tell him, don't you? BRENNAN: Sweets says that he's an expert in human psychology. He should be able to handle a problem this common. ANGELA: Come on, sweetie, be kind. BRENNAN: Of course. ANGELA: Look, it looks like we can read the writing on the box. Okay, "Champagne Lounge, 271 Beloit Avenue, Washington, DC." [CUT TO: INT. CHAMPAGNE LOUNGE - NIGHT. Enter BOOTH and BRENNAN.] BOOTH: I'll tell you what. You know what, Bones? These bubbles are gonna stain my suit. BRENNAN: These bubbles are formed using glycerin. Maybe that's how the glycerin got on Meriel's clothes, not the flowers. BOOTH: Yeah, right. [BOOTH and BRENNAN approach the BARTENDER.] BOOTH: Hey, Buddy, over here. BARTENDER: What can I get you? BOOTH: Information. You working here Friday night? BARTENDER: Yeah. BRENNAN: Do you recognize this woman? BARTENDER: Oh, wish I didn't. She sent her drink back three times. Dirty martini? Too dirty. Mojito? Too sweet. Vodka on the rocks- BOOTH: All right. Who was she with? BARTENDER: I don't know. Some guy. BRENNAN: Well, her fiancé's about 185 centimeters, rectangular cranial structure, dominant maxillary bone. BARTENDER: Look, all I remember is that the dude paid for her drinks. BOOTH: Probably used a credit card, so why don't you go look for those receipts for me? BARTENDER: Must have served a thousand drinks Friday. When I get a chance, I'll look for it. BOOTH: You should get the chance soon. Or better yet, why don't you think about it while I go card these two blondes over here. [The BARTENDER turns back to retrieve receipts.] BOOTH: Thanks. BRENNAN: (noticing boxes) What do you do with those boxes? BARTENDER: Recycling dumpster off the back alley. Why? [CUT TO: EXT. ALLEY BEHIND CHAMPAGNE LOUNGE - NIGHT. BOOTH and BRENNAN leave the club and enter the back alley.] BOOTH: All right, well. All right, you know, it always stinks in the back alley, doesn't it? (to a young couple making out against the wall) Come on. Okay, let's go. Break it up. FBI. Come on. Back inside. All right, no worries. Thank you. BRENNAN: Pea gravel. (leaning down to pick up a handful) Hodgins can determine if it's a match for what we found in the victim's hair. BOOTH: Right. (takes out phone and dials) Yeah, Special Agent Booth, 22705. Look, I need a crime scene unit here at 271 Beloit. Back entrance. Thanks. [BOOTH takes out a flashlight and begins looking around. BRENNAN is scanning the area with a UV light. BOOTH finds a jewel-covered cell phone.] BOOTH: Oh! Look at that, huh? (leaning down to pick it up) I think I may have found the woman's cell phone. Yeah. BRENNAN: Booth? BOOTH: What do you got? BRENNAN: Come here. [BOOTH approaches. BRENNAN removes her UV goggles and puts them on BOOTH's face.] BOOTH: Oh, thanks. (looking down) We got some blood there, huh? [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - NIGHT. ANGELA is working on the recovered cell phone. BRENNAN is watching.] BRENNAN: Booth says that if we can pull the call history, he won't have to subpoena the phone company records. ANGELA: Yeah, I've heard of that place, the Champagne Lounge. A lot of couples use the alley for a quickie. (about the cell phone) Okay, well, it looks like it's just the battery. BRENNAN: Maybe she was regretting her decision to limit her sexual activity to one man. ANGELA: You just can't let it go, can you? (tweaking the cell phone) All right, this ought to do it. All fixed. BRENNAN: Well done. [The cell phone rings.] ANGELA: Oh, my God, she's getting a call. What-what... what do you want me to do? BRENNAN: Answer it. ANGELA: Oh, my God. It's Hodgins. [CUT TO: INT. MEDICO-LEGAL LAB - HALLWAY - DAY. Enter BOOTH, BRENNAN, ANGELA, and HODGINS.] HODGINS: Okay, this is embarrassing. BOOTH: Yeah, it's worse than that because your picture just popped up on a d*ad woman's cell phone. HODGINS: Because my phone was within 100 yards of hers. BOOTH: Hey, don't go all squinty on me, okay, Hodgins? I want an explanation. HODGINS: It's a dating service. ANGELA: You're using a dating service? HODGINS: Yes. Along with millions of other people. It's called "Date or Hate?" When a potential match is within 100 yards, both our cell phones ring. You can either press "date" or "hate." If we both press "date," then we get each other's cell numbers. BRENNAN: But Meriel was engaged. Why would she be using a dating service? HODGINS: I don't know. Maybe she forgot to cancel. BOOTH: Guys, sex. It's a no-brainer. BRENNAN: Is that your reason? Because weren't you and Angela sexually compatible? [ANGELA and HODGINS exchange looks.] HODGINS: It's not about the sex. I was looking for a meaningful connection. ANGELA: I get it, Jack. HODGINS: You do? ANGELA: Yeah. BOOTH: Hey, guys, d*ad body, all right? m*rder. Did you know the victim before she was a pizza? HODGINS: No. But she would definitely have many other potential dates. You should talk to the agency. The "Date or Hate?" offices are local. [HODGINS's phone rings.] BRENNAN: (looking at the screen) Doesn't she work in the cafeteria? BOOTH: Ouch. She just pressed "hate." You're out. HODGINS: (taking phone back) Okay, all right, just... [CUT TO: INT. DATE OR HATE HEADQUARTERS - DAY. BOOTH and BRENNAN meet with the owner of Date or Hate, KURTIS ROSSI.] ROSSI: We have 8,000 registered users in the DC area, and almost 200 marital success stories. BOOTH: Well, one of your registered users, a Meriel Mitsakos, was m*rder. [ROSSI appears uncomfortable, sighing deeply.] BRENNAN: Did you know the victim? ROSSI: No, but I'm in the process of securing venture capital to take my company national. If this gets out, I could lose my investors. BOOTH: Right. Well, we're going to have to take a look at Meriel's "Date or Hate?" activity. ROSSI: Oh, that's private. BOOTH: Well, she's d*ad, Mr. Rossi. Or maybe your investors would like the publicity of a court order. ROSSI: (sighs and turns back to his computer) In the last month, she was matched with 20 potentials. She h*t "hate" on 14 of them, "date" on five. She never responded to the last guy - a Jack Hodgins from earlier today. BRENNAN: When did she last press "date"? ROSSI: 7:45 p. m. last Friday. BOOTH: That was the night she was m*rder. BRENNAN: Do you have a name? ROSSI: Owen Smith. He pressed "date," too. [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. BOOTH is interrogating BOB CAVERLY.] CAVERLY: I don't believe it. There's no way Meriel was cheating on me. BOOTH: You're sure? CAVERLY: We were engaged, Agent Booth. [CUT TO: INT. FBI BUILDING - OBSERVATION ROOM - DAY. SWEETS is taking notes. BRENNAN is standing by.] BRENNAN: Would you want someone to tell you if your girlfriend was cheating? Or do you favor denial? SWEETS: No, I mean, I'd know if Daisy were cheating on me, Dr. Brennan. I'm trained to recognize the subtleties of human behavior. So, it's a moot point. BOOTH: (over speaker, to CAVERLY) You know, I think you found out she was cheating. I mean, she wasn't really discreet. [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY.] BOOTH: (continuing) Using your cell phone to meet other guys. It's understandable that you snapped. CAVERLY: Are you sure about this list? BOOTH: Yeah. [CUT TO: INT. FBI BUILDING - OBSERVATION ROOM - DAY.] BOOTH: (over speaker, to CAVERLY) That's what makes it so understandable. Where were you the night that she disappeared? CAVERLY: (over speaker, to BOOTH) Dance class. Genie told me how important that first dance was to Meriel, and I just wanted to be perfect for her. BRENNAN: (turning to SWEETS) In our sessions, you put a high premium on honesty, don't you, Dr. Sweets? SWEETS: Of course. You think he's lying? BRENNAN: Uh, no. I'm talking about you and Daisy. (long pause) She's engaged to be married, and she's sleeping with you behind her fiancé's back. SWEETS: What? No. You're wrong, Dr. Brennan. That can't be. You're wrong. BRENNAN: Obviously, you can't read all the psychological subtleties that you think you can. (pause) Booth and I saw her trying on her wedding dress with her fiancé. He hugged her and twirled her around in the air. SWEETS: That's impossible, Dr. Brennan. I would have known. BRENNAN: This is denial, right? SWEETS: No, I mean... (realizing, quietly) Oh, God. BRENNAN: Booth felt that I shouldn't tell you, that it was none of our business, but I think that now you can make an informed decision. Either share Miss Wick... or move on. SWEETS: I'm sorry. Could-could you excuse me for a moment. I need-I need a minute to myself. BRENNAN: Sure. Booth is finished anyway, so... [Exit BRENNAN.] [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. ANGELA is seated at her desk. CAM and WENDELL are standing behind her, watching.] WENDELL: I found fractures on the piece of the cranium inconsistent with the compression from the baler. [ANGELA is flipping through images of the crushed body.] WENDELL: (pointing) Stop. That's a good one. Dr. Brennan thought we might be able to find the cause of the fracture by reexamining photos of the tissue. CAM: Isolate her head full frame. ANGELA: I don't see anything, guys. WENDELL: We're not looking on the surface, we're looking beneath it. ANGELA: Okay, well, I need to enhance the details. I can shower the image with various wavelengths of light. Next, I apply the filter software. Finally I blacken the blacks, maximize contrast, and sharpen the focus. CAM: Perimortem bruising. ANGELA: That's a tire tread. WENDELL: She was run over by a car. CAM: Seems like our victim was flattened before she was flattened. [CUT TO: INT. FBI BUILDING - BOOTH'S OFFICE - DAY. BOOTH is arranging files. Enter BRENNAN.] BRENNAN: Hi. BOOTH: So her fiancé's alibi checks out. He was dancing the night away. BRENNAN: I told Sweets about Daisy. BOOTH: (annoyed) Bones, why? BRENNAN: Well, I felt like I was lying to him by keeping it to myself. How about the others? BOOTH: Huh? The others? He was dating other people? BRENNAN: No, the other suspects in Meriel's m*rder. What about Owen Smith? BOOTH: The Bureau's doing a background check. Smith, he was using a disposable phone, and his e-mail accounts were cancelled. According to Kurtis, it's a common MO for married men to get a little something-something on the side. Why did you have to tell Sweets? He's going to come in here, he's going to cry and stuff. [Enter SWEETS. He knocks at the door.] SWEETS: Excuse me. BOOTH: (under his breath) Oh, God. SWEETS: Um, you have a minute? BRENNAN: Of course. SWEETS: I was talking to Agent Booth. I'd like a minute alone. BRENNAN: Sure. [Exit BRENNAN.] SWEETS: Well, I'll get right to it. Uh, Dr. Brennan told me that Daisy is engaged to another man. BOOTH: I'm sorry, Sweets. I... SWEETS: It's okay, it's okay. Dr. Brennan was being honest. I appreciate it. BOOTH: (sighs) No, you don't. (getting up) Come on. SWEETS: I don't! I don't! I feel like an idiot! BOOTH: Have a seat. Come on. SWEETS: Daisy, she's been canceling on me all the time lately. Like yoga the other day, and, you know, recently, at night, when she's over, the frequency of our (gesticulating) our intimate relations... she says that she's been tired because of her dissertation. BOOTH: I get it. SWEETS: It was right in front of me, right in front of me all along. (sighs) I'm a failure, as a lover and a psychologist. BOOTH: No, no, it's not true. Sweets, these things, they happen. SWEETS: Okay, what should I do? I don't have many manly-man friends like you that I can talk to. What would a guy-guy do in this situation? BOOTH: Are you asking me if you should fight for her? SWEETS: Do you think I should? BOOTH: If you were your own patient, what kind of advice would you give yourself? SWEETS: Impressive. Turn the question back on me. It's a classic therapeutic technique. (b*at) It's really, really annoying. BOOTH: Did it work? SWEETS: Yeah, I should confront her. I should be candid. You're right. You're right. It's the only way. Thank you. BOOTH: Any time. SWEETS: It was very helpful. BOOTH: The session's over. SWEETS: (chuckles) Um, hey, you think maybe we could... hug? Like men, of course. It'd be comforting for me- BOOTH: No. SWEETS: -under the... No? BOOTH: No. I don't hug things out. You know, we just kind of (punching SWEETS on the arm) good slug on the arm. It's more of a manly thing to do. SWEETS: Okay. BOOTH: Okay. SWEETS: Sure. BOOTH: Okay? SWEETS: Could you do it again? BOOTH: Sure. (punches SWEETS on the arm, laughs) Want more? SWEETS: No. BOOTH: Oh. See ya. SWEETS: Thank you. [Exit SWEETS, grimacing in pain.] [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. Enter BRENNAN, ANGELA, and CAM. They approach the Angelator.] ANGELA: Wendell's data suggests that she was struck by an SUV. BRENNAN: The patella fractures are several centimeters higher than a standard car bumper. ANGELA: (to CAM) You didn't find any incised wounds with glass or paint, did you? CAM: No, why? ANGELA: I'm just confirming that the victim didn't wrap around the hood, which means that her center of gravity thrust her backward, something like this. [ANGELA enters variables into the Angelator.] ANGELA: (to BRENNAN) Hey, uh, whatever happened to your online dating thing? BRENNAN: I didn't have the time to properly sort through all the potential matches. CAM: (to ANGELA) You thinking of trying it? BRENNAN: I think Sweets should sign up. CAM: Did you really tell Sweets that Daisy was cheating on him? BRENNAN: Everyone seems to think that I've done something terrible. I didn't want to lie. CAM: In this case, it was definitely the way to go. ANGELA: Okay, ladies, It's ready. [A model forms on the Angelator. A model SUV runs into a model person, sending her flying. The three women flinch.] ANGELA: In newer model SUVs, the grill protrudes almost as far as the bumper. It's like being h*t by a battering ram. CAM: I thought you said you found tire treads on her head? ANGELA: No, I'm not finished. Assuming this was done on purpose, the driver backed up to see where his victim had landed. And then, he g*n it. [The Angelator shows the model SUV running over the model victim's head.] BRENNAN: The multidirectional fractures on the skull are consistent with a tire's downward vertical force. CAM: The k*ller ran her down, and then made sure she was d*ad by running her over again. BRENNAN: That is much worse than anything I might have done to Sweets. I'll call Booth. [CUT TO: INT. MEDICO-LEGAL LAB - HODGIN'S WORKSTATION - DAY. HODGINS is standing in front of a microscope. Enter WENDELL.] WENDELL: Excuse me, Dr. Hodgins. HODGINS: Yeah. WENDELL: I wanted to tell you that I'm going to the Founding Fathers for a drink tonight with some friends. Girlfriends. HODGINS: Girlfriends. WENDELL: Yeah. I've got a bunch of friends who are girls and we get together and hang out like we're guys. (pause) It's not as confusing as it sounds. Most of them are single. HODGINS: (chuckles) Trying to fix me up there, Wendell? WENDELL: I'm offering you an opportunity to meet some great people. HODGINS: Who have breasts. WENDELL: That they do. I think they'd like you. HODGINS: You don't really know me. WENDELL: I grew up on the streets, Dr. Hodgins. It doesn't take me long to get a feel for someone. First round's on me. [CUT TO: EXT. PARKING LOT - DAY. BRENNAN and WENDELL are searching for an SUV matching the given description.] BRENNAN: Booth got the name of the victim's drinking partner from the bartender at the Champagne Lounge. Joe Fillion. He works in this building. WENDELL: (pointing) There's another SUV. DC plates, F793A4. BRENNAN: Those plates are registered to Joe Fillion. WENDELL: So this guy ran her down, then backed up and ran over her again? That's a bad date. (crouching down next to the SUV) These stains could be blood. BRENNAN: What was the height of the patella fractures? WENDELL Uh, 54 centimeters. BRENNAN: (turning around) Undo my necklace. I need to measure if the point of impact matches. WENDELL: What happened to your measuring tape? WENDELL: I don't know. It's missing. There was a Post-it note from the Egyptology Department in its place. BRENNAN: (measuring) Exactly one and a half lengths high. Consistent with the patellar point of impact. WENDELL: The victim's skull was crushed by a tire. BRENNAN: It was the approximate cause of death, yes. WENDELL: The victim had black hair, right? BRENNAN: Yes. [WENDELL picks up hair off the tire with tweezers and shows them to BRENNAN.] BRENNAN: I think we found the m*rder w*apon. [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. BOOTH is questioning JOE FILLION.] BOOTH: So, were you at the Champagne Lounge to meet women in general or Meriel in particular? FILLION: No, I was meeting Meriel. Look, there's no secret - her friend Genie knew. I wanted to get my engagement ring back. BOOTH: You were engaged? FILLION: Yeah, she broke it off when she met that Mike guy. The ring was my grandmother's. BOOTH: Did she give the ring back? FILLION: No. She sold it to pay for her wedding. BOOTH: She sold your grandmother's ring? FILLION: Are you kidding me? That's only the half of it. When we were talking, her cell phone rang. It was one of those "Date or Hate?" match thingies. And Meriel presses "date." BOOTH: Ugh. FILLION: I mean, can you believe that? She's screwing over her new fiancé, too. BOOTH: Wow, that must've made you mad, Joe. FILLION: Yeah. FILLION: Oh, come on, look, man, you're not going to blame me for this. All right, no, look, she is not going to screw me again! BOOTH: Whoa, look at that. That is the Lab calling. They tore apart your SUV. Anything you want to tell me before I pick this up? FILLION: Yeah. (pause) I want a lawyer. [CUT TO: INT. FBI BUILDING - HALLWAY - DAY. Enter BOOTH and BRENNAN.] BOOTH: Well, you know, he didn't do it. At least not with that vehicle. BRENNAN: What about the hair and the blood? BOOTH: Uh, he h*t a dog last week. When he talked about it, he burst out into tears. You know, he was more upset about that than he was about Meriel. BRENNAN: Well, she lied to him and he hates her for it. Cam thinks that I should've deceived Sweets, too. You know, I don't understand. Our lives are devoted to the pursuit of truth. BOOTH: Bones, you can't go around telling everybody what's on your mind even though it's the truth. Okay, look, what if you and I were going out, right, and you were, you know, taking forever to get ready and you came out in this dress, and I told you I didn't like it. What are you gonna do? BRENNAN: I'd reevaluate, change, or ignore you. BOOTH: Of course you would, Bones, good answer. [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. HODGINS and ANGELA are looking at photos.] ANGELA: These are the guys that Meriel met on that "Date or Hate?" We're looking for Owen Smith. (finds the photo) Here he is, Owen Smith. Hmm, he looks weird. HODGINS: Why? The guy looks perfect. ANGELA: I know, that's what's weird. He doesn't look real, right? Seems too young for plastic surgery, but these wide flaring cheekbones - there's no way that they could coexist with this nasal bridge. HODGINS: He is real. Owen Smith, her final date. Connected at 7:45 the night she disappeared. ANGELA: (placing photo down) I don't know... [CUT TO: INT. FBI BUILDING - SWEETS'S OFFICE - DAY. SWEETS is pacing. Enter DAISY.] DAISY: (eagerly approaching) What's so important, Lancelot? You miss me too much? SWEETS: (solemnly) Please, sit down, Daisy. DAISY: What's wrong? [They sit down.] SWEETS: I've-I've devoted myself to this relationship. I've given you everything. My heart... DAISY: Are you breaking up with me? SWEETS: I love you, but I can no longer... DAISY: You are breaking up with me. SWEETS: Tears will have no impact on me, Daisy. DAISY: Why? What have I done? SWEETS: You're engaged to someone else, for God's sakes! I'm not gonna be your little boy toy because you have a dysfunctional relationship with your fiancé. DAISY: What?! SWEETS: All those classes that you go to... You probably don't even take yoga, do you? DAISY: If I wasn't taking yoga, how could I do a Shirshasana? SWEETS: What about the wedding dress? Booth and Brennan saw you trying it on at the bridal shop cavorting with your fiancé. DAISY: Baby, my cousin is out of town. Bertolino's was having their annual sale. We're the same size. It was 50% off, one day only. SWEETS: Okay, and that man you were with? DAISY: Her fiancé. Not mine. I love my Lancelot. SWEETS: Oh, my God. I was so jealous. How could I have doubted you? DAISY: We're both beautiful people, Lance. I mean, we're bound to get jealous sometimes. SWEETS: I wish we could run home together right now. DAISY: (running to lock the door) I can't wait that long. [They begin undressing and fall to the floor in a passionate frenzy.] [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. BRENNAN and ANGELA are looking at the computer. Enter HODGINS.] BRENNAN: I can't believe I didn't see that before. HODGINS: See what? What are we looking for? ANGELA: Okay, Owen is a composite of these four other dates. Look, he has Graham Mou's chin, Mel Jensen's eyes, Frank Henley's mouth, and Mickey Jasper's nose and cheekbones. HODGINS: Someone created the perfect man in order to meet our victim. BRENNAN: Someone who had access to all these photos. [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. BOOTH and BRENNAN are questioning KURTIS ROSSI.] ROSSI: That's insane. Why would I create a fake persona just to meet some girl? BRENNAN: Because your facial morphology is subpar. Your supraorbital torus is too high and thick, you lack a mental eminence- BOOTH: Bones? He gets the picture. ROSSI: This is crazy. BOOTH: Right, we checked with the DMV. We know that you drive a sport utility vehicle. You see, the forensic team is examining your SUV right now. ROSSI: (after a long pause) It was an accident. BRENNAN: Hitting her once might have been an accident, but running over her twice seems very deliberate. ROSSI: She said she wanted a funny, smart, successful guy. That's me. (pause) I just wanted a chance. BOOTH: Really, and you thought she'd overlook the fake photo that you put in there, too, huh? ROSSI: All these beautiful women on my service, but... none of them will look at me. I'm better than half the losers that sign up. BRENNAN: She laughed you off and you followed her? ROSSI: No. I was driving down the alley on my way home. She was having a smoke. I rolled down my window to talk, just talk, and she gave me the finger and walked away. BOOTH: And you ran her down. BRENNAN: Twice. ROSSI: I don't know what happened. I'm a nice guy. I'm smart. (long pause) I'm just what she asked for. [CUT TO: EXT. FOUNDING FATHERS BAR AND GRILL - NIGHT. HODGINS sees WENDELL and his friends through the window and smiles. His phone rings. It's the Date or Hate service; ANGELA's photo pops up. He looks around. Elsewhere, ANGELA's phone also rings. She sees HODGINS's photo. They both place their phones away and continue on. HODGINS enters the Founding Fathers and greets WENDELL and his friends.] [CUT TO: INT. BOOTH'S APARTMENT - NIGHT. There's a knock at BOOTH's door.] BRENNAN: (through door) Booth, it's Bones. BOOTH: Yeah. (opens door) Hi. BRENNAN: Hey. I should've called. BOOTH: No, come on in. You kidding me? BRENNAN: I saw Sweets and Daisy, and I was wrong. She wasn't cheating on him. BOOTH: Well, that's a good thing, right? BRENNAN: Well, I wanted to spare him pain, but all I did was cause it. (sits down on the couch) BOOTH: You meant well. BRENNAN: I made him so jealous, I almost ruined their relationship. I should've listened to you. BOOTH: Maybe next time you will. (pause) Hey, I was just gonna go out and grab a bite to eat, some Chinese, maybe some- BRENNAN: (getting up) I'd rather drink. Do you want one? BOOTH: Yeah, we could do that. My good bottle of scotch. Bottoms up, Bones. BRENNAN: You know, intellectually I know that jealousy is absurd. But I see that it's real for people. (looking down) I even experience it myself. BOOTH: So... (taking a seat) who are you jealous of? BRENNAN: Angela. Hodgins. Cam. You. BOOTH: Why? BRENNAN: Because you all want to lose yourself in another person. You believe that love is transcendent and eternal. I want to believe that, too. BOOTH: Hey, you will. I promise. Someday you will. You will someday, okay? You will. [FADE TO BLACK.] END

{"type": "series", "show": "Bones", "episode": "04x20 - The Cinderella in the Cardboard"}

foreverdreaming

"Mayhem on the Cross" Episode 4x21 / Production 4x15 Airdate: April 16, 2009 Written By: Dean Lopata Directed by: Jeff Woolnough Transcribed by: vanima_luhta Norwegian Translation by: blandinavian Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER: (Open: Engelsviken, Norway. There is metal music coming from a lighted barn near a lake. Cut to a band playing the music while a skeleton hangs from a cross behind them. A crowd cheers. At the back of the crowd a woman stands with a Delta Unit Commander.) DELTA UNIT COMMANDER: Vi mottok et tips om at det kunne være menneskelig. Hva tror du? (We got a tip that it could be human. What do you think?) DR. SOLBERG: Jeg må gå nærmere. (I need to get closer.) DELTA UNIT COMMANDER: Iverksett! (Commence!) (They head towards the skeleton and the music stops. Dr. Solberg walks onto the stage and examines the skeleton.) DELTA UNIT COMMANDER: Nærme nok? (Close enough?) DR. SOLBERG: Definitivt menneskelig. Definitivt menneskelig, og ifølge det odontologiske arbeidet amerikansk. (Definitely human. Definitely human, and according to the orthodonture, American.) DELTA UNIT COMMANDER: Amerikansk? Er du sikker? (American? Are you certain?) DR. SOLBERG: Ja. Amerikansk. (Yes. American.) DELTA UNIT COMMANDER: Bra. La oss gi det tilbake til dem. (Good. Let's give it back to them.) (The guitar player takes a swing at them with his guitar, the Delta Unit Commander defends them and it fades to black.) (Cut to: Medico-Legal Lab Platform, Jeffersonian, Washington D.C. Dr. Temperance Brennan, Dr. Camille Saroyan and Intern Clark Edison are conducting the first examination of the skeleton that has been recently shipped to them. It is still on the cross.) BRENNAN: Norway? CAM: We don’t have enough crucified corpses of our own? Now the Vikings are sending them? CLARK: The annual m*rder rate in Norway is 0.7. BRENNAN: Less than one m*rder a year? CAM: In that case, they should solve the ones they have or they’ll never get any practice. BRENNAN: The victim is American. CLARK: Still, if a Norwegian was m*rder here, we’d conduct the investigation. CAM: But the Norwegians say the victim died here and then got shipped to Norway. BRENNAN: What’s their evidence? CAM: Nothing forensic, it’s just police work. The remains were found in the possession of a Norwegian black metal band. BRENNAN: (To Clark.) What’s black metal? CLARK: I dunno. It’s Norwegian. Whole different kind of black. CAM: Apparently, it’s a genre of heavy metal featuring macabre imagery of death and horrific v*olence. Skalle. That’s the name of the band? Skalle. BRENNAN: Oh, it means "skull." CAM: You speak Norwegian? BRENNAN: No, I’m a forensic anthropologist. I know how to say "skull" in just about every language. CAM: Well, Skalle... BRENNAN: Skall-eh. CAM: Skall-ay... BRENNAN: Skall-eh. CAM: They stole the body from an American metal band while on tour in DC six months ago. BRENNAN: The remains are male, late teens. CLARK: Significant staining on the ... skall-EH. BRENNAN: SKALL-eh. CLARK: It leached into the bone. CAM: Desiccated flesh on the face and scalp. CLARK: Mm-hmm. CAM: Perhaps enough for DNA. BRENNAN: If the scraps of clothing and the boots were actually on the victim when he died, then... maybe Hodgins can give us something. CAM: (Nods and then points to the skeleton’s ribs that have been spread out to look like wings.) What’s, what’s the story on this? CLARK: The posterior ribs were either broken or severed. BRENNAN: Detached from the spine and then fanned out. It’s the Blood Eagle. CAM: Beg pardon? BRENNAN: It was an ancient t*rture in which the victim was held face down while his back was sliced open. The ribs were then broken at the spine and then spread to look like an eagle, thus the name. (Cam nods.) BRENNAN: Absence of blood on the periosteal surface of the fractures suggests the ribs were broken postmortem. CLARK: I’ll remove the bones from the cross and clean them, see if we can find the cause of death. CAM: This is definitely m*rder. BRENNAN: There are other possibilities. CLARK: I have to admit, none spring to mind. BRENNAN: One possibility: drunken, death-obsessed, Satan-worshipping, drug-abusing teens rob a grave and reenact an ancient t*rture. CAM: Ah, just another Saturday night. (Cut to: FBI Building, Special Agent Seeley Booth is walking down the hall with another agent.) BOOTH: Right, okay, so for the Norwegian crucifixion case, I’m gonna need to know all there is about the heavy metal music scene in D.C. Okay, and tell you what, get me all the recordings you can. (They turn the corner and run into Dr. Gordon Wyatt) WYATT: I think you’re going to have to be more specific than that, Agent Booth. BOOTH: Ha, Gordon-Gordon! (He shakes hands with him and continues to do so.) WYATT: There’s black metal, speed metal, grindcore, thrash, doom, drone, glam, sludge, metalcore, stoner metal, death metal, and deathcore. (Looks down at their still shaking hands.) Must you shake my hand with quite such a vise-like grip? BOOTH: Right, yeah, okay, did you get all that? Go, go, go! I thought you were a psychiatrist, huh? How’d you become such a musical expert? WYATT: Oh, I’ve got quite a, quite a musical background, you know. BOOTH: Oh, yeah, right uh, Saint, um, Weatherby’s Glee Club in Doo-Dah-on-Henley? So... I thought we loaned you out to Interpol? WYATT: Yes, part of the serial k*ller task force, traveling the globe bathed in perversion and gore. BOOTH: Have a seat. (They both sit.) WYATT: And on a happier note, I’m to meet your bright young thing. Dr. Sweets? BOOTH: Sweets, why Sweets? WYATT: Well, he wants to interview me for the book he’s writing on you and the lovely Dr. Brennan. Anyway, I can see you’re busy. (He stands.) Listen, uh, perhaps while I’m here I can barbeque for you one evening. BOOTH: Oh, no, no, I am the barbeque master, remember? You can do the boiling. WYATT: Ah, I have it on good authority that my culinary skills have advanced somewhat since last we ate. Anyway, it’s good to see you. BOOTH: Yeah, you too. (Wyatt exits.) (Cut to: Medico-Legal Lab, Cam’s office. Cam is sitting at her desk and Angela walks in.) ANGELA: Hey. I have a computer rendering of what our victim may have looked like. (They pull it up on Cam’s computer.) Look at him. He’s a puppy. CAM: A 278-pound puppy. ANGELA: Sometimes puppies are big. CAM: Prelim tox results came back negative for embalming fluid. ANGELA: So he was never buried in a sanctioned grave. So probably m*rder. CAM: m*rder and his remains crucified for the entertainment of people who hate life. ACT ONE (Open: FBI Building, Dr. Lance Sweets’ office. He and Dr. Gordon Wyatt are meeting for the first time and shaking hands.) WYATT: Gordon, Gordon Wyatt. It’s a pleasure to meet you, Dr. Sweets. SWEETS: Dr. Wyatt, I am a huge admirer of your book on the role of sexual sadism in female serial K*llers. WYATT: Do I detect a certain caveat in your tone? SWEETS: Uh... well, the sample is small. WYATT: Comparatively speaking, there are few female serial K*llers. SWEETS: I was wondering if you had a chance to take a look at... WYATT: Your manuscript? (He reaches into his bag and pulls the manuscript out.) Yes, indeed, and may I say, Dr. Sweets, that I think this is probably the best work I have ever read on the dynamics of opposite personality types working towards a common cause. SWEETS: Okay, now I’m hearing a caveat. WYATT: It’s a small one. It’s just that Brennan and Booth aren’t in any way opposites. SWEETS: Wow, small? (Laughs.) What is that—British understatement? WYATT: Well, yes. He’s a man, she’s a woman. He’s instinctual, she’s empirical. SWEETS: Opposites. WYATT: Superficial ephemera, Dr. Sweets. SWEETS: Wow. Okay, what about the sexual component in their relationship? WYATT: Ah... SWEETS: Would you agree that they have both, uh, sublimated their attraction to each other out of fear of endangering their working relationship because their working relationship is paramount to both of them? WYATT: Alas, I’m afraid I wouldn’t agree with that, no. SWEETS: Wow, which part? WYATT: Well, everything you just said. Yes, one of them is acutely aware of that attraction. Struggles with it daily, as a matter of fact. SWEETS: Wow. I’m sorry I keep saying that... but which one? WYATT: It’s your book, Dr. Sweets. I would never tell you what to write. SWEETS: I was actually going to ask you to write the introduction. WYATT: That’s very flattering, but uh, I’m retiring. I am relinquishing the field to young Turks like you. (Cut to: Medico-Legal Lab. Metal music can be heard and Cam and Dr. Jack Hodgins can be seen walking into Angela’s office where the music is coming from. She’s bobbing her head and is clearly enjoying the music.) CAM: Do you think she actually enjoys this? HODGINS: This whole sexual abstinence thing is totally twisting her out of shape. (He hands a file to Cam.) Oh, here, uh, the staining on the skull was propylene glycol dicocoate, alkyl benzoate, and sorbitan sesquioleate. CAM: What is that, some king of systemic poison? HODGINS: That’s common theatrical makeup. It leached into the skull during decomp. (Walks toward Angela and taps her on the shoulder.) ANGELA: (Turns, surprised to see them there.) Oh, sorry, sorry. I put the music on to get me in the right space. (She turns the music off.) Well, extrapolating from the stains on the skull, it turns out that at the time of his death, our victim looked like this. (Pulls an image of the victim up on the computer and renders makeup over his face.) HODGINS: Looks like your puppy moonlighted as a zombie werewolf. ANGELA: Yeah, I ran this through my facial recognition program with an image search of metal Web pages. Check this out. CAM: There’s our boy. (The search pulls up a webpage for a metal band.) HODGINS: Spew. It’s very evocative. ANGELA: So our victim—Mayhem—was the bassist. The drummer is Wrath and the guitarist Pinworm, but they do have a new bassist now. His name is Grinder. CAM: What about real names? HODGINS: I imagine they play that pretty close to the vest. ANGELA: Yeah, kind of ruins the magic when you find out that Satan’s name is Todd or Larry. CAM: Okay. I’ll tell Booth to search for a death metal band named Spew. (She exits and Angela makes devil’s horns with her hand.) (Cut to: Royal Diner. Booth, Brennan and Sweets are sitting at the counter.) BOOTH: Wait a sec. What do you mean Gordon-Gordon is going to quit psychiatry? SWEETS: Well, I asked him to write the intro to my book about you two. He told me he couldn’t because he was retiring. BRENNAN: Is it possible he just hated your book? SWEETS: Thank you. (Chuckles.) BRENNAN: Perhaps now he’ll find a pursuit worthy of his intellect... neurochemistry, for example. BOOTH: (His phone rings and he answers.) Yeah. Booth. Hold on, slow down. (He turns away from the counter.) SWEETS: Okay, why would a man with Wyatt’s insights into the human psyche want to be a mere scientist? No offense. BRENNAN: Perhaps because psychology is a field which is ill-defined in conception and ineffective in execution. SWEETS: Thank you. BOOTH: (Returns to the counter.) Okay, sounds great. (Hangs up,) So Cam says we got to track down a death metal band named Spew. They’re totally underground—no concerts listed, no contact information. BRENNAN: A death metal band? BOOTH: Yeah. BRENNAN: But our victim’s skeleton was found in the possession of a Norwegian black metal band. BOOTH: Death metal, black metal, what’s the difference? SWEETS: In essence, death metal is about brutal technical proficiency while black metal is about emotion. Now both of them exploit adolescent feelings of alienation, depression... BOOTH: Right, cause it all just sounds like a truck full of cymbals crashing into a saw factory for me. SWEETS: Well... BRENNAN: Historically, picayune internecine squabbles account for a huge number of deaths. BOOTH: Bones, just figure out cause of death for me, all right, "interoserine" or whatever. (To Sweets.) How do you know so much about this? SWEETS: I was really into death metal... as a teenager, not anymore. Obviously. BOOTH: Really? SWEETS: Oh, come on. BOOTH: Come on, what? SWEETS: (Into an invisible microphone.) Rah, rah, rah. I don’t like that anymore. (Cut to: Medico-Legal Lab, Hodgins’ work station.) BRENNAN: According to Booth there’s no way to track down this band Spew. No bars, clubs or high schools. HODGINS: The cross is carved of 120-year-old black oak and was stolen from St. Benedict Episcopal Church six months ago. CAM: That is some determined desecration going on. HODGINS: Yeah, well the bones themselves were covered in a patina of smoke, tobacco, marijuana, meth, animal blood, semen and saliva. BRENNAN: Who are these people? CAM: Sweets sent over a briefing. (Hands a file to Brennan.) HODGINS: Concerts are set up at secret locations, and then only insiders are invited. BRENNAN: Then how do we find them? HODGINS: Aha... well, the dried mud from the treads of the boots that were duct-taped to the victim contained bovine fragments and infectious prion proteins. BRENNAN: A slaughterhouse. HODGINS: A slaughterhouse closed down due to mad cow disease. CAM: Death metal enthusiasts prefer morbid, horror-centric venues for performance. In addition, they tend to perform for their fans in the same place they practice and sometimes squat. HODGINS: (Pulls a map up on his computer that zeroes in on a location.) Like maybe this horror-centric condemned slaughterhouse. BRENNAN: Wait. How do we know that those are his boots? He was in Norway for months. CAM: You are going to be so proud. (Cut to: Exam room. Clark is explaining the boot theory to Brennan.) CLARK: The victim’s foot size is 11, same as his boots. BRENNAN: We need something more than a matching shoe size. CAM: He’s not finished. CLARK: Wear on his calcaneus and cuboid suggest our victim walked mostly on the outside of his feet. CAM: Supinator. BRENNAN: One percent of the population are supinators. That’s a lot. CAM: One percent of size 11 teenagers isn’t good enough? BRENNAN: (Looks down at the victim’s feet.) This missing toe... did it fall off after decomposition, or was it a preexisting condition? CLARK: That’s exactly what I was thinking. (He pulls an image of the inside of the boot up on a screen.) You see here? (Points to the missing depression inside the shoe.) His toes left an impression inside the boot, but there is no impression corresponding with the big toe. CAM: Are you satisfied that this was the boot worn by the victim while he was still alive? BRENNAN: It’s a reasonable conclusion. CAM: (To Clark.) You want to say "King of the Lab"? CLARK: (Uncomfortable.) No. (Cut to: Brennan, Booth and Wyatt riding in the SUV.) WYATT: So, why do I have the feeling that I’m being taken somewhere terrible for a... a gangland whacking? BRENNAN: We are going somewhere terrible. (Booth gives her a look.) We are. BOOTH: Look, we... we need your expertise. WYATT: Well, I’m sure the estimable Dr. Sweets is more than qualified. BRENNAN: Booth is lying about needing you. BOOTH: What? BRENNAN: He wants to talk you out of quitting psychiatry. BOOTH: Bones, I was easing into that, okay? WYATT: As a matter of fact, I might be able to help. You know, as a young man, I dabbled quite extensively in the rock music scene. BOOTH: (Chuckling.) Oh, wait a second. What, were you, lead dulcimer in a flute band? WYATT: As a matter of fact, I was the founding member of a proto-glam rock outfit. BRENNAN: I don’t know what that means. WYATT: It means that for three glorious years, I wore spandex, silver lame, pancake makeup, and played a guitar shaped like a spaceship. I was quite pretty in my way. BOOTH: Wait. You... you were Noddy Comet. BRENNAN: What’s that? BOOTH: Noddy Comet! I always wondered what happened to you. You were Noddy. WYATT: I changed jobs. That’s all. BOOTH: Noddy Comet! I got to get some of those original tapes. (Cut to: Slaughterhouse. Spew is rehearsing. The music is extremely loud as Booth, Brennan and Wyatt walk in.) WYATT: Actually, you know, that fellow playing the bass is really rather good. BRENNAN: What? BOOTH: Okay, let’s shut it down, guys. Come on. FBI, let’s go! Hey, I said... FBI shut it down! (The guitarist, Pinworm, turns and spits on the badge Booth is holding up. Booth clearly gets irritated and turns, then takes out his g*n and sh**t the amp and speakers.) BRENNAN: Oh. WYATT: Yes. Now, if you recall ...it was sh**ting inanimate objects that had you brought to me for therapy in the first place. BOOTH: I thought it was a justifiable sh**ting. BRENNAN: I agree. BOOTH: She agrees. See? (Wrath kicks over the cymbals.) PINWORM: You going to put your g*n down? BOOTH: Don’t rush me, okay? (He wipes his badge off on Pinworm’s pants.) I’m thinkin’. ACT TWO (Cut to: FBI Building, Interrogation Anteroom. Brennan is on the phone with Booth and Sweets is standing nearby.) BRENNAN: Well, are you coming? BOOTH: (In his office, behind his desk.) Nope, I discharged my w*apon. I pulled desk duty until the paperwork clears. BRENNAN: You’re fifty feet away. BOOTH: At my desk, okay, so just put in the earplug and let’s do this. Don’t tell Sweets about the ear bud. BRENNAN: (To Sweets.) Booth wants us to interrogate them. SWEETS: Yeah, he’s not really supposed to be watching on his laptop and talking in your ear. BOOTH: (Overhearing Sweets, speaks into the phone.) So, just tell him that’s not happening. BRENNAN: (Hangs up and glances at a file Sweets has.) These are their real names: Monty Bigelow, Matt Stickney, and Darrel Moss. (Sweets exits the anteroom and goes into the interrogation room. Brennan hangs back and inserts the earbud into her ear.) BOOTH: (In Brennan’s ear.) All right, Bones, so just ease into this. (Watching the interrogation on his laptop.) BRENNAN: What was Mayhem’s real name? BOOTH: Or you can just go at them like a freight train. PINWORM: Dabbler. SWEETS: His stage name was Mayhem, not Dabbler. GRINDER: Mayhem’s a dabbler. A poseur. A douche. BRENNAN: Do you want to spend time in jail, Pinhead? BOOTH: You can’t actually arrest people, Bones. PINWORM: We live in a slaughterhouse. You got something worse than that? SWEETS: Alright, let’s start over. Tell us the name that Mayhem’s mother and father gave him and we’ll charge you with as*ault a federal agent. BRENNAN: Oh, no, you have that backwards. BOOTH: No, Bones, he’s right, okay? They want to be arrested. BRENNAN: Oh. Reverse psychology. SWEETS: That term is almost always misused. BOOTH: Look, just tell Tapeworm that felony as*ault is the best you can do. BRENNAN: Felony as*ault is the best we can do... Tapeworm. SWEETS: Take it or leave it. GRINDER: (Pinworm motions for him to tell them.) Justin. Justin Dancy. SWEETS: When did you last see Justin? GRINDER: When I k*lled him, ate his heart and took his job. PINWORM: I k*lled him, too. WRATH: I never even noticed he was gone. GRINDER: I ate his face off before I k*lled him. BRENNAN: I am so much better at interrogation than I thought. SWEETS: Those aren’t legitimate confessions. All right, guys. Come on, give us a real answer. PINWORM: About a year ago. When he quit the band. How about those charges? BOOTH: Whoa, where’s he goin’? (Sweets gets up and walks out of the interrogation room. Booth scrambles to close his laptop and pretend that he wasn’t just watching the interrogation on it. Sweets walks into his office.) SWEETS: Booth. BOOTH: Yeah? SWEETS: The one called Grinder is different from the others. His body language displays an emotional connection to the m*rder victim. BOOTH: Okay, so, uh, what do you think we should do? SWEETS: We should arrange to have him cleaned up—revealed, so to speak—so that Dr. Wyatt and I can talk to him and exploit that connection. BOOTH: Okay... great. You do that. I’ll stay here on desk duty. SWEETS: Okay. (Cut to: Medico-Legal Lab, Exam Room. Clark is examining the bones of the victim and explaining to Cam.) CLARK: Posterior ilium, right side, damage to the cortical bone layer, extending into the trabecular. CAM: This skeleton was carted from DC to Norway, then used as a prop at ultraviolent concerts. There’s bound to be damage. CLARK: I enlarged the x-ray. See the multiple clefts and wastage? CAM: Suggesting the damage done to the pelvic bone happened very near the time of death? CLARK: Now, because Dr. Brennan isn’t here, I’ll guess that these gouge marks came from a Kn*fe. CAM: Someone went digging into the victim’s gluteus? CLARK: Yes. Bone damage consistent with a b*llet wound. CAM: So... the victim was sh*t in the ass, then k*lled in some way yet to be determined, then the k*ller dug the b*llet out of the... CLARK: Gluteus. Yes. CAM: Okay. Let’s have Hodgins swab for trace evidence. God knows what he’ll find. Maybe a little piece of Norway. (Cut to: FBI Building, Conference Room. Dr. Wyatt and Sweets are waiting for Grinder to come in. He enters.) WYATT: Ah, Darrel Moss. Do, come in. Sit down. GRINDER: My name’s Grinder. SWEETS: Grinder, have you looked in the mirror? GRINDER: Where are the other guys? Did you delouse them, too? WYATT: No, nobody else. Just you, Darrel. SWEETS: You’re the new guy in the band, right? You replaced Mayhem on bass? GRINDER: I told you. I k*lled him for the job. SWEETS: Uh, huh. Dr. Wyatt tells me that you are a skilled, classically trained bassist influenced by... who is it? WYATT: Jaco Pastorius. But you do everything you can to hide that, don’t you? GRINDER: I never heard of him. WYATT: No, no, ‘cause that would... that would ruin your street cred. SWEETS: Justin Dancy’s remains show evidence of being used as a stage prop for approximately the last six months, four of those in Norway. GRINDER: His name was Mayhem. SWEETS: But he wasn’t always Mayhem. WYATT: Just as you weren’t always Grinder. (He pushes a photograph across the desk.) Look, there he is. There’s Justin. And that’s you, Darrel. Justin and Darrel. You see, what we want to do is find whoever it was that k*lled your boyhood friend. GRINDER: What makes you think I even know? SWEETS: Everyone knows everything in the metal world. WYATT: It’s a small world breeding whispers, conjecture... secrets. SWEETS: You may even have heard rumors of who m*rder him. WYATT: But you’re not going to tell us, are you? ‘Cause we’re outsiders. That would be breaking the code. SWEETS: So we’re just going to ask: Who had him before the Norwegians? WYATT: Who crucified your boyhood friend? GRINDER: We would have got him back, you know. SWEETS: Got him back from who? GRINDER: Zorch. WYATT: Excuse me? SWEETS: That lame deathcore outfit? GRINDER: They consider themselves deathcore. I consider them crapcore. What they did to Justin, though, was totally awesome. It was brilliant. WYATT: And what would you have done with Justin if you had stolen him back? GRINDER: We would have hung him up behind us, man. It would have been epic. Legendary. (Cut to: Zorch concert. Brennan is on the phone with Booth who is still on desk duty in his office.) BRENNAN: (Shouting over the music.) I’m disturbed that despite my extensive training as an anthropologist, all of these bands sound alike and appear to share identical belief systems and mores. BOOTH: Yeah, right, except for the trained anthropologist part, that’s how my dad felt about Black Flag and the d*ad Kennedys. BRENNAN: I have no idea what you’re saying. BOOTH: Listen, Bones, I don’t want you there alone, okay? Just get a good look at this guy, and you get out; do you understand? (A man with makeup on approaches and Brennan has to look twice before she realizes that it’s Sweets.) SWEETS: You ready? BRENNAN: Sweets? BOOTH: Sweets is there? BRENNAN: Well, I think it’s him. SWEETS: Yeah, I had to meld to get information. Zorch’s lead singer is m*rder. (m*rder blows f*re out of his mouth.) Look at that. Who does he think he is? The guy with the tongue from Kiss? BOOTH: Do you know what? Just tell Sweets to leave Gene alone. Just get a photo and get out of there. SWEETS: Zorch and Spew are sworn enemies. It started out with the fans throwing feces at each other, then some att*cks. BRENNAN: Culminating in medieval t*rture? (On stage, m*rder lifts a large Kn*fe and the crowd shouts "Do it! Do it!") BRENNAN: He’s got a Kn*fe. BOOTH: Who’s got a Kn*fe? (m*rder slides the Kn*fe across his throat and blood stars flowing.) SWEETS: Nah, don’t worry. It’s totally fake. (m*rder grabs his throat and goes down on the stage.) BRENNAN: That’s...not fake. BOOTH: Whoa, whoa, what’s happening? BRENNAN: m*rder slit his own throat. (She pushes through the crowd toward the stage.) Excuse me. BOOTH: Is he still alive? BRENNAN: (Assesses the situation.) We need a compress. (She looks around and then rips Sweets’ shirt off.) SWEETS: You could’ve asked. BRENNAN: Hold this against the wound. Booth, can you call it in? BOOTH: Listen, I’m not hanging up, Bones... (She hangs up.) SWEETS: (Holding the compress against m*rder’s throat.) Help is coming... BOOTH: Bones? Bones? BRENNAN: (The crowd surges forward, many are taking pictures with their phones.) Stand back, please. FBI. Stand back! (She looks down and is surprised to see multiple scars on Sweets’ back.) ACT THREE (Cut to: FBI Building, Interrogation Room. m*rder is being interrogated by Brennan and Sweets.) m*rder: Why’d you arrest me? I’m the one with the cut throat. SWEETS: Oooh. Maybe you shouldn’t talk to much. BRENNAN: Uh, no, his larynx wasn’t affected. m*rder: This is my actual voice. BRENNAN: Sounds exactly like when you sing. BOOTH: (Still watching from his office.) Sounds like gravel in a hubcap. SWEETS: So, that was a very good night for you. Word gets around that you slit your own throat for real... m*rder: You got it. Tonight, I’m a legend. BRENNAN: Do you have any idea who switched your prop Kn*fe? m*rder: One of the guys in the band, a fan, someone from another band, maybe I did it myself. Who cares? BOOTH: I bet it was Spew. BRENNAN: How about Spew? Evidence indicates that you k*lled and crucified their bassist. m*rder: This just gets better and better. I’m getting credit for that? SWEETS: Hmm-mm. No. See, the thing is, that same credit could send you to prison. BOOTH: Okay, listen, Bones, just tell him you don’t care if he did it or not, you’ll just throw his ass in jail. (She’s unsure about this and he can tell.) Look, it’s all right to lie during an interrogation, Bones. It’s a technique. BRENNAN: The evidence is inconclusive regarding your guilt, (She stands and slams her hands down on the table.) but I’ll damn well make sure it’s conclusive! SWEETS: Whoa, what? BOOTH: Attagirl. Give it to him. BRENNAN: I will perjure myself if I have to, because you... make... me... sick, punk! SWEETS: Dr. Brennan... BRENNAN: I’ll put your ass on death row and laugh at your execution. I will testify that your Kn*fe was used to make these gouges. (She walks around the table and shows him a picture, then turns him in his wheelchair to talk to him very near his face.) I will also prove that whatever implements we find—any props, knives, cleavers, all of your stage ware—I will show that it was used to mutilate his remains. (She turns him back toward the table.) Which they probably were. SWEETS: Good to know. BOOTH: There’s no rock concerts in prison. BRENNAN: (Sing-songy.) There are no rock concerts in prison. m*rder: (Scoffing.) Rock concerts! I want immunity from desecration of human remains. BRENNAN: No promises, dirtbag! (Slams her hands down on the table again.) BOOTH: Just tell him that we will talk to the prosecutor on your behalf. BRENNAN: But we’ll see what we can do. (She turns her chair and sits down in it backwards.) m*rder: Maybe six months ago, there’s a rumor, Mayhem’s d*ad and buried under Bridge 6, westbound lane State Road 66. BRENNAN: 6-6-6. The sign of the devil. SWEETS: Who told you? m*rder: I dunno. Nobody. Everybody. It was in the air, man. Dug up the bones. Somebody heard about this old Viking t*rture thing. Sounded like a great gag and it was, until Skall stole it. BRENNAN: Skall-eh. SWEETS: Doesn’t matter. BRENNAN: Just trying to help. m*rder: I dug him up, stole the cross, fastened the bones to it. SWEETS: But you didn’t k*ll him. (m*rder shakes his head.) BOOTH: I believe him. (Cut to: Royal Diner. Dr. Wyatt, Booth and Brennan are sitting at a table near the window.) WYATT: Now, my last official task as an FBI shrink is to declare you fit for duty. (He holds the g*n out to Booth over the table.) BOOTH: Gordon-Gordon, (taps the table) the g*n under the table. WYATT: I’m sorry. Sorry. BOOTH: Geez, yes. Fine. BRENNAN: So, Booth is back? WYATT: He’s back. BOOTH: Hey, so what’s next for you, Doc? I mean, when you stop shrinking heads? WYATT: I’ve been accepted by the Institute of Culinary Arts. BOOTH: You’re going to be a chef. WYATT: That’s correct, yes. I’m going to put good things into people instead of taking out things that are bad. Which I know sounds rather Freudian, but... Sigmund’s been largely discredited so to hell with him. BOOTH: I don’t see why you can’t do both. BRENNAN: Well, we still don’t know who m*rder Justin Dancy. WYATT: Baby steps. You will prevail. BRENNAN: This subculture, it takes every notion of community and turns it upside down. WYATT: Well, no matter what they say, the fact remains that they are artists. They create. No true nihilist ever creates. These dark tortured people may rail against the night, but they make music. BRENNAN: On an oscilloscope, what we call "music" is demonstrably distinct from what we call "noise." WYATT: Your Dr. Sweets liked it as an adolescent. He’s turned out rather well...for the most part. BOOTH: For the most part? WYATT: Well, I read his book. And, as is the case with most writing, it reveals more about the writer than about the subject matter, which, in this case is you. BRENNAN: Can you provide an example? WYATT: For one thing, he finds it extremely frustrating—your lack of willingness to discuss your childhood experiences with him. BRENNAN: What does that tell you? BOOTH: No, do not ask him that. He’s going to think we both had traumatic childhoods. BRENNAN: We did. Your father was a violent drunk and mine abandoned me. BOOTH: (Claps.) Great, thank you. Just tell everybody here at the diner, won’t you, Bones? Go ahead. BRENNAN: Sweets... has scars on his back. Old ones. WYATT: Really? BOOTH: What kind of scars? BRENNAN: Well, like he’d been whipped. BOOTH: Whipped? BRENNAN: I saw them. WYATT: That explains his near-obsession with your childhood trauma, doesn’t it? (Cut to: Medico-Legal Lab; Angela’s Office. Angela is at her computer, explaining to Cam and Hodgins.) ANGELA: Okay, I did an Internet search of Spew’s concerts. Now, this stuff is all uploaded from cell phones, so the quality is crap. Alright, check this out. (She runs a video.) This girl runs up. Here’s the g*n. She fires, then Mayhem literally spews the blood all over the crowd. And there’s the blood. CAM: Okay, obviously fake. ANGELA: Yeah, it’s a set piece. I’ve seen this same setup maybe 60 times in two years. CAM: It’s the same girl every time? ANGELA: I’m pretty sure it is. (She zooms in on the girl’s face, but it’s very pixilated.) HODGINS: The image quality stinks. ANGELA: Except I combined all the different cell phone versions... (The imager runs and compiles an image of the girl.) CAM: Nice. We can get an ID from that. Can you arrange these shows in chronological order? ANGELA: Well, they all contain embedded cell phone codes so, yeah. HODGINS: Did he ever bleed from his ass? Because that’s where we found the b*llet fragments. CAM: Clark determined that the g*n wound to the victim’s ilium occurred ten months prior to his death. HODGINS: (Picks out a video from the many running on the screen.) There. (The video is enlarged.) He fell down that time behind the audience. CAM: Have you got another angle on this? (Angela brings up another video.) Oh, there. The b*llet splinters his instrument. HODGINS: Right into his ass. That’s our money sh*t right there. CAM: Not so tough when the blood is real, are you, metal boy? (Cut to: FBI Interrogation Room. Booth and Brennan are questioning Lexi, the girl from the videos.) BOOTH: So, this is you, isn’t it? (He shows her a photograph of her holding the g*n.) LEXI: My manager said not to talk to you until he gets here. BOOTH: Death metal chicks have managers? (Lexi sighs and reaches into her bag to pull out a CD which she slides across the desk to Booth.) Hmm. Ah, look at that. Metal to what? Power punk? LEXI: It’s a much larger market, but I still retain my artistic integrity. BOOTH: Right. Do you still sh**t bass players in your new gig? LEXI: Is that what this is about? Not my fault someone replaced the blank with a real b*llet. BOOTH: No, I think you knew that the b*llet was there. Otherwise, you would’ve sh*t the guy in the neck like every other time. LEXI: I’m waiting until my manager gets here. BOOTH: Okay. We can do that. In the meantime, I’m going to show you this picture here. (He stands and walks around the table to put a photo in front of her.) You see... Your boyfriend is flinching before you even pulled the trigger. I say the two of you were working on this together. LEXI: It was Justin’s idea, okay? He was always trying to prove to the other guys he was more hardcore than them. BOOTH: Was he? LEXI: Well, uh... he wanted me to sh**t him, so, yeah, I gave him his props. BOOTH: Hmm... LEXI: So, what? Now that I’m making some money, he’s coming after me for sh**ting him in the ass two years ago? BOOTH: Justin’s d*ad. He was m*rder. LEXI: (Shocked, starting to tear up.) What? Oh, God, those stupid bastards. Those stupid... You have to get them. BOOTH: Get who? LEXI: You know, probably a fan found out. You know, maybe someone in Spew. This is totally my fault. BOOTH: Okay, found out what? Why is it your fault? LEXI: Maybe a year ago, he gave me a call saying that, you know, he wanted to get back together, join my band. Some hardcore metal fanatic found out and k*lled him. (Cut to: Medico-Legal Lab; Exam Room. Clark and Brennan are still examining the bones of the victim.) CLARK: The striae and kerf width on each side of the bisected ribs match the saw that the FBI found at the Zorch concert. BRENNAN: Fingerprints are all m*rder’s. CLARK: He already confessed to digging up the corpse and mutilating it. (He walks around the table.) So, you’re looking at the greenstick fractures? BRENNAN: Yes. (She turns to look at him.) Hmm. Would you mind getting on all fours? CLARK: Uh, is that strictly necessary? BRENNAN: Yes, please. (She walks to a drawer and pulls out an extension cord then walks back and begins to wrap it around his throat after he’s down on all fours.) So the fractures are adjacent to the articulation with the spine. CLARK: Now, with evidence of inward bowing (Brennan tightens the cord and he gasps).. BRENNAN: Incomplete fractures, evidence of inward bowing—if I place my knee in your back... (She puts her knee into his back and he goes down.) CLARK: (Gasping.) Hello! Tunnel vision, Dr. Brennan. BRENNAN: Oh, I’m sorry. Sorry. That scenario explains al the bone damage and fractures. CLARK: So, s*ab and then garroted? BRENNAN: What if the wounds to the C5 aren’t from a s*ab, but instead the result of the victim being garroted? CLARK: The puncture occurred on the back of his neck. But what would do that? BRENNAN: Barbed wire. CLARK: Yeah. (Cut to: Medico-Legal Lab; Brennan’s Office. Booth, Brennan, Wyatt and Sweets are sitting around discussing the case.) SWEETS: Yes, his ex-girlfriend is right. Following her into the mainstream would be seen as the ultimate betrayal. BOOTH: Mmm, like leaving a cult. BRENNAN: We think that the victim was garroted, most likely with barbed wire. SWEETS: The m*rder will lay claim. He’ll keep a souvenir. WYATT: Yes, in the same way that a serial k*ller would. SWEETS: Right, but it isn’t for his own satisfaction. It’s a way of boasting of what he’s done to the community. WYATT: Yeah, it’s a totem, a signifier of some kind that can only be discerned by the cognoscenti. BOOTH: Okay, now how are we going to figure this out? None of us speak Italian. WYATT: (Pointing at Booth.) He does that, doesn’t he? He wants to be underestimated. But um, you, you’re one of the cognoscenti, Dr. Sweets. SWEETS: Oh, no. I’ve outgrown that. Mostly. Okay, maybe sometimes I’ll listen to a few bootleg tapes when I’ve had a bad day... BOOTH: That’s good, because this music sucks and the people who listen to it are defective! SWEETS: Thank you, so much. WYATT: I have no doubt that your parents said the same thing to you when you were listening to my music, Agent Booth. BOOTH: Mmm-hmm. And according to one of your squint reports, a b*llet was gouged out of the victim’s ass? BRENNAN: You read Clark’s report? BOOTH: Well, only because I was on desk duty. (Clears throat.) Now, that b*llet could be a good totem pole. BRENNAN: A totem, Booth. A totem pole is much larger. WYATT: Yes, but nonetheless, it would be a good totem pole otherwise. BOOTH: So, someone m*rder the kid for leaving the fold... BRENNAN: Then uses a Kn*fe to gouge out the b*llet. BOOTH: Buries the body under the bridge. WYATT: Knowing the cognoscenti will see the b*llet and assume he’s the m*rder. SWEETS: But m*rder finds the body, puts it on display. BOOTH: Mm-hmm. Stealing credit. BRENNAN: So, we’re looking for a b*llet then? BOOTH: Mm-hmm. And lookit here. Our good, happy friend Pinworm wears a smashed b*llet around his neck inside of a cross. ACT FOUR (Cut to: FBI Building; Interrogation Room. Booth, Brennan, Sweets and Wyatt are in the Interrogation Anteroom, looking at video of Pinworm who is sitting in the Interrogation Room writing on a pad of paper.) WYATT: Is it too much to hope that the fellow’s scratching out his confession in block letters? BOOTH: (Zooms the video in on the cross worn around Pinworm’s neck.) Right here, right inside the cross: .22 caliber. BRENNAN: Completely consistent with the mark it left in the victim’s ilium. BOOTH: Okay, Bones and I are going to go in there. What we do not need to hear is a lot of psychological mumbo jumbo stuff in our ears. (Booth and Brennan exit to enter the Interrogation room, leaving Sweets and Wyatt alone in the anteroom.) SWEETS: Okay, so are you bored with psychiatry? Is that it, people don’t have the capacity to surprise you anymore? WYATT: Oh, people surprise me. You surprise me. SWEETS: Me? WYATT: Few people looking at you would know what you’d been through. SWEETS: I beg your pardon? WYATT: Well, you were adopted. And the people who adopted you were an older couple. Probably too old for standard adoption of an infant, meaning you weren’t an infant. You were, what... four? SWEETS: Six. WYATT: Six, yeah. Special needs. A child who’d been through some sort of hell, a damaged child. But these were loving, wonderful people. SWEETS: Yes. WYATT: They saved you...but now they’re gone. You’re an orphan. SWEETS: My parents died within weeks of each other. WYATT: Recently, I’d say. The wound is still fresh. SWEETS: Just before I came to work here. WYATT: Yeah. So now, you’re mostly alone in the world. But they had time to save you. They gave you a good life, and that’s why you believe that people can be saved by other people with good hearts. That’s the gift your parents left you. That, and the gift of a truly good heart. That gives you a deeper calling I do not share. (Sweets takes a deep breath, clearly touched by Wyatt’s words. They turn toward the observation window and push the button on the speaker so they can hear what is going on inside the interrogation room.) PINWORM: I don’t remember where I got this b*llet. BRENNAN: Well, you dug it out of Justin Dancy’s pelvic bone with a Kn*fe. PINWORM: Hardcore, man. I—I dug it out of his ass, and then hung it around my neck. Legendary. If people think that means I k*lled him, there’s nothing I can do about it. (He leans forward and shows the drawing he’s done on the pad of paper to Brennan.) You know... you’re one of us. Up to your elbows in corpses and m*rder. It’s hot. BRENNAN: (Uncomfortable.) Thank you. BOOTH: So what, was, uh, Lexi like your Yoko Ono? PINWORM: What is that? A Bible reference? BOOTH: So let’s just say that Justin decided to go with Lexi. What would that do to your band? PINWORM: No way any member of Spew does that. Never happen. BRENNAN: Why not? PINWORM: Well, because we are the real thing, the genuine item. Our music isn’t made to be enjoyed. It’s made to be feared. It comes straight from hell. BOOTH: Right. You don’t know anything about hell. PINWORM: And you do? BOOTH: Well, see, I was a soldier and a cop. BRENNAN: I’ve identified hundreds of victims of genocide. I accept hell as a metaphor for what I’ve seen. PINWORM: You haven’t seen hell until you’ve been inside my head, dreamed my nightmares. Your delusional, cozy reality doesn’t even come close. (Cut to Sweets and Wyatt in the anteroom.) SWEETS: He’s, uh, he’s enjoying this attention. WYATT: It’s what he feels on stage, isn’t it? The...the power. SWEETS: But his sense of power is totally dependent on an audience. WYATT: (Holds up a finger and then pushes the button to speak into Booth and Brennan’s ears.) Ruminate on Milton, Agent Booth. Think Paradise Lost. BOOTH: (Sits forward and opens his mouth like he’s about to speak, but turns to Brennan and whispers.) What does that mean? BRENNAN: (Whispers back.) Oh, uh, Satan’s greatest sin was pride, vanity. BOOTH: Right, okay—well, you know what? You’re free to go. PINWORM: Uh, what? BOOTH: Well, my associate here tells me that m*rder confessed to the m*rder and the crucifixion of Justin Dancy, so you’re free to go. PINWORM: Whoa, what? m*rder? BOOTH: Yeah, you’re free to go. Come on. PINWORM: No, m*rder did not k*ll anybody. He weights, what, 40 pounds? Have you not seen Mayhem? m*rder didn’t strangle somebody with barbed wire. It takes heft to choke a big guy to death. BRENNAN: Barbed wire? BOOTH: Wow, well, you know, nobody said anything about barbed wire. (Pinworm knows he’s been caught.) WYATT: I think the correct term is "gotcha." (He high-fives Sweets.) (Cut to: Booth’s House; Kitchen. Dr. Wyatt is standing at the stove stirring something. Brennan is sitting at a small table and Booth is putting on music. The rock music blares.) BOOTH: Noddy Comet! Huh? Look at that, unbelievable. BRENNAN: (To Wyatt.) This is you singing? WYATT: Well, yeah, my alter ego, I suppose you might say. A bisexual spaceman with a taste for six-inch platform shoes, spandex, glitter, and an exhibitionists distain for underclothing. BOOTH: Well, here’s to Gordon-Gordon! Without him we would not have been able to solve the m*rder. BRENNAN: I hate to admit it, but it’s true. (She and Booth raise their wine glasses.) To Gordon-Gordon. WYATT: (Turns the music off.) Stop, please. Look, this is exactly what Sweets wanted. I’m too good a psychiatrist ever to leave, et cetera. Well, no... Just put your glasses down, would you? Please. Might I offer you a word of advice regarding young Dr. Sweets? BOOTH: Might we try to stop you? BRENNAN: Why do we need advice about Sweets? BOOTH: We don’t. Sweets is just fine. WYATT: He most definitely is not fine. I’ve read his book. BRENNAN: What, does he say something mean about us? WYATT: On the contrary. You might as well know that he lost both his adoptive parents just before he came to work for your de facto crime-fighting unit. BOOTH: Geez, what are we? The Land of Misfit Toys? WYATT: Well, he’s a good lad, Sweets, but this book he’s writing, he’s using it as the vehicle to get what he actually wants, which is... a family. BRENNAN: So he imprinted on us? Like a baby duck? (Wyatt shrugs.) So what do we do? BOOTH: Nothing. Okay, Sweets is not a baby duck. WYATT: He wants what we all want. He wants to find out his place in the world. BRENNAN: (Looks at Booth.) We can find a permanent place for him. Right? BOOTH: Aww. Gordon-Gordon is going to want us to divulge or share or bond or something awful. WYATT: Look, perhaps you might just show the lad that he’s not the only one with scars on his back. BRENNAN: But he is. (Wyatt gives her a look.) Too literal. WYATT: By the way, what I’m making here, this is the masterpiece that got me accepted into the Culinary Institute. All right? But it doesn’t keep. So, uh, be back in an hour, yeah? BOOTH: Let’s go. BRENNAN: But where are we going? BOOTH: Duck hunting. Come on. BRENNAN: Not literally. (Booth quacks.) Right? BOOTH: Come on. (Quacks again.) WYATT: (Goes to the stereo and puts Noddy Comet back on and starts dancing.) Oh! I miss you, rock and roll. I really do. (Cut to: FBI Building; Sweets’ Office. Booth and Brennan enter. Sweets is sitting at a desk writing.) BRENNAN: Sweets? Hi. SWEETS: (Turns and looks at them.) What are you doing here? BOOTH: Well, uh, Gordon-Gordon is, uh, making dinner for us at my place, family-style. And, um, you’re invited. SWEETS: Thank you, but I’ve actually got a lot of work here... BRENNAN: (Booth turns to go but turns back when Brennan starts talking.) My foster parents locked me in the trunk of a car for two days when I broke a dish. I was a very clumsy child. They warned me it would happen, but the water was so hot and the... (Tearing up) soap was so slippery. I still don’t think it was fair, even though they gave me fair warning. (Voice breaking.) The water was so hot... SWEETS: No, it wasn’t fair at all. It wasn’t your fault. BOOTH: (Takes a handkerchief out of his pocket and holds it out to her. Whispers.) Bones, what are you doin’? BRENNAN: You said that scars on the back was a metaphor. Isn’t that why we’re here? To metaphorically compare scars? BOOTH: (Whispering.) I came to bring Sweets back to my place for dinner, that’s all. (She takes the handkerchief.) SWEETS: Scars on the back? BRENNAN: I saw them, Sweets. SWEETS: So.. (sighs) what? You decided to just share something from your past? (Brennan nods.) That is so unlike you. BRENNAN: I still hate psychology. (Turns to Booth.) Okay. Your turn. Go. BOOTH: (Shrugs.)I came here to bring Sweets back to my place for dinner, that’s all. (Brennan gives him a look.) Okay, if it wasn’t for my grandfather, I probably would’ve k*lled myself when I was a kid. That’s all I’m going to say on the subject matter. Understand? Are you okay, Bones? BRENNAN: Yeah, I’m fine. Here. (She folds up his handkerchief and puts it in the front pocket of his suit over his heart, pressing her hand to it. He covers her hand with his for a moment before she withdraws her hand.) BRENNAN: (To Sweets.) Why are you nodding? SWEETS: Nothing. Just... Wyatt made an observation about you two, and I think I just saw what he saw. BOOTH: You coming? BRENNAN: Booth means that we’d like it if you joined us. SWEETS: Thank you. BOOTH: Great. Here we go. Let’s go. (Booth and Brennan take Sweets by an arm and walk out with him.) BRENNAN: Gordon-Gordon is making cassoulet. BOOTH: It’s stew. It’s bean stew. BRENNAN: Cassoulet is better than regular stew, Booth. BOOTH: Just because it’s French doesn’t mean it’s better. SWEETS: It sounds better than stew. BRENNAN: See? BOOTH: It’s stew. BRENNAN: It sounds better. BOOTH: It’s stew. (The scene pans down to the cover of Sweets’ manuscript. It has a handwritten title that says "Bones—The Heart of the Matter". Crossed out underneath it is "Opposites Attract: Yin and Yang in the Workplace" by Dr. Lance Sweets, PsyD, PhD) END

{"type": "series", "show": "Bones", "episode": "04x21 - The Mayhem on the Cross"}

foreverdreaming

"Double Death of the Dearly Departed" Episode 4x22 / Production 4x16 Airdate: April 20, 2009 Written By: Craig Silverstein Directed by: Milan Cheylov Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. (Open: Booth's Car - Booth, Brennan, Cam & Hodgins are on the way to a funeral) BOOTH: Geez, the poor guy was only 50. BRENNAN: They say cause of death was cardiac failure resulting from a congenital defect. BOOTH: You're not gonna talk like that when we get there, right? BRENNAN: Like what? BOOTH: You know, it's a wake, Bones, it's not a crime scene. You know, "Hey I'm sorry for your loss." "How are you holding up?" Stuff like that. BRENNAN: I know, I just don't agree with the social convention which requires us to attend a day long grieving ritual simply because the deceased worked at the Jeffersonian. BOOTH: Try not to say "the deceased." BRENNAN: It's not like any of us actually knew this Dr. Reilly personally. HODGINS: I knew him. It was Hank. Hank was a prince. CAM: I talked to him just last week about Michelle. How to get her to stop smoking. BOOTH: She's smoking? She's smoking what? CAM: Cigarettes. I've been her legal guardian for a month and I'm already a total failure. BOOTH: She's 16. She's just trying to test you, that's all. CAM: Maybe we should just focus on Hank. BRENNAN: Whoa, I think I remember him. Curly blond hair, blue eyes, glasses... BOOTH: Nope. Dark hair, balding. BRENNAN: You don't even work at the Jeffersonian. How do you know him? BOOTH: The guy ran the best fantasy football league in DC. HODGINS: Oh, man...Oh, man, I still owe him 20 bucks. BOOTH: Come to think about it, you know what, he owed me 20 bucks. Great, how am I gonna get that now? (Cut to: Reilly Home. Mourners are gathered in the parlor to view Hanks body.) BRENNAN: There are a lot people here whom I recognize. ANGELA: Well, they're from work, honey. HODGINS: There's Amy Valeska. That's Hank's assistant. CAM: Ch, she looks really upset. SWEETS: Grief can be very difficult to process so, if anyone needs to talk... BOOTH: That's why they have booze, Sweets. Right? ANGELA: Hank's mother over there is very rich. Something to do with dry cleaning. (A man approaches) BARNEY REILLY: Dr. Temperance Brennan? BRENNAN: Yes. Hello. BARNEY REILLY: Hank said you worked at the museum, but I didn't think you'd be here. I- I'm Barney, Hank's brother. BOOTH: (whispering to Brennan) I'm sorry for your loss. BRENNAN: I'm sorry for your loss. BARNEY REILLY: Yeah, I'm an author. A writer, like you. I mean, I write thrillers. I've read all of yours. FRANKLIN TUNG: Ladies and gentleman, after you take a moment with the deceased, please join us in the family room for refreshments and reminiscences. CAM: Sounds good. (Hodgins walks up to the casket and places a $5 bill in Hank's jacket pocket) CAM: Sorry, Hank but she's still smoking. (Angela stand by the casket and wipes her tears away. After, Booth walks up and takes the $5 that Hodgins put in Hank's pocket. Then Hank's Mother, Brother and assistant - Amy Veleska - pay their respects. Amy places a rose in the coffin and there is noticeable tension between her and Hank's wife. Booth starts to usher Brennan forward) BOOTH: (to Brennan) Go up. Pay your respects. BRENNAN: I know. (She walks up to the casket and places the rose back on Hank's body. Then she notices something else...she unbuttons Hank's shirt and starts feeling around his chest and realizes that something is wrong.) BOOTH: Okay, Bones, you really suck at this. You are staring way too long at this guy, okay? People are gonna start thinking you have a thing for him. BRENNAN: This man was m*rder. BOOTH: Heart att*ck. BRENNAN: No... BOOTH: He had a heart att*ck. BRENNAN: No, Booth, this man was m*rder. Hank Reilly did not die from congenital heart failure. He was m*rder. OPENING CREDITS (Cut to: Reilly Home - Back Porch. Booth and Brennan are outside, talking. Booth hands her a drink.) BRENNAN: What is that? This is whiskey. BOOTH: Well, it's a wake, Bones, okay? There's drinking involved. BRENNAN: We should remain clear-headed so we can solve the m*rder. BOOTH: Code word, okay, for m*rder? BRENNAN: Okay. BOOTH: I want you to say "translation," you understand? Translation, got it? BRENNAN: Okay. Someone translated Dr. Reilly, and we have to find out who. BOOTH: Bones, is there any chance you just feel bad about not knowing this guy like the rest of us did? So, now you're just making it about you in saying that he was translated instead of, I don't know, dying of natural causes? BRENNAN: No, there is no chance of that. BOOTH: What makes you think he was translated? BRENNAN: Okay, the rose that his assistant placed on his chest had fallen to the side. So, I reached in to put it back and I touched him. BOOTH: Whoa, you touched him?! Ugh. Ah! BRENNAN: I touch d*ad people all the time, Booth. Well, I felt cracked ribs. Left, 2-4. BOOTH: Drink up, will you? BRENNAN: Why? BOOTH: 'Cause I'm hoping you're gonna pass out. BRENNAN: Booth, we are talking about translation. BOOTH: Bones, did you ever think that, I don't know, if there was evidence of foul translation, that the coroner would have spotted it? BRENNAN: Yes. BOOTH: Fine, so, I'll tell you what. Tomorrow morning we will go find the guy who did the autopsy and we'll ask him questions. BRENNAN: No, Dr. Reilly's scheduled to be cremated this afternoon. All the evidence will be destroyed. We have to get an injunction so that we can examine the remains. BOOTH: Now? You want me to take the body now? BRENNAN: Yes. BOOTH: That family will be scarred for life. BRENNAN: Booth, the man has been translated. BOOTH: Okay, fine. Fine, fine, fine. Triple fine, all right? I'll call for an injunction. In the meantime, go into the family room there where they're doing toasts, okay? All right, there you go. Bones? Put on a sad face. (She attempts a sad face) No, sad. (she tries again) Keep that face sad. That's it. That's it. (Cut to: Family Room. Hank's wife, Helen Reilly, is making a speech.) HELEN REILLY: I loved Hank Reilly. I still love him! And why not? He was...a good husband, a good man. The little things are what life's about. The routine. CAM: (whispering to Hodgins) Hank said I should ground Michelle. But I don't want to be the enemy. She's only been with me for a month, you know? HODGINS: Really, now? CAM: Oh, right. HELEN REILLY: Every morning I brewed his tea for him steeped just the amount he liked it. What am I going to do now, in the mornings? Without Hank? JONAH AMAYO: I- I'm Jonah Amayo. Hank and I started at the Jeffersonian at the same time. (Brennan walks past everyone and heads back into the Parlor) He was head of Egyptology. I lead the Caribbean department. (Cut to: Parlor. Booth enters and finds Brennan examining Hank's body again.) BOOTH: Bones, what are you doing? Will you stop playing with the body?! BRENNAN: Did you get the injunction? BOOTH: No, the judge turned us down. BRENNAN: But why? BOOTH: Why? Because both the paramedics and the medical examiner said that Reilly here died of heart failure. No evidence of translation. BRENNAN: But I am contradicting them. My record and credentials... BOOTH: Okay, look, the judge said he didn't want to grant a request to an author of pulp mystery books just because she wanted to get a little free publicity. There, I said it. BRENNAN: That man is a fool. They are not pulp. BOOTH: At least he was right about, you know, the paramedics and the medical examiner. BRENNAN: I will get the judge the proof he needs. Just guard the door. BOOTH: Get away from the body. Get away from the body. CAM: (entering) Guard the door? From what? (Cut to: (Cut to: Back Porch. Brennan is showing the picture she took on her camera phone to Cam) CAM: You undressed the deceased? BRENNAN: No, I didn't have to. It was slit up the back. I just had to untuck him. (Cam takes the phone and looks at the picture closer.) CAM: Huh. There was no mention of this contusion in the medical examiner's report. BOOTH: Meaning? CAM: This bruise was sustained later. BRENNAN: Corpses don't bruise. BOOTH: Whoa, wait. So, Hank was alive after he was declared d*ad? CAM: Sure looks that way. BOOTH: Where did the body go after the medical examiner? CAM: The funeral home. For embalming. BRENNAN: We've got to talk to the funeral director. (Cut to: Hallway. Booth enters a room and doesn't find anyone. Brennan opens the bathroom door and she sees Helen Reilly & the Undertaker, Franklin Tung, having sex.) BRENNAN: Hello. HELEN REILLY: You mind? (Brennan closes the door and runs down the hall to find Booth) BRENNAN: Booth! Booth! (Brennan makes a 'having sex' motion with her hands) BOOTH: What? What?! (Brennan repeats the hand motion) BRENNAN: The widow and the undertaker. (She repeats the actions with her hands) BOOTH: What, they were dancing? What?! BRENNAN: Sexual intercourse. BOOTH: Oh, how am I supposed to get sexual intercourse from that? (he copies her prior movements with her hands) BRENNAN: It's very obvious. BOOTH: Oh, is it? No, this is obvious. HELEN REILLY: This is my house now and I can do who I want in it. BOOTH: Obviously. Okay, there you go. (to Franklin) So, uh, you do this stuff a lot? FRANKLIN TUNG: It's my job to comfort the bereaved. BOOTH: Well, it is also your duty to report any damage the body sustained during your preparation of it. FRANKLIN: When did you take that? You molested the body? BRENNAN: No. BOOTH: FBI. FRANKLIN: Wow, FBI? BOOTH: You want to explain how the bruises got on that body? FRANKLIN: The infusion of embalming fluid increases the stainability of bruises on the dermis. A bruise not seen immediately postmortem often presents itself post-embalming. BOOTH: Okay, is it good enough for you? BRENNAN: What about the rib breaks? FRANKLIN: Rib breaks and sternum cracks, which I noted in his file, were the result of Dr. Reilly's assistant attempting to revive him with CPR after finding him unconscious in his office. May I go? I have more work to do. BOOTH: Right, right. Sure, you have to go take care of his mother now, too? (Franklin heads downstairs) BOOTH: (to Brennan) So, you still think he was translated? BRENNAN: Those are not the ribs that would break during CPR. BOOTH: Maybe she was just bad at resuscitation. BRENNAN: No, Booth, this is translation. We need to do a full examination of the body at the lab. BOOTH: But we do not have an injunction. (Cut to: Family Room. Hodgins is giving his speech.) HODGINS: This is a sad day for all of us, but I think it's important that we remember what we loved about Hank, you know? His sense of humor, of course. He was always quick with a joke, good or bad. Usually bad. But he...(he looks out the window and sees Booth & Brennan carrying Hanks body. He starts to stammer - hoping that no one else will notices them outside.) Oh, my God! Uhhhhh. Oh. My. God, Hank. Hank is... Hank-Hank is...he's leaving us. Where is he going from here? Who knows? Oh. But, uh, uh...(he thows down his glass) Oh..God... Hank. It's not fair, you know? You live life, and we-we... we die. And we don't - we don't love enough, and-and I- I got to not do that anymore 'cause I'm... I...I- I need to live and-and love, and...(Booth and Brennan are finally out of sight) Thank you. (Cut to: Outside the funeral home. Booth and Brennan are trying to get Hank's body to the car.) BOOTH: Come on... Hurry up, Bones. BRENNAN: Why are you telling me to hurry up? BOOTH: Just hurry up. Walk with me, okay...? CAM: Your Sequoia was, uh...it was blocked so I grabbed Angela's Matrix. BRENNAN: Is there enough room? CAM: It'll be fine. There's lots of room. BOOTH: Here we go, in the car. I got him. Let me just get this stiff in here. BRENNAN: Oh, shouldn't we lie him down? BOOTH: No, no. You get stopped, you got a d*ad corpse. This way, he just looks drunk. Okay. One, two, three. Get the legs in. There we go. All right, grab the seatbelt, plug him in. Oh, watch it, Bones. Watch the...Strap him in there, Bones. CAM: He looks comfy. BOOTH: Okay, you got him. Okay, all right. See you later. BRENNAN: Whoa, whoa, whoa. Aren't you coming with us? BOOTH: No, I can't. I got to make sure no one looks in the casket. Okay? Go. Go, go, go, go, go! Go! Drive! Go! What are you waiting for? Go! (They drive off) (Cut to: Funeral Home. Angela walks up to Hodgins) ANGELA: Hey, what-what's going on? HODGINS: What-What...What do you mean? ANGELA: Your toast? The word loony comes to mind. HODGINS: I was moved, and, you know, um, emotional. ANGELA: Mm-hmm. Tell me what's going on, Jack. AMY VELESKA: I thought his toast was wonderful. HODGINS: See? I was just wonderful. That's all. AMY VELESKA: We don't love each other enough in this world. At least we don't say it enough. You spoke from the heart. ANGELA: You know, they should really make an announcement about this whiskey being 150 proof. HODGINS: Amy, you were Dr. Reilly's intern, right? AMY VELESKA: Graduate assistant, yes. HODGINS: It must have been awful when you found him lying on the office floor. ANGELA: Hodgins! HODGINS: Was he complaining of chest pains? ANGELA: Hodgins, what are you? Possessed by Brennan? AMY VELESKA: He was fine all morning. When he left for lunch, I said, "Have a nice lunch," and he said, "Thank you. You, too." HODGINS: So, you didn't go to lunch together? AMY VELESKA: No, no. He had a lunch meeting. Sushi. I hate sushi. I've heard that the mercury in raw fish can make you stupid. HODGINS: Mm, yeah. Uh, who was his lunch meeting with? AMY VELESKA: He wouldn't say. I yelled for help, called 911, and tried to get him breathing again until the paramedics got there. (She throws her arms around Hodgins and starts sobbing) (Angela and Hodgins have a silent conversation - she is not amused.) HODGINS: Oh. Oh, okay. Okay. HODGINS: Okay, all right. AMY VELESKA: Thank you. I'm going to go freshen up now. ANGELA: Mhm. HODGINS: Okay. Booth just told me Brennan thinks Hank was m*rder, so he helped her steal the body so Cam could take it back to the Jeffersonian to have a look. (Cut to: Parlor) ANGELA: Hey, you stole the body? BOOTH: No, no, no, no, we didn't steal it. You see, we-we borrowed it, okay? Cam and Bones think he was translated. ANGELA: Wh-what? BOOTH: Translated. It's code for "m*rder." That's how we're saying it today: translated. ANGELA: O- Okay, what if somebody looks in the coffin? That's exactly why I'm here. (The door opens and Hanks mother, Anne Reilly, enters) ANGELA: Oh, hi, Mrs. Reilly. ANNE REILLY: Uh, would you excuse me, please? I... I have a few private things to say to my son before he's cremated. BOOTH: That's - uh - really not a great idea right now, ma'am. ANNE REILLY:Why? BOOTH: Well, there's a... ANGELA: The-The fact is, um, the undertaker...Uh, he didn't graduate at the top of his class, so... ANNE REILLY: But I just saw Hank earlier. ANGELA: Yes. Yes, you did, um, but the-the putty that they use to fill in the face has sort of... melted, and, um, his nose is sort of going to the side. Uh, and his hair is like h*tler. BOOTH: h*tler. ANNE REILLY: h*tler? ANGELA: Listen, I really think it would be best if you let Mr. Tung fix him up before you see your son. (Barney enters) BARNEY REILLY: There you are. ANNE REILLY: Oh, turn around, Barney. We can't see Hank. Not like this. BARNEY REILLY: Like what? ANNE REILLY: Like h*tler. BARNEY REILLY: What? ANNE REILLY: Please! We're going! Now! BARNEY REILLY: Have you been drinking? ANNE REILLY: No. BRENNAN: These fractures were definitely not caused by CPR. The breaks are more randomly located, and suggest a sharper impact than a hard push. CAM: Yes. He was s*ab. You can see the entry wounds hidden behind trocar buttons. 13 in total. Each one sealing up a cutaneous puncture site, each one caused by a w*apon three-eighths of an inch in diameter. Most likely...this: standard medical trocar, used in arterial embalming. BRENNAN: Could it just be a poor job of embalming? CAM: Impossible. Over half of these are nowhere near a vein. Hank was s*ab seven times with a trocar while he was still alive. BRENNAN: So, Hank Reilly had a heart att*ck, was declared d*ad by the paramedics and the medical examiner, and then sent to an undertaker... CAM: Where he was s*ab to death. (Cut to: Booth's Car. Booth, Angela & Franklin are watching Brennan & Cam at the lab) BOOTH: You see, what I have here, Franklin, is a real-time video link to the Jeffersonian forensic lab. Huh, so, say hi. CAM: Hello. I'm Dr. Camille Saroyan. I'm not sure we met. FRANKLIN TUNG: That's Mr. Reilly! BRENNAN: Why did you hide all these s*ab wounds? FRANKLIN TUNG: It's my job to make the body presentable. I did my job. I did my job. I did my job! BOOTH: Okay, look Mr. Tung, what we need to know is who s*ab Hank Reilly? FRANKLIN TUNG: I did! It was me. BOOTH: You s*ab the corpse? FRANKLIN TUNG: It's crazy. This whole thing is totally crazy. Maybe I'm crazy. I did acid in high school, and it's probably why I'm not a doctor. BOOTH: Okay, listen. Just relax. Just tell me what happened, okay? FRANKLIN TUNG: It was late. Everyone had gone home, and the body had just come in. I had cleaned and disinfected him, and was about to administer the pre-injection to flush his veins before I began the arterial embalming. I went in through the right femoral artery. And suddenly - WHAM - His eyes opened. His body jerks up and spasms. CAM: You panicked and s*ab him? FRANKLIN TUNG: It was a reflex. I...Have you seen those zombie movies? They can really warp you. BOOTH: Okay, you watched zombie movies on acid? FRANKLIN TUNG: I was scared. CAM: I get it. Sometimes I'm here in the middle of the night, and I swear I see one of these bodies move. (they all look at her like she's crazy too.) Let me just say, I totally get that. BOOTH: Okay, guys, listen, was Hank Reilly d*ad or alive? CAM: It wasn't a full autopsy. No need, because he was declared d*ad by the hospital. Cause seemed reasonable, so the ME just signed off on it. FRANKLIN TUNG: Can I go? BOOTH: No. You can't go. BOOTH: Listen, Cam, how is it that a guy can appear d*ad to two sets of medical professionals? BRENNAN: There are several forms of paralysis which mimic death. CAM: Embalming would have destroyed any trace of paralytic toxins in his system. Except..a trace amount of the toxin may still be found in the vitreous humor of the eye. (Cam grabs a needle and inserts it into the corpse - Booth closes the screen) BOOTH: All right, let's go You can go. Come on. Out. (Cut to: Medico Legal Lab. Brennan and Cam are at the lab) CAM: Vitreous humor tests positive for tetrodotoxin. One hundred times more lethal than potassium cyanide. Naturally occurring. BRENNAN: But he wasn't d*ad. CAM: Yet. That occurs anywhere from 20 minutes to eight hours after ingestion. Until then, heart and respiratory rates mimic death. Tung hits a nerve while tapping the femoral, Reilly bolts up, still in a coma. BRENNAN: And Franklin Tung s*ab and kills him. CAM: But somebody else poisoned him first. (Cut to: Parlor. Brennan is filling the group in on their findings) BRENNAN: Hank Reilly was in a paralytic state mimicking death when Franklin Tung inserted the trocar, causing Hank Reilly to spasm in such a way that he actually sat up on the embalming table. BOOTH: Ah, so technically, Franklin Tung committed manslaughter, while somebody else committed attempted m*rder? HODGINS: What did you find at the lab? BOOTH: Tetrus hydrogen. BRENNAN: Tetrodotoxin. BOOTH: That's what I said! HODGINS: Tetrodotoxin does have limited medical uses as a treatment for some cardiac arrhythmias. BRENNAN: Hank had a congenital heart condition. BOOTH: So is this tetrahockalin thing common? BRENNAN & HODGINS: Tetrodotoxin. BOOTH: That's what I said. HODGINS: It's a controlled substance. BRENNAN: Angela, maybe you could access the FDC database, see if Hank was ever prescribed tetrodotoxin. ANGELA: I need a computer. BOOTH: Use mine. Come on, in the car. Come on. Come on. Come on. Okay. BOOTH: Anybody comes in here, do not let them look in that casket. Do you understand? All right? (Cut to: Angela and Booth in Booth's Car) ANGELA: So, while I'm in here, you mind if I erase a few parking tickets? BOOTH: No, I'll tell you what. You know, I'm not gonna relax until we get Hank's body back in that casket. All right? ANGELA: Here's something. BOOTH: What? ANGELA: Three milligrams of tetrodotoxin was delivered to the Jeffersonian three weeks ago. BOOTH: Wait a second. Hank had his heart medicine delivered to work? ANGELA: Uh, no. It wasn't Hank. Delivery was accepted by Dr. Jonah Amayo in Caribbean Studies. (Cut to: Hallway inside the residence. Booth and Brennan run into Dr. Amayo) BRENNAN: Oh, Dr. Amayo, I'd like you to meet my associate, Seeley Booth. DR. JONAH AMAYO: I'm aware, Dr. Brennan. The two of you are fairly well known. BOOTH: Right. Dr. Brennan tells me the Jeffersonian is shutting down your department after this quarter. DR. JONAH AMAYO: I'm sure you've heard of this thing called the economy which is in another thing called the toilet. BRENNAN: You were going to have to report to Hank Reilly? BOOTH: Until he died, and everything went back to normal. DR. JONAH AMAYO: You think I'm happy Hank died? He was my best friend. BRENNAN: Why did you order three milligrams of tetrodotoxin? DR. JONAH AMAYO: Why are you interrogating me? BOOTH: I work with the FBI. See, that's what I do. SWEETS: Hey, where have you guys been? BOOTH: Not now, Sweets, please. BRENNAN: Your field is the anthropological study of Caribbean culture. How does a Class 1 neurotoxin assist with that? SWEETS: Oh, I got it! Uh, neurotoxins are widely believed to cause the trance state in reported cases of Haitian zombism. Am I right? I'm right, right? BRENNAN: Zombies? There are no such things as zombies; just an island superstition. DR. JONAH AMAYO: And now you've managed to insult an entire culture and their belief system. BOOTH: She does that to everyone. SWEETS: Dr. Amayo's work in voodoo and Santeria is fascinating. And a little scary. DR. JONAH AMAYO: You, you people need to work on your small talk skills. Excuse me. SWEETS: Whoa, what was that all about? HODGINS: Fugu. SWEETS: That's really not very nice. HODGINS: Tetrodotoxin is biologically derived from tetraodontidae. Puffer fish. BOOTH: So... what? BRENNAN: It's a Japanese delicacy known as "fugu." HODGINS: Hank Reilly had sushi for lunch at a place called Sushi Momo. King of the Funeral! BOOTH: Right. (Cut to: Parlor. Booth handcuffs Franklin to the casket) BOOTH: So, nobody looks inside the casket. Okay, Mr. Tung? FRANKLIN TUNG: How do I do that? BOOTH: Just, um...Well, Bones, how does he do that? BRENNAN: Say someone enters and desires to gaze upon the visage of their d*ad relative one more time in a vain effort to say good-bye to someone who can neither see nor hear them because there's no such thing as a soul or spirit.... BOOTH: Bones, Bones, Bones, just give him a reason not to show the body. BRENNAN: "We are encountering fluid seepage at the moment and the body is not available for viewing just now." FRANKLIN TUNG: I would never phrase it that way. BOOTH: I know, it's perfect! It's so gross! (Brennan's phone rings) BRENNAN: Brennan. (Cam is on the phone at the Jeffersonian) CAM: I'm done. I'm going to need some transport for me and my friend. BRENNAN: (to Cam) What friend? CAM: I meant Hank. I was being oblique. BRENNAN: Oh, right after we get back from sushi. CAM: "Sushi"? You're going for sushi?! BOOTH: Bones! (Cut to: Sushi Momo) BOOTH: So do you serve puffer fish? BRENNAN: Fugu. TRACI NISHIMURA: Blowfish? No, we aren't licensed. BRENNAN: We're investigating a tetrodotoxin poisoning. BOOTH: Fugu. TRACI NISHIMURA: We do not serve fugu. I promise. Did someone die who ate at my restaurant? BRENNAN: Dr. Hank Reilly. TRACI NISHIMURA: Hank? He just had lunch with us the other day. BRENNAN:Do you know who he ate lunch with? TRACI NISHIMURA: It was a woman. She told him something, and he got very upset. BOOTH: Can you tell us anything else about her? TRACI NISHIMURA: Not really. She had a haircut like Cleopatra. (Cut to: Parlor. Franklin is trying to get out of the handcuffs.) SWEETS: Excuse me. I'm, uh, I'm looking for my friends. FRANKLIN TUNG: I apologize, but we are encountering some slight fluid seepage at the moment, and the body will not be available for viewing just now. SWEETS: Sir...I'm a trained psychologist; you're obviously under a lot of strain. FRANKLIN TUNG: You might say that. SWEETS: You know, dealing with grief and loss every day can take its toll. FRANKLIN TUNG: You have no idea. SWEETS: In some cases, one might even take responsibility for the death, as if it were their own fault. FRANKLIN TUNG: Are you messing with me? SWEETS: No. No, no. I'm just saying I understand. Human behavior can surprise us all. You might think that you have everything under control, and then, boom, blindsided by the unknown. FRANKLIN TUNG: Totally. SWEETS: It's perfectly natural. Okay, you have absolutely nothing to feel guilty about. FRANKLIN TUNG: Thank you. Thank you. Thank you. SWEETS: Were you very close to the deceased? FRANKLIN TUNG: Yeah, but...I'm a lot closer to his wife. (Cut to: Booth and Brennan, outside the Reilly Residence) BRENNAN: We'll be there as soon as we can. CAM: Everybody was all "Hurry up, Cam." Now, I'm twiddling my thumbs here with a stolen body. I can't lug him back on my own. BOOTH: We'll come and get you right after we talk to Cleopatra. (Cut to: funeral home) BOOTH: Have you seen the woman that looks like Cleopatra? SWEETS: What's going on? What's - I sense that you two are holding something back. (Brennan and Booth look like they're about to protest) Yes. Yes. You are. BRENNAN: Okay, we stole Hank's body in order to confirm that he was m*rder.. BOOTH: Translated. BRENNAN: ...translated. SWEETS: You're totally yanking my chain. BOOTH: No. The undertaker s*ab him. SWEETS: Wait, the same undertaker that's been telling everyone that the body's been leaking? BOOTH: Mhmm. SWEETS: Okay, I may have told him that m*rder's nothing to worry about. I didn't... I didn't know. BOOTH: Oh, that's great. You know what? If you want to help out, go find Hodgins, bring him back to the lab, get the body and bring it back into the casket without anyone noticing it. SWEETS: Wait. What?! Why? BRENNAN: So that the poisoner doesn't figure out what we're up to and run away. SWEETS: There's a poisoner and a s*ab? BOOTH: Shh! Shh! Stop. Shut up! Shh! SWEETS: Sorry. I'm sorry. BOOTH: All right? Stop. SWEETS: I'm sorry. I'm sorry. BOOTH: Go. (Cut to: Inside the Rielly House. Booth & Brennan are looking into the kitchen at a woman who looks like Cleopatra.) BOOTH: Can you get lost? BRENNAN: Why? BOOTH: I can be devastatingly charming if you aren't watching me. BRENNAN: Oh. Okay. (Brennan leaves and Booth enters the kitchen, where Erin Miller - the Reilly Estate Lawyer, is. BOOTH: We haven't really met. I don't know too many people around here. ERIN MILLER: I'm Erin Miller. BOOTH: Hey, Seeley Booth. ERIN MILLER: I'm the Reilly family's estate lawyer. BOOTH: Oh...right, right. You mind? ERIN MILLER: Sure. BOOTH: You had lunch with Hank the day that he died. That must have been terrible. ERIN MILLER: Yeah. It was terrible. It wasn't a very pleasant lunch. BOOTH: You guys argued? ERIN MILLER: Yeah, but, you know, not personally. Lawyer stuff. I can't really discuss it. BOOTH: No, no, of course not. But you do know that, uh, professional arguments don't count in a situation like this. ERIN MILLER: They don't? BOOTH: No. If it was just business, there's nothing to be guilty about. Hank would totally understand. ERIN MILLER: Well, thank you, Mr. Booth. BOOTH: You're welcome. (Cut to: Medico Legal Lab.) SWEETS: Wow. He's really d*ad. CAM: That happens here - in the autopsy room. HODGINS: Hey, bud, someday you'll have your last lunch, too. SWEETS: Yeah, but the thing is, they don't usually look like people after you get your hands on them. CAM: Thank you so much. Okay, ready? One, two, three. ( they lift the corpse onto the gurney) By the way, Hank wasn't k*lled by his lunch. HODGINS: What? Wait, it wasn't the fugu in his hand roll? CAM: No. Toxin slowed his digestion, and the remains were well preserved by the formaldehyde and ethanol. Tuna, salmon, yellow tail, and eel cut roll. HODGINS: Really? What did he have for breakfast? SWEETS: His wife said Hank didn't eat breakfast, just a cup of tea. CAM: Well, I did find some stray tea leaves. His strainer must not have worked very well. SWEETS: He still has a face. He's smiling. A bit too much, maybe. CAM: Hey, I'm a pathologist, not an undertaker. I did the best I could. Adjust his smile; be my guest. HODGINS: If there wasn't any sign of poison in the food in his stomach, then it had to have come from his morning tea. CAM: Probably the best way to deliver poison. (Cut to: funeral parlor. Everyone is standing around in the Family Room singing "Amazing Grace".) BOOTH: See, Cleopatra there is the, uh, family estate lawyer. She handles the mother's will. BRENNAN: She argued with Hank Reilly at his last lunch. BOOTH: Mm-hmm. Business. My guess: problems with the will. BRENNAN: Oh, you mean, because the old lady is so close to death? BOOTH: Yeah, it's not the nicest way of putting it, Bones, but yeah. BRENNAN: Well, look at her, Booth. It's amazing that she can still stand. BOOTH: There are two heirs to the money when she dies. There's Hank and his brother, Barney. BRENNAN: Oh, do you think Barney k*lled Hank? BOOTH: Why don't you go ask him? BRENNAN: Why? Is it because I'm an attractive and sexy, young woman who will loosen his tongue? BOOTH: Oh, definitely, of course there's that. But also, he wants you to publish his book. Go ahead. (Brennan goes over by Barney and starts singing Amazing Grace) BRENNAN: "...I'm found. Was blind but now I see." BARNEY REILLY: What a lovely voice you have, Dr. Brennan. BRENNAN: Yes, I know. Please call me Temperance. So, um... tell me about your book. BARNEY REILLY: Well, Temperance, uh...the latest one is called "Dark Tactical". A real nail-biter. A deadly game of cat-and-mouse between two SWAT guys. One's good; the other isn't. Does that sound like something you'd be interested in presenting to your publisher? BRENNAN: No. BARNEY REILLY: Too edgy, huh? BRENNAN: (Booth clears his throat as a hint) The concept is contrived and tired. (Booth coughs louder) That's what my publisher would say, but in reality, it's... BARNEY REILLY: Too edgy? BRENNAN: Too ed... yes. Perhaps you should publish your novel yourself? BARNEY REILLY: Well, I can't afford that. BRENNAN: You have an inheritance coming. BARNEY REILLY: Well, that's true. The whole thing, too. BRENNAN: You mean instead of splitting it with Hank? BARNEY REILLY: Splitting it? Oh, you mean in half? No way. Me and Hank were stepbrothers. Hardly any of it was coming to me. 90% was going to Hank and Helen. Nothing Mom could do about it either. BRENNAN: What about now? BARNEY REILLY: Well, half to Helen, half to me. (then the realization hits) I can publish my book. To Hank Reilly. (Cut to: Helen and Amy arguing) HELEN REILLY: Admit it. Just admit it! AMY VELESKA: Helen, please. HELEN REILLY: Stop this. Don't you call me "Helen," you little tramp. I am Mrs. Reilly to you. Mrs. Hank Reilly. AMY VELESKA: Please. Hank is gone. HELEN REILLY: I know he's gone! He was my husband! Which is why I am Mrs. Hank's Reilly, and you are Mr. Hank's skank. AMY VELESKA: Then show him some respect for once in your life! BRENNAN: (to Booth) What is going on? BOOTH: Just normal funeral stuff. HELEN REILLY: Oh, so you respected my husband, is that it? (Hodgins walks over to the window and sees Cam and Sweets bringing back the body) AMY VELESKA: Of course I respected him. HELEN REILLY: I see. And exactly how many times a week did you respect him? AMY VELESKA: This is not the time nor the place, Helen. HELEN REILLY: Get out of my house. Go back to your one-bedroom brothel and die. (Cut to: Parlor. Hodgins runs in the room and opens the window to help to get the body back in.) CAM: Okay. Go, go, go. HODGINS: Come on. Come on. Come on. CAM: Get his legs. Sweets: Okay. CAM: Okay. SWEETS: Got 'em? HODGINS: Down, down. CAM: Shh, shh, shh. Good. HODGINS: Can you do this without me? SWEETS: What? CAM: Why? HODGINS: (points to Franklin) Yeah, he'll help you. (The body falls over) (Cut to: Family Room. Helen & Amy are still going at it.) HELEN REILLY: You were nothing to him. AMY VELESKA: Then why did he want to make love to me and not you? BARNEY REILLY: Hank, you are my hero. BOOTH: Hey, how about a little help here? Seriously, you really want to watch them fight? Hey, hold it, hey, hey! Come on, easy. Hold it! Hold it! Hold it. Do you think this is the way Hank would want to see his wake end? No. This isn't about you or you or you or you. This is about him. It's about Hank. You think he'd want to see this? BARNEY REILLY: I'm pretty sure he would, especially if they were in Jell-O. BOOTH: He wouldn't want to see us fight. He'd want us to... sing. (Booth starts singing "Swing Low Sweet Chariot" - everyone starts in singing with him) BOOTH: Swing low, sweet chariot, comin' for to carry me - Hank - home. Swing low, sweet chariot, comin' for to carry me home. (Cut to: Kitchen. Brennan & Hodgins are looking for tea bags) BRENNAN: Only loose tea? No bags? HODGINS: No bags. Cam found loose tea leaves in the stomach contents. BRENNAN: Here's another one. Malty Orange Assam. HODGINS: Throw it in there. We'll test it for the fugu poison. (Cut to: Family Room. Booth is still leading everyone in song - but now they're all dancing too. Everyone is getting into it - even Booth.) BOOTH: Comin' for to carry Hank home. ERIN MILLER: Sing it, brother. BOOTH: Oh, my friends, I'll be coming to ya soon.. EVERYONE: Comin' for to carry me. Hey, hey. Swing low, sweet chariot... (Cut to: Kitchen. Brennan & Hodgins.) BRENNAN: Okay. (They test another type of tea - and the liquid turns purple) BRENNAN: Hank Reilly was k*lled by a cup of tea. (Cut to: Parlor. Cam adjusts Hank's smile.) CAM: Do you think he's smiling too much? I think he just looks like he's enjoying the party. FRANKLIN TUNG: His funeral? Where are his glasses? CAM: He wore glasses? Oh, God. ERIN MILLER: Before I leave, could I say a little something to Hank now? SWEETS: Yeah, sure. Step right on up. ERIN MILLER: He looks...Happy. (to Franklin) You did a wonderful job. FRANKLIN TUNG: Thank you. (Cut to: Dining room. Booth & Brennan are questioning Helen.) HELEN REILLY: How should I know what kind of tea Hank drank that morning? BRENNAN: You said you brewed it for him every day, part of your routine. HELEN REILLY: That was in the eulogy speech. No one tells the truth in a eulogy speech. BOOTH: All right, well, then who did make his tea? HELEN REILLY: Hank did it himself. The water had to be the perfect temperature. Hank was very particular about his tea. If there's nothing else, I'm exhausted. (Cut to: Booth's car. He's driving everyone back from the wake.) BOOTH: His wife was cheating on him. BRENNAN: He cheated on her. BOOTH: The assistant is still in play. BRENNAN: What about the lawyer? BOOTH: Oh, she seemed very nice. (Brennan gives him a look.) Yeah, all right. So we are far from an arrest here. Understand, people? BRENNAN: Well, at least we got Franklin Tung. BOOTH: He didn't mean to k*ll anyone.That's the... Cam? You here? CAM: What? I'm sorry. This smoking thing with Michele...How do people be parents? BOOTH: Do you ever think that this is her way of trying to stop you from smoking? BRENNAN: No - Cam doesn't smoke, right? BOOTH: You stop, she'll stop. It's that simple. Plus, you know what? She's doing you a favor. CAM: Great, so I go from a smoking issue to a chocolate cake and ice cream issue? BOOTH: You know what? You just... you give your best sh*t and that's all. BRENNAN: Nobody knows about the poison in the tea except us, right? BOOTH: The m*rder does. BRENNAN: When crops failed, the ancient Pothigai in southern India believed that one of them might be possessed by an evil spirit. They would find out which one by passing around a poison which would k*ll only demons. The person who refused to drink the poison was proven possessed. CAM: Okay, is this another way to get me to quit smoking? Because it's done. I quit. BOOTH: You know what? You are a genius, Bones. Absolute genius! BRENNAN: I know. (Cut to: Graveyard. Hank's Funeral) PREIST: ..and though the human remains of Henry Reilly will not physically rest here, his soul will remain with the generations of his family here and in heaven. BRENNAN: Oh, I'd like to add something. I missed my chance at the wake. I'd like to make up for it. PRIEST: No objections from the family? BRENNAN: Hank Reilly specialized in Egyptian embalming rituals and practices. He was an expert in grieving. (the rest of the group starts handing out cups to the people at the funeral and fills then with tea) Hank would appreciate nothing more than the most common of funerary practices: the raising of a glass. It's not alcohol, but an even more ancient drink: tea. Hank's greatest passion, aside from sex. I took the liberty of bringing this tea from Hank's personal stash. The same tea he drank on his last day with all of us. I can think of no better way of saying "adieu" than to share one last cup of tea with Hank. (she raises her glass) To Hank. ALL: To Hank. ANNE REILLY: No! (She knocks the cup out of Barney's hand) BARNEY REILLY: Mom, watch what you're doing! BOOTH: You poisoned your own son? BARNEY REILLY: What? Mom, what's going on? ANNE REILLY: He wasn't my son. It wasn't fair of your father. He work it so you got nothing. He got everything. ERIN MILLER:You k*lled Hank? Oh, this is my fault. CAM: Oh, God. This is why I hate funerals. ANGELA: This is why I love them. ERIN MILLER: I told Hank that Annie was trying to get around the will by siphoning money into a separate trust for Barney. But it was illegal. ANNE REILLY: If you'd kept your nosy trap shut, Hank would still be alive. (Talking to the headstone) Bob, this is all your fault. You brought this on yourself. Do what you're going to do. What's the worst that could happen? (Cut to: Graveyard - 5 Day Later. They're standing in front of a grave - ANNE REILLY) BARNEY REILLY: Oh, Mom, Mom, Mom... BOOTH: One thing for sure, Barney, your mother loved you. BRENNAN: She used her own heart medicine to k*ll your brother, so you would get your fair share. She mixed it in his tea. BARNEY REILLY: And she died because she ran out of her medicine k*lling him. Oh, Ma...I would've done fine. Hank, I didn't want the money this way. I know you would have done right by me. (Brennan is looking up at the sky and looks like she might start in about something...) BOOTH: (mouthing) Bones, don't. BARNEY REILLY: I know it. BOOTH: (mouthing) Bones... BARNEY REILLY: Would you excuse me, please? BOOTH: Of course. (Booth & Brennan walk away.) BOOTH: He wants to be alone with his mother and brother. BRENNAN: By that way of thinking, he wants to be alone with every person who has ever died. BOOTH: If I die, I want you to do me a favor. BRENNAN: Well, you will die, Booth. It's inevitable. BOOTH: All right, whatever, Bones. When I inevitably drop d*ad before you, I'd like you to come out and, you know, spend some time and talk to me every once in a while. BRENNAN: Well, I'll feel foolish knowing that you can't hear me. BOOTH: Promise me. BRENNAN: I promise. BOOTH: Hey! There you go, huh? Hey, you agreed. I didn't think you would agree. Now, why did you agree? BRENNAN: I believe that if I pretended you were still here, I'd feel better for a moment. Also, speaking to you would require me to figuratively look at myself through your eyes - again temporarily - and I think that would make me live my life more successfully. BOOTH: Hmm, you know what, Bones? That is the best thing that anyone has ever said about me. BRENNAN: I'll say it at your wake. BOOTH: Oh, it's raining now. Come on. Get under the umbrella. It's raining. Just make sure when they put me in the ground, I'm d*ad. BRENNAN: Yeah, no problem. BOOTH: All right? Maybe, ah, you know, leave my body out for a few hours and check on me every once in a while. BRENNAN: No. I'd rather refrigerate you, or else you'd start to smell. END.

{"type": "series", "show": "Bones", "episode": "04x22 - Double Death of the Dearly Departed"}

foreverdreaming

"The Girl in the Mask" Episode 4x23 / Production 4x17 Airdate: April 23, 2009 Written By: Michael Peterson Directed by: Ian Toynton Transcribed by: Lucy/zerodetorres Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER [OPEN: INT. ROYAL DINER - DAY. BRENNAN is showing BOOTH files on her interns.] BRENNAN: Overall, Clark is the most astute and experienced. BOOTH: Ah, so hire him. BRENNAN: (changing files) Wendell has the most potential, and he has an excellent work ethic. BOOTH: Plus, you know, he's somewhat normal. BRENNAN: Well, that's what you like. (changing files) Vincent is the most intelligent. BOOTH: Well, that's what you like, so you should hire him. I mean, this person's going to be your right-hand man. BRENNAN: Well, I've decided to take your opinion into account as I make this decision. BOOTH: Really? BRENNAN: I'm making an effort. [BOOTH's phone rings.] BOOTH: Well. (into phone) Booth. [CUT TO: EXT. TOKYO, JAPAN - ALLEY - NIGHT. KEN NAKAMURA is sitting at an outdoor eatery.] KEN NAKAMURA: Agent Booth, this is Sergeant Nakamura. BOOTH: Nake! My friend Nake with the sake! How's it hanging? NAKAMURA: I'm afraid they are not hanging well, Booth. BOOTH: What's wrong? NAKAMURA: My sister has not returned my calls. It has been five days. BOOTH: Okay, look, we all know how overly protective you are of Sachi. Your sister- NAKAMURA: You're a cop like me, Booth. She calls every day. Something's wrong. BOOTH: Okay, so why are you telling me? NAKAMURA: 'Cause I'm in Tokyo. BOOTH: Oh, Sachi's here in D.C.? NAKAMURA: Almost two months. (getting agitated) She told me she called you. She has not called you? BOOTH: Whoa, whoa, whoa, just relax, all right? 21-year-old girl probably doesn't want her brother's friend cramping her style. NAKAMURA: If I fly in, can you help me look for her? BOOTH: I'll tell you what. Just text me her information, I'll track her down and I'll make her call you. Okay? I promise. NAKAMURA: Arigato. (Translation: Thank you.) BOOTH: Dewa mata. (Translation: See you later.) NAKAMURA: Dewa mata, Booth. [BOOTH and NAKAMURA hang up.] [CUT TO: INT. BOOTH'S SUV - DAY. BOOTH is driving. BRENNAN is in the passenger's seat. A call has been placed to DET. RICK FRAME.] DET. RICK FRAME: Detective Frame. BOOTH: Hey, Rick, it's Booth. Listen, I'm looking for a little interagency cooperation. RICK: What do you need? BOOTH: Hey, has there been any action on a Japanese national, legal entry named Sachi Nakamura? Female, age 21? RICK: Uh, give me a minute. BRENNAN: (to BOOTH) When were you in Japan? BOOTH: A few years ago on an exchange program with the Tokyo police. Nak's a great guy, man. He and his sister, you know, they made me feel like family. BRENNAN: But he's overprotective? BOOTH: He worries. Every parent does. BRENNAN: (confused) But he's her brother. BOOTH: Raised his little sister after his parents died. That makes him a parent. RICK: I got a h*t on your girl. A car registered to her was found abandoned near Tillbrook Salt Marshes. [BOOTH winces.] BRENNAN: Salt marshes. That's a pretty popular place to dump a body, Booth. BOOTH: Yeah. (turns on police sirens) [CUT TO: EXT. TILLBROOK SALT MARSHES - NIGHT. Workers are moving about. BOOTH and BRENNAN pull up in the SUV. They exit the vehicle and walk up to OFFICER LISA KOPEK.] BOOTH: Hey, I'm Special Agent- OFFICER LISA KOPEK: (interrupting) Booth. Yeah. Detective Frame told me to wait on you before I had this vehicle towed. BRENNAN: Well, that was nice of him. KOPEK: I'm Officer Lisa Kopek. Car is registered to Sachi Nakamura, 311 Ring Road, here on a work visa from Tokyo, Japan. I printed her visa photo. (hands SACHI NAKAMURA's visa photo to BOOTH) BRENNAN: (studying the car) This is blood on the upholstery. KOPEK: Yeah. BOOTH: Any sign of the girl? KOPEK: No. BOOTH: Damn. KOPEK: Yeah. Checked her residence; it's empty. Looks like it's been that way a couple days. Also no sign of her roommate, Nozomi Sato. (hands NOZOMI SATO's visa photo to BOOTH) Ms. Sato's here on a lapsed student visa. (b*at) I got a request in for cadaver dogs. [BRENNAN has made her way into the marsh.] BOOTH: (running after BRENNAN) Okay, whoa, whoa, whoa, Bones, what we usually do here is wait for people in rubber boots. BRENNAN: I see something... BOOTH: (hesitating at the edge of the water) I just-I just got these shoes, so... [BRENNAN approaches something in the water.] BOOTH: What is it, a body? BRENNAN: No, it's some kind of mask. BOOTH: Okay, Bones, come on, get out of there. Let's go. BRENNAN: (lifting the mask) Booth? BOOTH: What? BRENNAN: There's flesh in the mask. Human head. KOPEK: Is she serious? BOOTH: Yeah, always. BRENNAN: And Booth? This mask appears to be Japanese in design. OPENING CREDITS [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. BRENNAN, HODGINS and CAM are studying the skull.] BRENNAN: Based on the weak prominence of the arcus superciliaris, the victim is female. The head was decapitated between C5 and C6 vertebrae. CAM: Judging from decomp and discoloration, I'd estimate the head was in the pond a minimum of four days. BRENNAN: Can you confirm decapitation as cause of death? CAM: Nope, victim was in the water too long. The blood leached out. HODGINS: There's trace lodged deep in the striae. The blade could have transferred particulates from the ground into the wound tract when it was withdrawn from the bone. [Enter ANGELA.] ANGELA: (to BRENNAN) Hey, Sweetie, Booth is in your office. He's got some people with him. BRENNAN: Thanks. [Exit BRENNAN.] ANGELA: (groans) Just when I thought it couldn't get worse. [CUT TO: INT. MEDICO-LEGAL LAB - BRENNAN'S OFFICE - DAY. BRENNAN finds BOOTH already present with KEN NAKAMURA and DR. HARU TANAKA.] BOOTH: Bones, this here is Sachi Nakamura's brother Ken. BRENNAN: (bows) Hajimemashite. Oai dekite kouei desu. (Rough translation: Greetings. It is an honor to meet you.) NAKAMURA: The honor is mine, Dr. Brennan. (bows) May I present to you... (turns toward DR. HARU TANAKA) BRENNAN: I know. Dr. Haru Tanaka. The Emperor awarded Dr. Tanaka the Grand Cordon of the Order of the Rising Sun for Dr. Tanaka's paper on investigation of second, fourth and eighth sternal rib end variations related to age estimation. It was brilliant. (bows) DR. HARU TANAKA: (bows) I am honored to meet you. Everyone in the field accepts that you are the best. BRENNAN: Yes, I know. (bows) BOOTH: (to BRENNAN) I told Ken and the doctor that they can aid in the investigation. BRENNAN: That is against protocol, Booth. BOOTH: (quietly) Bones, this could be his sister. BRENNAN: I would enjoy working with Dr. Tanaka. (bows) [NAKAMURA and TANAKA bow.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. BRENNAN and TANAKA are studying the skull while CAM, BOOTH and NAKAMURA observe.] BOOTH: You gonna be okay with this? NAKAMURA: I am fine. TANAKA: There is a contact wound inferior to the mandible, exiting slightly anterior to the Bregma point. BRENNAN: That would be consistent with a g*n wound. BOOTH: (approaching the examination table) Bones, maybe you should just jump ahead and I.D. the victim. TANAKA: Maxilla and zygomatic conform to her photograph. [CAM appears uncomfortable and looks at NAKAMURA, who seems troubled. TANAKA loosens the skull's jawbone and turns the opening toward BRENNAN.] BRENNAN: The palate is fractured but appears parabolic with a straight suture across the palatine bone, indicating that she was a native Japanese speaker. (turning to NAKAMURA) Did your sister have any kind of distinctive facial scarring or dental work? NAKAMURA: When Sachi was eight, she fell doing gymnastics, broke her jaw. It was wired for two months. BRENNAN: (studying the jaw) Impact fracture from a fall. Remodeling of the jaw suggests that it occurred prior to puberty. (turning to NAKAMURA) I feel comfortable identifying the remains as your sister. I'm very sorry. NAKAMURA: Thank you. (b*at) If you would excuse me. [CUT TO: INT. MEDICO-LEGAL LAB - HALLWAY - DAY. BOOTH approaches NAKAMURA from behind.] BOOTH: Hey, Nak, listen. I have agents looking for Sachi's roommate. There's a chance the roommate may have seen something. NAKAMURA: (strained) Yes. Good. BOOTH: I'm sorry, Nak. NAKAMURA: (turning to BOOTH) You have a child. You know it was my responsibility to keep her safe. She was 21, but still a child. BOOTH: All right, come on, let me get you back to the hotel. You get some rest. NAKAMURA: Not until we find who did this. BOOTH: I hear you, Nak, but we need a lead, something we can go on. NAKAMURA: Sachi was going to move back to Japan. (takes out card with photos of SACHI and hands it to BOOTH) But the man who took these pictures said he could make her a model. BOOTH: Okay, there's something. Right? (pats NAKAMURA on the shoulder) [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. A mask sits atop a stand. Enter SWEETS, HODGINS, ANGELA and TANAKA, who all gather around the mask.] SWEETS: Whoa, this is like one of those big-eyed paintings they sell at the mall. TANAKA: Uh, the mask is based on anime design. ANGELA: Japanese animation. HODGINS: (sarcastically) So, someone had it out for a cartoon character? TANAKA: No, this is original. Uh, not representing any of the well-known characters: Sailor Moon, Faye Valentine, Motoko. SWEETS: The mask could have been used by the k*ller to dehumanize the victim, allowing whoever decapitated her to distance himself from the ugly reality of her death. TANAKA: Hmm, you are entering the realm of psychology, a field of unverifiable speculation. Perhaps I can be of further help to Dr. Brennan. (bows) [Exit TANAKA.] SWEETS: (offended) Sometimes I hate hard science. I know that seems immature, but that's just how I feel. ANGELA: So any guesses? HODGINS: We don't really have enough evidence yet. ANGELA: No, not the case. The doctor. (steps toward doorway where TANAKA had exited, mischievously) Dude or dudette? [SWEETS and HODGINS exchange looks.] SWEETS: I don't know. HODGINS: I... (shrugs) [CUT TO: INT. MICAH STRUTT'S STUDIO - DAY. BOOTH and NAKAMURA enter.] BOOTH: Now remember, Nak, this is my investigation. You're just a tourist. NAKAMURA: Just a tourist. MICAH STRUTT: (approaching) Micah Strutt. How can I help you? BOOTH: (flashes his badge) FBI. I'd like to ask you a few questions about Sachi Nakamura and Nozomi Sato. STRUTT: Sure. They were the roommates, right? Nice kids. BOOTH: When did you see them last? STRUTT: Must be about a couple months now. They came in for a sh**t. [NAKAMURA has made his way toward a large poster with a photo of two scantily-clad women. BOOTH follows.] BOOTH: (reading off poster) Pappa Puffs. STRUTT: Yeah, the girls worked there. NAKAMURA: You made them pose like this? STRUTT: Me? No. That was their idea. They convinced their boss to do some advertising, but he went postal when he saw the proofs. That old jerk fired them for this. The 21st century, who cares about a little skin, right? [NAKAMURA turns around angrily. BOOTH steps in front of him.] BOOTH: He does. That's his sister. [CUT TO: INT. PAPPA PUFFS TEA HOUSE - DAY. Strangely-dressed workers and patrons are moving about. BOOTH and NAKAMURA walk in.] BOOTH: (looking around) Hey, I feel like someone slipped something into my coffee, huh? NAKAMURA: Fashion is the way the Japanese youth rebel against traditional social roles. BOOTH: What is with the, uh, "amaloli" girls? I never expected to see the, uh, "Sweet Lolitas" here in the States. NAKAMURA: The culture follows the youth. It's just innocent role playing. Usually. BOOTH: (noticing a masked patron at the back) Nak... NAKAMURA: I see. BOOTH: (to a cook) Excuse me. You the owner? BRUCE TAKEDO: Why do you ask? BOOTH: (flashes his badge) FBI. [TAKEDO returns to his work, ignoring BOOTH.] NAKAMURA: (in Japanese) I am sorry to bother you. My name is Ken Nakamura. (bows) TAKEDO: Takedo Bruce. (bows) NAKAMURA: We need your help. (to BOOTH) As a tourist. BOOTH We'd like to ask you a few questions about Sachi Nakamura and her friend Nozomi. TAKEDO: Are Sachi and Nozomi in trouble? BOOTH: Well, Sachi is d*ad and Nozomi is missing. TAKEDO: (surprised by the news) I've known them since they started coming for the tea parties. They were anime girls. I gave them jobs. BOOTH: (takes out a picture of the mask found at the marsh and holds it out to TAKEDO) Is this the, uh, mask that, uh, Sachi was wearing to the parties? TAKEDO: No, that's Nozomi's. What happened? Those girls were like family. BOOTH: You always f*re family? TAKEDO: They developed other interests. They didn't belong here anymore. I tried to talk to them, explain what a bad choice they were making. NAKAMURA: What are you talking about? TAKEDO: The girls started working for an escort service. I couldn't allow that here. Families come here. NAKAMURA: (angrily) That's not possible. TAKEDO: It's true. NAKAMURA: (to BOOTH) Not my sister. TAKEDO: Your sister? BOOTH: You know the name of the escort service? TAKEDO: Elegant Escorts. NAKAMURA: (furious) Don't believe you! (in Japanese) MY SISTER IS NOT A prost*tute! [BOOTH holds back NAKAMURA. TANAKA picks up his cleaver and holds it out thr*at.] BOOTH: Whoa, whoa, whoa, whoa, whoa, whoa! (to TAKEDO) Put the cleaver down, pal. Easy. Put it down. [CUT TO: INT. MEDICO-LEGAL LAB - AUTOPSY ROOM - DAY. CAM is about to experiment on the skull. Enter TANAKA.] TANAKA: Dr. Saroyan. CAM: Dr. Tanaka. TANAKA: With your permission, I would like to free the head of tissue. CAM: I have a test to perform first. [TANAKA bows and turns to leave.] CAM: You're welcome to observe. TANAKA: (turns back and nods) This is ferrozine? CAM: (swabbing the skull) Yes, I'm testing for g*n residue. [CAM places the pad on a petri dish and sprays it with a chemical. Nothing happens.] TANAKA: No reaction. CAM: Any sh*t fired within five feet would've left residue. TANAKA: (pointing) The angle of entry was steep, exiting at the top of the cranium. CAM: Sachi was only five feet tall. Even if her k*ller was lying on the ground, there'd be residue. TANAKA: Perhaps she was coming downstairs. CAM: Or maybe standing on the balcony of her apartment? (putting on her mask) Grab some goggles and a mask. [TANAKA does so. CAM picks up the skull and places it in a clamp.] CAM: Did you know the victim, Dr. Tanaka? TANAKA: I met Sachi three times. She and her brother were very close. CAM: That's a very big favor to do to Detective Nakamura, coming all the way from Japan. TANAKA: I would do anything for him. CAM: Okay. [CAM starts her medical saw and uses it to cut off the top of the skull. She detaches it from the rest of the skull and places it on a tray.] CAM: There. (handing the tray to TANAKA) While I examine the wound track, you can analyze exit trauma. TANAKA: Thank you. [CUT TO: INT. MEDICO-LEGAL LAB - HALLWAY - DAY. BRENNAN is walking with NAKAMURA.] BRENNAN: Since Booth took you out of the field, I thought perhaps you'd like to consolidate the results of our analysis to convey to Booth. [BRENNAN and NAKAMURA enter BRENNAN's office.] NAKAMURA: You are trying to make me feel useful. BRENNAN: No, I-I don't really do things like that. NAKAMURA: I owe you for talking Booth out of sending me home. BRENNAN: Wasn't me. Booth is a very empathetic man. NAKAMURA: Yes. Are you aware how we met? BRENNAN: Um, some kind of exchange program? NAKAMURA: Hai. Most of the FBI agents showed up and started telling us how to handle our organized crime problem. Booth said nothing. Two, three days, just listening. BRENNAN: He was quiet? That (chuckles) that does not sound like Booth. NAKAMURA: Then he asked a question. (approaching BRENNAN's desk) He asked, "How would you gentlemen handle our organized crime problem?" He was respectful. BRENNAN: That is the basis of your friendship? NAKAMURA: That, and a situation incited by a gallon of sake, a police boat, and Uraga Harbor at dawn. [BRENNAN laughs.] NAKAMURA: You're a lucky woman, Dr. Brennan. BRENNAN: To work with Booth. I know. NAKAMURA: To work with Booth. Yes. [CUT TO: INT. ROYAL DINER - DAY.] COOK: (handing a plate to WAITRESS) There you go. [Enter SWEETS and HODGINS.] SWEETS: So the mask didn't belong to the k*ller; it belonged to Nozomi, Sachi's roommate. HODGINS: Okay, so? SWEETS: So perhaps the k*ller wasn't trying to dehumanize his victim. HODGINS: (to WAITRESS) Two coffees, please? WAITRESS: You got it. [HODGINS and SWEETS sit down.] HODGINS: Well, maybe he just had a thing for girls in masks. I mean, I get that. SWEETS: You do? HODGINS: Yeah. [SWEETS gives HODGINS a strange look.] HODGINS: In an objective, evidentiary way. [SWEETS continues to look strangely at HODGINS.] HODGINS: (annoyed) You had a point? SWEETS: Yeah, I think that the k*ller was purposely projecting Nozomi's identity onto his m*rder victim. [Enter ANGELA.] ANGELA: Hey. So, I googled Tanaka. 300 hits, all Japanese, none with a personal pronoun. HODGINS: Maybe we should just ask her. ANGELA: Him. SWEETS: (groans) You people can identify human remains based on a tiny little finger bone, but you can't judge the sex of a person standing right in front of you? Does nobody else see the irony in this? HODGINS: Of course. But, as a scientist, I also see the challenge. SWEETS: Well, Dr. Tanaka identifies with a subset of an urban Japanese aesthetic known as kei. [WAITRESS brings them their coffee.] SWEETS: (to WAITRESS) Thank you. (turning back to HODGINS and ANGELA) It glorifies androgyny. HODGINS: Well, mission accomplished there, Dr. Tanaka. ANGELA: You know, I think you're probably right. We should just ask him. HODGINS: Her. SWEETS: Tanaka won't answer. That's the whole point. Gender is unimportant. We should be mature enough to accept Dr. Tanaka just the way Dr. Tanaka is. HODGINS: Yeah, you know what? You're right. Who cares? ANGELA: Yeah. Yeah, I mean, it doesn't really matter what he is. HODGINS: She. What she is. [ANGELA and HODGINS exchange looks. SWEETS slams the tabletop with both hands, exasperated.] [CUT TO: EXT. WASHINGTON D.C. - SIDE OF STREET - DAY. BOOTH is leaning against a car. BRENNAN is standing in front of him. JAMES SOK runs up to them.] JAMES SOK: Do you mind? (opens the hood of the car, which belongs to him) BOOTH: Yeah, actually, I do. James Sok, right? Elegant Escorts? (flashes his badge) SOK: Yeah. So? I run a legitimate business. BOOTH: (slams down on the hood of SOK's car, shutting it) You're a pimp. I don't like pimps. BRENNAN: He really doesn't. BOOTH: No. BRENNAN: Your record says that you as*ault Bruce Takedo. SOK: Those charges were dropped. Because the guy att*cked me (lifting his shirt to show a long scar) with a Kn*fe. All I did was protect myself. BOOTH: Really? Probably because you were recruiting at his place. SOK: Middle-aged guy, surrounds himself with schoolgirls, maybe he's the guy you want to look at. BOOTH: Nozomi Sato. (holds out a picture of NOZOMI) You recognize her? SOK: Yeah. I like Nozomi. BRENNAN: Well, she's missing. SOK: Well, most of my models come from Asia. They-they're young, flaky. Sometimes they take off. BOOTH: You know, you got a sweet life, Jimmy. You got a houseboat down at the marina. You got cash rolling in. If you want to live your life as my prime suspect in the m*rder of Sachi Nakamura, that's just fine. But just know, as of right now, your business is done. (taps the top of SOK's car) SOK: (unfazed) Or? BOOTH: Or you give me something shiny to distract me. SOK: I don't know anything about Sachi Nakamura. But, uh, Nozomi booked a client last Friday, and I haven't seen her since. BRENNAN: (to BOOTH) That's the day that Sachi Nakamura disappeared. BOOTH: What's the client's name? SOK: Banker named Vogler. Got hurt bad in the Big Crunch. Made him mean. And Nozomi didn't mind a little of the rough stuff. BOOTH: Let's go, Bones. SOK: That shiny enough for ya? BOOTH: (steps up close to SOK, thr*at) Excuse me? BRENNAN: Booth? (pulling BOOTH away) Okay, come on. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. TANAKA and CAM are studying the top of the skull. An enlarged version of the exit wound is displayed across a monitor. NAKAMURA is observing.] TANAKA: There is a small scratch to the left of the exit wound. CAM: (pointing to the screen) And the directionality is outward from the midpoint of the coronal suture. TANAKA: Whatever pierced the skull must have splintered back inside. NAKAMURA: Splintered? It was a g*n. Don't you mean fragmented? TANAKA: There are no striations on the cross section of the exit wound. CAM: So she wasn't k*lled by a b*llet? TANAKA: That is my assessment. NAKAMURA: (agitated) What could have been driven through her head? [TANAKA gives CAM an uncomfortable look.] CAM: (to NAKAMURA, pointedly) Perhaps you can inform Booth that the m*rder w*apon was not a g*n. [NAKAMURA understands and exits.] CAM: (to TANAKA) And we can X-ray the brain to see if we find any evidence of splinters. [Enter HODGINS.] HODGINS: I ran the particulates from the C5 through the mass spec. Nematodes, turbellaria, copepods, blah blah blah... all congruent with the marsh where the head was found. TANAKA: (to CAM) I am not familiar with the 'blah blah blah.' HODGINS: But I also found bird vomit on the victim's head. TANAKA: Now I truly do not understand. CAM: Totally lost. HODGINS: Okay, uh, all right. (waves CAM and TANAKA toward a computer) In salt marshes, there are high marshes, low marshes, and salt flats. CAM: Dr. Brennan found the head on the low marsh. HODGINS: Yes, but the bird vomit comes from catoptrophorus semipalmatus. (looks from CAM to TANAKA) A willet. (looks from TANAKA to CAM; both are lost) The willet is a high marsh creature. But the cadaver dogs are looking here on the low marsh. (points at screen) They should be looking here in the high marsh, where the willet is found. TANAKA: But that is miles away. HODGINS: Yeah, which is why we need to call the search team. CAM: (pointing at screen) Why would someone cut a head off a body here, and drive miles away to dispose of the head here? HODGINS: I rarely find motive in bird vomit. [CUT TO: EXT. TILLBROOK SALT MARSHES - DAY. BOOTH, BRENNAN, an OFFICER, and his cadaver dog are present.] OFFICER #1: (to dog) Seek! [The dog seeks, leading the party to a second OFFICER, who is standing by with a second cadaver dog.] OFFICER #1: (to OFFICER #2) Okay. It's here. OFFICER #2: Okay. [A dog barks. A headless body has already been located in the tall grass. BRENNAN approaches the body and touches the exposed vertebrae.] BOOTH: Bones? [BRENNAN looks up and nods. BOOTH sighs and dials a number on his phone.] BOOTH: (on the phone) Nak, I think we found her. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. The body is wheeled into the autopsy theatre in a bag. Present are BRENNAN, CAM, TANAKA and, from a distance, NAKAMURA.] CAM: I will autopsy the remains, then give the body back to Dr. Brennan, so she can remove the tissue. BRENNAN: The marks on the vertebrae will give us a clearer idea of the w*apon used to decapitate her. CAM: Dr. Tanaka can help me prepare the brain for liquefaction. [BRENNAN begins to unzip the body bag. NAKAMURA is watching as she begins unwrapping the body. It is in terrible shape. NAKAMURA turns away. BRENNAN notices.] BRENNAN: (to TANAKA) Perhaps he shouldn't be here. TANAKA: If he doesn't ask for help, it would be an insult for me to offer. It would imply weakness. [BRENNAN nods and approaches NAKAMURA.] BRENNAN: (to NAKAMURA) I realize that staying here shows great strength and commitment to your sister's memory. She is lucky to have such a devoted brother. But it is distracting for us and might compromise our work. I'm sure you wouldn't want that. NAKAMURA: Of course not. BRENNAN: I will come to you with any news. [BRENNAN returns to the examination table. Exit NAKAMURA.] [CUT TO: INT. MEDICO-LEGAL LAB - AUTOPSY ROOM - DAY. CAM and NAKAMURA are liquefying the victim's brain by cooking it under a red light.] CAM: The heat and vibration will liquefy the tissue enabling us to examine whatever foreign particle was picked up by the X-ray. TANAKA: This was an excellent idea. CAM: Thank you. [While waiting for the brain to liquefy, CAM steals peeks at TANAKA, presumably trying to gauge gender. TANAKA catches CAM staring.] TANAKA: Is there something wrong? CAM: What? No. Why? TANAKA: You were staring at me. CAM: I was? (stammering) I was... I don't... I didn't realize. I... like your shirt. [TANAKA looks down at the shirt, unconvinced.] CAM: (trying to change the subject) Oh, wow, look at that brain. (flips off the red light) TANAKA: Oh, I think I see it. (pulls out the tray and picks up a piece of splinter with forceps) What is it? CAM: Wood? TANAKA: The wound track wasn't from a b*llet, but from a piece of wood being thrust into her skull? CAM: Let's not get ahead of ourselves; give it to Hodgins so we know exactly what we're dealing with. TANAKA: Right away. He has also been staring. (sarcastically) It seems many people like my shirt. [CAM watches TANAKA leave.] [CUT TO: INT. MASSAGE PARLOR - DAY. PAUL VOGLER is lying face-down and receiving a massage from a MASSEUSE. BOOTH and BRENNAN burst in.] BOOTH: Paul Vogler? PAUL VOGLER: (groans) What the hell? BRENNAN: (to MASSEUSE) Don't stop because of us. BOOTH: (to VOGLER) I'd like to ask you a few questions about Nozomi Sato. BRENNAN: (to MASSEUSE) How much do you charge for a massage? MASSEUSE: Two hundred dollars. BOOTH: Bones. BRENNAN: What? That seems way too much. Her knowledge of the skeletal and musculature systems seems minimal at best. BOOTH: Right. Uh, she's not that type of masseuse. (to VOGLER) So, Nozomi Sato? VOGLER: Who? BOOTH: You know, the prost*tute you like beating up. VOGLER: I don't know what you're talking about. BOOTH: Okay, fine. We'll just go subpoena the phone records from Elegant Escorts. (turns to leave) VOGLER: I saw her a few times. BOOTH: (turning back) Oh, really? VOGLER: Yeah, to blow off some steam. You know. A photographer who did some ads for my firm, he's the one that gave me the Elegant flyer. BRENNAN: Micah Strutt? VOGLER: Yeah. I guess he sh*t for them, too. BRENNAN: (approaching the massage bed, to MASSEUSE) You-You should really focus on the iliocostalis and the longissimus. That's where most people carry their tension. Like this. (presses her elbow into VOGLER's back) VOGLER: Oh! Whoa! Whoa, that's great. BRENNAN: (to MASSEUSE) You see? That's what they want. MASSEUSE: (awkwardly) Not... usually. BOOTH: Bones, she's a "happy ending" masseuse, okay? "Happy ending." BRENNAN: Oh... BOOTH: (slides a picture of SACHI NAKAMURA under the face hole of the massage bed, to VOGLER) What about this girl? VOGLER: (lifting his head) I never met her. Nozomi was the only escort I was seeing. BOOTH: You seem to be a fine collector of Asian art. (snaps open an article about VOGLER and holds it up to him) Do you want to explain the sword on the wall there, in the background? VOGLER: It's a Nihonto sword. BRENNAN: It was used by the feudal executioners to behead the condemned. VOGLER: (turning to BRENNAN) Yeah, I know. I had to sell it. I lost a fortune in the market. BOOTH: Right. How convenient of you to sell the sword off, you know, 'cause Sachi Nakamura was beheaded. VOGLER: What? BOOTH: Beheaded. VOGLER: Hey, I don't know what you're thinking- BRENNAN: (interrupting) Hitting the iliohypogastric nerve can be extremely painful. [BRENNAN digs her elbow into VOGLER's back. VOGLER cries out in pain.] BOOTH: Where's the sword now? VOGLER: Listen- [BRENNAN presses her elbow into VOGLER's back again. VOGLER cries out.] VOGLER: I'm not saying another word to you people without my lawyer. BOOTH: Fine. That's fine with us. We'll be in touch. (taps VOGLER on the shoulder with his article) Come on, Bones. [BOOTH rises from his seat and goes to open the door. As BOOTH and BRENNAN are about to leave, VOGLER cries out again. The MASSEUSE has h*t VOGLER's iliohypogastric nerve.] BRENNAN: Oh, she's a quick learner. BOOTH: Yeah, very quick. [BOOTH and BRENNAN leave as VOGLER continues to cry out.] [CUT TO: INT. MEDICO-LEGAL LAB - MAIN - DAY. ANGELA catches a passing CAM.] ANGELA: Hey, I did a little research on Strutt Photography. CAM: I almost asked Tanaka. ANGELA: (gasps) No! Really? CAM: (heading into ANGELA's office with ANGELA) Not that it matters, but he - she/he - caught me staring. I didn't mean to, but I had an opening, you know, but I didn't know how to lead off. If I said he/she was a girl, and he/she was a guy, he/she might be offended, or other way around, same thing. God, I missed the ease of a simple pronoun. ANGELA: Yeah, tell me about it. (turns to computer) All right, check out Strutt Photography's website. Now, there's a link to additional services, which requires permission and a password. I traced the IP address and I found the FTP site that contains all the uploads. Then I bypassed the password protection by hacking into the server where his web address is registered. CAM: Why do I feel like my checking account isn't safe? ANGELA: Look what Mr. Strutt's been hiding. [Many photos of SACHI NAKAMURA pop up on the screen.] CAM: These pictures definitely weren't taken at Strutt's studio. ANGELA: (as she zooms into various photos) Long lens, foreground objects, probably taken without the subject's consent. CAM: Classic stalker photos. ANGELA: Mm-hmm. CAM: If he was stalking Sachi... ANGELA: Maybe it wasn't just pictures he wanted to sh**t. [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. BRENNAN and TANAKA are examining the victim's bones.] TANAKA: Forgive me, Dr. Brennan, but I must ask if you are familiar with the Shinto idea of kami? BRENNAN: The spiritual essence of an object? TANAKA: Yes. I cannot define what is missing from this skull, how its kami is incomplete. BRENNAN: Maybe because the top of the cranium had been removed. TANAKA: Perhaps. I often find that handling the bone gives me insight to that pure science cannot explain. BRENNAN: Well, I find that pure science is the only thing that gives satisfactory explanations, Dr. Tanaka. (turns back to the skull) There is something with the temporal bone. (hands the skull to TANAKA) TANAKA: (touching the temporal bone) Yes. The tympanomastoid. A swelling in the air space. (hands the skull back to BRENNAN) BRENNAN: Tympanomastoid hemorrhaging in the absence of a bleeding diathesis. TANAKA: (suddenly realizing) The victim was drowned. BRENNAN: Very impressive, Dr. Tanaka. TANAKA: It wasn't me. It was the kami. (touches the top of the skull and bows her head slightly) [Enter CAM.] CAM: Well, she wasn't k*lled by whatever pierced her brain. I aspirated her lungs. Cause of death was drowning. [BRENNAN and TANAKA share a look.] [CUT TO: INT. MEDIO-LEGAL LAB - EXAMINATION PLATFORM - DAY. HODGINS pushes a stand toward BRENNAN as she enters with CAM, who is carrying the victim's lung in a bowl.] BRENNAN: We need to determine if the victim was drowned in the marsh or somewhere else. HODGINS: No problem. I'll analyze the water samples from the lungs. (turning to computer) Now, I discovered what the splinter from the brain tissue is. It's pseudosasa japonica. It's arrow bamboo. It's ornamental. (turning back to BRENNAN and CAM) Only grows indoors in this climate. BRENNAN: Sharpened bamboo could easily pierce the skull. CAM: The girl was drowned first, a mask was put on her, then she was decapitated and her head was mounted on a bamboo stake? HODGINS: Yeah, then the head was tossed into the marsh? CAM: Let's find out what kind of water was in her lungs. [FADE TO: INT. MEDICO-LEGAL LAB - BRENNAN'S OFFICE - DAY. NAKAMURA is looking at a photo of his sister SACHI. Enter BRENNAN, who pauses at the doorway.] NAKAMURA: She was beautiful, wasn't she? BRENNAN: (approaches and looks at photo) Yes, she was. A beautiful young woman. NAKAMURA: Which is probably why she came to America. She felt like a woman and wanted to be rid of a big brother watching her all the time. BRENNAN: My parents left me and my brother when I was 15. My brother was the only family that I had then. But he walked out on me, too. NAKAMURA: I'm sorry. BRENNAN: I turned out quite well, actually. But it would've been nice to have had a brother like you. (long pause) According to the FBI logs, she called you every day, often twice a day. And the conversations... never were less than five minutes and averaged 15 minutes. NAKAMURA: This has meaning for you? BRENNAN: Objectively speaking, it would indicate a, an irrefutable desire to connect. A deep and abiding love. NAKAMURA: I cannot imagine never talking to her again. BRENNAN: I myself have no one in my life whom I talk to that much. Outside of work, I mean. (b*at) Perhaps that is good. NAKAMURA: How so? BRENNAN: I can see how much pain you're in. [NAKAMURA looks down.] BRENNAN: Is it worth it? [NAKAMURA looks back up and frowns.] BRENNAN: To have your own happiness so contingent upon another human being? NAKAMURA: If I was willing to give up my life for Sachi... why would I not be willing to risk my happiness for her? [FADE TO: INT. BOOTH'S SUV - DAY. BRENNAN and BOOTH are speaking with CAM, HODGINS and NAKAMURA on the phone.] CAM: Hodgins analyzed the water in Sachi's lungs. HODGINS: I found dibromides. It's the active ingredient in algaecides used to treat water features. BRENNAN: So the victim wasn't drowned in the salt marshes. She was drowned in a water feature? BOOTH: Hey, the photographer has a water thing in his lobby. BRENNAN: (correcting) Water feature. Water feature. BOOTH: I'm not going to say "feature." It's just weird, okay? I'll say pond or pool. BRENNAN: Or thing. BOOTH: All right, wishing well. Can we just move on? BRENNAN: Hodgins, if we had a sample, could you isolate a single water feature? HODGINS: Yeah, I could match profiles. NAKAMURA: If you think the photographer is the k*ller, I want to be there. BOOTH: Nak, if you budge from the Jeffersonian, I will have you on the first plane back to Japan. You understand? You know me. And you know that's true. (hangs up) BRENNAN: You were kind of mean there, Booth. BOOTH: The man's in big pain, Bones. Makes it hard for him to hear. BRENNAN: I've never heard of grief affecting auditory acuteness. BOOTH: Medical fact. Look it up. [CUT TO: INT. MICAH STRUTT'S STUDIO - DAY. BRENNAN is collecting water samples from the water feature. BOOTH is questioning STRUTT.] BOOTH: (to STRUTT) Huh. I thought you only did one sh**t with Sachi Nakamura, huh? (tosses a bunch of photos of SACHI onto a stand) STRUTT: Okay, look, this is... it's getting totally out of hand. Maybe I should get a lawyer. BOOTH: What's your connection with James Sok? STRUTT: All I do is give him names, man. BRENNAN: What names? STRUTT: Names of girls who don't mind doing nude sh*ts. BOOTH: Oh, a finder's fee? STRUTT: Yeah. BOOTH: Yeah. STRUTT: But I mean, that's all. BOOTH: Right, but you do know what James Sok does with these girls, right? STRUTT: I mind my own business. BOOTH: He's a pimp. (taps STRUTT on the chest) Which makes you a pimp, too. What about Sachi? STRUTT: She wouldn't pose nude. BRENNAN: What about these photos? STRUTT: What? It's a style, man. Look, I got the releases that she signed before we even did it. You want to see 'em? BRENNAN: Yes. Thank you. [CUT TO: MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. TANAKA is examining the victim's bones. NAKAMURA is observing. Enter HODGINS.] HODGINS: The water at the photographer's studio uses chlorine. NAKAMURA: So Sachi was not drowned there? HODGINS: No, sir. NAKAMURA: You should inform Dr. Saroyan. HODGINS Yeah, I already have. I just thought if I were you, I'd want to hear everything from the horse's mouth. NAKAMURA: Thank you, Dr. Hodgins. (bows) HODGINS: (to TANAKA) Any luck with the microsil? TANAKA: Yes. I believe your partly Chinese woman will be able to reconstruct the tool used to decapitate the victim. [Enter ANGELA.] ANGELA: Uh, excuse me. Hi. I heard that. NAKAMURA: Dr. Tanaka means no offense. In Japanese, that would not sound so insulting. TANAKA: I will complete my work and give you the results. [Exit TANAKA and HODGINS.] ANGELA: (to NAKAMURA) So, how are you holding up? NAKAMURA: I should have known the life she was living. ANGELA: (sighs) Listen, your sister wasn't a prost*tute. Her roommate was. NAKAMURA: (nods) It was a warning. ANGELA: What was? NAKAMURA: Putting Sachi's head on the spike. In feudal Japan, a traitor's head was placed on a pole as a warning that others should fear the warlords. ANGELA: Right. And she was wearing her roommate Nozomi's mask. NAKAMURA: Yes. Because the warning was meant for Nozomi. Nozomi sees the head and knows she must run. ANGELA: And she disposes of it so that no one will think that she k*lled Sachi. NAKAMURA: (nods) But what did my sister do? (b*at) If Sachi was a good girl... (touches the top of Sachi's skull) what did she do to get k*lled? [NAKAMURA picks up a small cloth and drapes it over Sachi's bones. ANGELA gives NAKAMURA a sympathetic look and leaves.] [CUT TO: INT. FBI BUILDING - HALLWAY - DAY. BOOTH and SWEETS are walking toward the interrogation room.] BOOTH: Picked up her roommate trying to leave the country. She's still pretty freaked out. SWEETS: She saw her best friend's head on a spike. Trauma like that could take years to assimilate. BOOTH: Yeah, we don't have years, okay? (taps SWEETS on the back) So get in there and work your magic, all right? Go. [SWEETS sh**t BOOTH a disgruntled look, then enters the interrogation room. NOZOMI SATO is sitting at the table, extremely anxious. BOOTH watches from behind the glass. SWEETS sits down opposite NOZOMI, who turns away.] SWEETS: (exhales and clasps his hands together) We'll keep you safe, Nozomi. You don't have to worry. [NOZOMI, terrified, says nothing.] SWEETS: Can I get you anything? [NOZOMI remains silent.] SWEETS: (sighs) Look, I know you feel alone. You think that no one else could understand what you went through. And no one could. But that doesn't mean that you can't be helped. We can prevent anything like this from happening again, to you or anyone else. If you tell us who did this, Nozomi, we can protect you. And we'll make sure that you get home safely. [NOZOMI still does not respond. Finally, SWEETS rises from his seat and faces the window. From the other side, BOOTH sees SWEETS and understands.] [CUT TO: INT. MEDICO-LEGAL LAB - ANGELA'S OFFICE - DAY. BRENNAN, ANGELA and TANAKA enter.] ANGELA: We got the general shape from Dr. Tanaka's cast, but we still need to fill in the details. BRENNAN: Does the basic shape resemble a katana sword or a Japanese dough Kn*fe? ANGELA: (sits down at her computer) Well, it's too early to say. TANAKA: The prominent residual striae indicate that a power tool was not used and that the blade was curved. BRENNAN: It has a combination of serrated and plain edging. ANGELA: All right, so, there goes the katana sword. BRENNAN: From the breakaway spur, I could see that there are approximately six teeth per inch on the serrated section. ANGELA: Okay, anything else? BRENNAN: There also appears to be something that catches on the bone as it's pulled back, like a hook near the blade's point. ANGELA: Ooh, that's good. [ANGELA enters the specifics and an image of a Kn*fe appears on screen.] TANAKA: I've never seen a Kn*fe like that. Perhaps there was an error in the topography of my mold. BRENNAN: No, I've seen this Kn*fe before. It's a marine Kn*fe. (pointing) The hook is used for cutting line and cord. ANGELA: Wait a minute. James Sok, the owner of Elegant Escorts, doesn't he live on a boat? [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. BOOTH and BRENNAN are questioning SOK. NAKAMURA is observing from behind the glass. An agent enters with evidence bags and hands them to BRENNAN.] BOOTH: So what was it, Sok? You wanted to keep, uh, Nozomi in line, so you used Sachi as an example? Sachi, she doesn't even work for you. SOK: (to BRENNAN) Where did you get that? BRENNAN: (takes Kn*fe out of evidence bag) We have a search warrant. These were taken from your boat. (b*at) The serrations are consistent with the tool markings on the bone. SOK: I didn't k*ll anyone. BOOTH: Then you're going to have to explain why there's blood on your Kn*fe. [BRENNAN swabs SOK's Kn*fe and sprays the swab with a chemical. Nothing happens.] BRENNAN: It's clean. BOOTH: What? BRENNAN: There's no blood on the Kn*fe. BOOTH: Yeah, well, I'm sure there's another Kn*fe. We'll just tear your place apart until we find one, that's all. [BRENNAN swabs the inside of the sheath. The swab changes color.] BRENNAN: Booth? (holding up swab) He didn't clean the sheath. BOOTH: Hah. Look at that, huh. Why don't you just save the taxpayers some money and confess. SOK: Why don't you offer me a deal instead? BOOTH: You're really in no bargaining position right now, Mr. Sok. Evidence proves that you k*lled Sachi. BRENNAN: No, it doesn't. It proves that he cut off her head. She died by drowning. SOK: Very good. Sachi stuck her nose in where it didn't belong. If you want to know who k*lled her, you'll cut me a deal. BOOTH: Huh. Right. (grabs SOK by the collar, furious) You cut off her head (slams SOK into the wall) and you stuck it on a spike to keep your girls in line, and you want me to cut you a deal? SOK: Yeah, that's right. [After a few tense moments, BOOTH releases SOK and storms off.] [CUT TO: INT. FBI BUILDING - INTERROGATION OBSERVATION ROOM - DAY. NAKAMURA has been watching the interrogation from behind the glass. Enter BOOTH.] BOOTH: What do you want to do, Nak? NAKAMURA: I want to k*ll him. BOOTH: Look, he could give us Sachi's m*rder. NAKAMURA: And then he goes free. The man who put my sister's head on a spike. BOOTH: If I don't cut this deal, then... her m*rder could walk. NAKAMURA: This is your case, Booth. What I want doesn't matter. BOOTH: To me it does. And it would to Sachi. NAKAMURA: (after a long pause) Cut the deal. [BOOTH pats NAKAMURA on the shoulder and leaves.] [CUT TO: INT. FBI BUILDING - INTERROGATION ROOM - DAY. SOK is confessing to BOOTH and BRENNAN.] SOK: Paul Vogler. He was a good customer. One of my best. Always wanted Nozomi. But he liked to get rough. Sometimes maybe too rough. [CUT TO: INT. FBI BUILDING - HALLWAY - DAY. VOGLER IS being taken in by BOOTH and NAKAMURA.] SOK: (voice over) One day, that girl Sachi barges into Vogler's place, screaming, saying she was going to call her cop brother if Vogler ever touched her friend Nozomi again. Vogler pushes her into his koi pond, holds her down, just to shut her up. Idiot kills her. He paid me to clean up the mess. So yeah, I put the girl's head in Nozomi's apartment. And Nozomi took off, like I knew she would. I had a business to save. But I didn't k*ll anyone. It was Vogler. [VOGLER and BOOTH enter the interrogation room. NAKAMURA remains outside and hangs his head.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION ROOM - DAY. NAKAMURA is standing in front of SACHI's coffin. He lights incense in honor of his sister. He blows it out just as BOOTH and BRENNAN enter.] BOOTH: Hey, Nak. (b*at) Nozomi's been cleared to leave by immigration. NAKAMURA: I will see that she gets home safely. BOOTH: Thank you, Nak. NAKAMURA: And Sachi can rest with our parents. If the teachings are correct, she will be reborn, and Sok and Vogler will have to answer for their actions. BRENNAN: That... is highly improbable. [BOOTH looks at BRENNAN.] BRENNAN: But I hope that it's true. NAKAMURA: I am forever in your debt. (bows) [BOOTH and BRENNAN bow. BOOTH approaches NAKAMURA and extends his hand.] BOOTH: My friend, one of those good Japanese beers will be just fine. BRENNAN: Oh, I prefer sake. [BOOTH and NAKAMURA turn to look at her.] BRENNAN: (quietly) Sake. BOOTH: (shaking NAKAMURA's hand) We'll let you know when it's time to go, okay? [NAKAMURA nods. Exit BOOTH and BRENNAN. NAKAMURA returns to the coffin and draws his hands together in prayer.] [CUT TO: INT. MEDICO-LEGAL LAB - EXAMINATION PLATFORM - DAY. TANAKA is packing up her tools. Enter HODGINS, ANGELA, CAM and SWEETS, who observe from afar.] HODGINS: So... no one asked Tanaka? SWEETS: It doesn't matter, remember? HODGINS: Yeah, yeah. No, I know. CAM: It's Tanaka's life. We are not children. SWEETS: Very good. ANGELA: Oh, this is ridiculous. (sighs and approaches TANAKA) Hey, Haru. It was great working with you. I hope to see you again soon. [ANGELA envelopes TANAKA in a tight hug. HODGINS, CAM and SWEETS look away. After a few moments, ANGELA releases TANAKA and smiles.] ANGELA: Okay, then. Have a great trip back. [TANAKA bows.] ANGELA: Okay. [TANAKA continues packing. ANGELA returns to where HODGINS, CAM and SWEETS are standing.] ANGELA: It moved. He's a guy. [Everyone reacts.] ANGELA: Yeah. [CUT TO: BOOTH'S APARTMENT - NIGHT. BRENNAN is sitting at the table. BOOTH carries over a banana split.] BOOTH: There, huh? Eh-hey! It's good for what ails you. BRENNAN: Usually in this situation, we'd have alcohol. BOOTH: Which is exactly why we should do this, okay, from time to time. (scoops up a spoonful of ice cream and moves it toward BRENNAN's face while making airplane noises) BRENNAN: (chuckles) Oh, no. (eats the ice cream fed to her by BOOTH.) BOOTH: Yum, hmm? Here you go. BRENNAN: Will he recover? Your friend Ken? BOOTH: From losing his sister? Um... well, you don't recover from something like that. You just survive. BRENNAN: People die. There's a fault in the design if we can't recover from it. BOOTH: "Fault in the design?" What are we, coffee pots? BRENNAN: No, I just mean that we should be designed so that we can handle the worst. BOOTH: We are designed that way. We aren't sent anything that we can't handle. BRENNAN: I'm not convinced that loving someone is worth it. BOOTH: I got a son, and it's worth it. BRENNAN: Even if he died? BOOTH: Whoa. Bones, don't even say anything like that. Don't even put that out there. It is worth it, and everything around it is worth it. (b*at) Every moment, everything... is worth it, so eat the ice cream before it melts. BRENNAN: (eats a spoonful of ice cream and frowns) I wish it was beer. BOOTH: Right. (gets up and moves to his fridge) You know what? (takes two beers out of the fridge) Okay. (places the beers on the table and opens them) You're right. BRENNAN: (takes a beer) Now, this is what I'm talking about. BOOTH: Good. We agree to understand that this is worth it. [BRENNAN and BOOTH drink their beers.] [FADE TO BLACK.] END

{"type": "series", "show": "Bones", "episode": "04x23 - The Girl in the Mask"}

foreverdreaming

"The Beaver in the Otter" Episode 4x24 / Production 4x18 Airdate: April 30, 2009 Written By: Scott Williams Directed by: Brad Turner Transcribed by: lolies79 Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Outside Middlesex college- Students are at a bonfire rally) GREG HARMALARD: My name is Greg Harmalard and I'm here to recruit you. (Students cheer) Tomorrow night, our noble conference champions, the Middlesex Archers, (Students take an archer's pose) take on the desperate and conniving Forrest Lake Otters. (Boos) Right about now, the Otters must be wondering where their mascot went. (A crane over the bonfire rises to reveal the Otter mascot hanging from it) Archers ready your bows... archers raise your bows... archers aim...archers f*re! (The bonfire is set alight by the archers as the students cheer on) GREG HARMALARD: Ladies and Gentleman of Middlesex College, aim your w*apon...f*re at will. (The students throw all they have it and they f*re a blunderbuss. The mascot rips apart as the victim hangs by an ankle over the bonfire. STUDENTS: Oh my god! Oh my God! It's real! (They run and scream out) (Cut to - Outside Middlesex College, the next morning) BRENNAN: Male...some of this costume is fused to the remains DEAN WARNER: Ah, Good morning, I'm Vernon Warner, the dean of students. BOOTH: I'm special agent Seeley Booth, this here is Dr Temperance Brennan from the Jeffersonian. BRENNAN: There is a lot of damage to this body. SHERRIF TINA MILLINS: They had a cannon, more like a blunderbuss, really, filled to the brink with bric-a-brac and shrapnel. DEAN WARNER: Yeah, look, I suspect that this might be a prank BRENNAN: A prank? BOOTH: It's college, Bones. DEAN WARNER: I...I suspect that one of our less reflected frat house may have stolen these remains from the medical school. SHERRIF TINA MILLINS: Beta, delta, sigma. We've got a missing cadaver reported yesterday. BOOTH: (Proudly) You know, Bones, when I was in College, my fraternity, we stole a cadaver, dressed it up like Caesar and put it on a statue of a horse BRENNAN: Would this, by any chance, be a fraternity of sociopaths? DEAN WARNER: Ah! But the Betas did do this, I will withdraw their certifications. BOOTH: Stolen cadaver was male, 73 years old, his snowmobile fell through the ice, donated his body to science. DEAN WARNER: Yes, snowmobilers and motorcyclists are our main source of cadavers. BRENNAN: No. The third molar has not fully erupted. I'd be surprised if he was older than mid-20's. DEAN WARNER: So this is not the missing cadaver? BRENNAN: I think you'll find you missing medical school cadaver is over there. BOOTH: Where? BRENNAN: Sitting on the bleachers. He hasn't moved since we got here. SHERRIF TINA MILLINS: No that's just campus security. They're always like that, but I'll go check it out. DEAN WARNER: So if he is not a stolen cadaver, then, uh...he wasn't alive when our students sh*t him with the cannon, was he? BRENNAN: I won't know the cause of death until I get him back to the lab. SHERRIF TINA MILLINS: Yeah, she's right; it's your cadaver, reeks of formaldehyde. BOOTH: 'k, let's get it all back to the Jeffersonian, shall we? Cut to: Jeffersonian lab, forensic platform (Cam approaches the body where Angela was already looking at the victim) CAM: Looks like someone took a flamethrower at a Sasquatch! ANGELA: Well, this is what he was supposed to look like (Shows a picture) CAM: Someone finally k*lled a mascot? (Arastoo Vaziri arrives on the platform) CAM: Mister Vaziri, do you have the X-Rays? ARASTOO: Yes. I have never seen so many foreign objects in human remains before. Arrows, marbles, jacks, various coins, cutlery, my best guess is a nuclear expl*si*n just as the victim entered the 99 cent store. (Cam tries not to laugh) ANGELA: Well, uh, close...He was sh*t by a blunderbuss, pelted by an angry mob and then b*rned. CAM: Now that's what I call team spirit (they look at her strangely) I'm a wisecracking pathologist with a dark sense of humor. ANGELA: It was funny (Angela nods). TITLES ACT 1 Cut to: Diner; (Jared is at the bar eating when Booth arrives. Brennan is on the phone in the office. ) BOOTH: What did they say? (Jared hands Booth an envelope that he opens) BOOTH: Dishonorable discharge? JARED: Court Martial convicted me of misuse of authority and theft of government property. BOOTH: Ahh. No Booth has ever gotten a dishonorable discharge. JARED: Uh yea. No Booth has ever had to save his brother from an insane kidnapper. BOOTH: Sorry JARED: I owed you for digging me out of crap my whole life. BOOTH: You're gonna need a job. JARED: Well, I joined the navy when I was 17, so a job, that's what civilians refer to as duty, right? (Booth's phone rings, and he answers it) BOOTH: Booth BRENNAN: Angela identified the boy in the otter suit. BOOTH: Well, wow, that was quick. (to Jared) Look, just give me a second. BRENNAN: Are you talking to me? BOOTH: No, I'm talking to my brother (to Jared) Just give me one minute. JARED: Do your thing; I'll catch up with you later. (He leaves) BOOTH: Look, hey, I'll help you find a job. BRENNAN: What? Me? JARED: I saved your life, you find me a job, yeah that seems fair, BOOTH: Yeah, I'm back. BRENNAN: The student's walk-in dentist was able to provide dental records. I e-mailed you the particulars. The victim is James Bouvier. His friends called him Beaver, I assume because of his last name, which is Bouvier. BOOTH: Yeah, I'm sure that's why. BRENNAN: Although, despite the similar sounds, bouvier means ox, not beaver. Beaver is 23 years old and a member of the Beta Delta Sigma fraternity. BOOTH: Yeah, that's not a coincidence. BRENNAN: Statistically, given the size of the campus, it could be a complete coincidence that the m*rder student is also a member of the group of sociopathic young male cadaver thieves. BOOTH: Statistically, maybe, but this is not math class, ok, Bones. Just meet me at Middlesex college in 30 minutes. (Booth hangs up the phone) Cut to: Middlesex College BOOTH: You don't mention anything about Beaver when we talk to these people. BRENNAN: What people? BOOTH: Those people here, they're all potential suspects, got it? BRENNAN: Ok BOOTH: Ok, so, who organized the rally last night? GREG HARMALARD: That would be me and Gary DEAN WARNER: It's, uh, Greg Harmalard and Gary Bacon. GREG HARMALARD: The bonfire is kind of a tradition, me and Gary added the whole hanging-of-the-enemy-mascot element, hum Molly brought in the band and took care of letting everyone know the where and when details. MOLLY BRIGGS: Well, just an e-mail chain really. BRENNAN: Whose idea was the blunderbuss? GREG HARMALARD: Me, again. You have to understand that we had no idea there was a cadaver in there. MOLLY BRIGGS: It's from the med school, right? It's what I heard. BOOTH: Ok, so who stole the otter costume from Forrest Lake? GARY BACON: Hum, me, Greg and Dave. BOOTH: When you stole the costume, was there anything inside of it? GARY BACON: Nothin', I mean, there was a dancing acrobat dude, or whatever, but we duct taped him to a pole and took the suit. BRENNAN: Ok, where was the costume located between the time you stole it and when it was hung on the gallows, blown up and incinerated? MOLLY BRIGGS: We just kicked it under here, it's the homecoming float. GARY BACON: Me, Dave and Greg stuffed it with cafeteria leftovers in plastic bags. The head was a cantaloupe. GREG HARMALARD: Next day, we brought in Dave's dad's truck and hung it up, drove it out to the rally. BOOTH: So, are any of you guys members of the Beta Delta Sigma fraternity. MOLLY BRIGGS: Hum, the Betas don't build school spirit, they tear it down, so definitely not. BOOTH: Any of you guys know a guy by the name of Jimmy Bouvier? BRENNAN: Also known as Beaver GARY BACON: Yeah, hum, he's a Beta, he's got a huge bong. GREG HARMALARD: He was ok, he was a good time guy. MOLLY BRIGGS: He lives to throw up a lot is all I know. GARY BACON: If anybody was gonna put a cadaver in the otter suit, it'd be Beaver. GREG HARMALARD: I bet he was watching everyone running and screaming last night, and laughing his ass off. Cut to - Jeffersonian Lab, Forensic Platform (Arastoo is digging all the foreign objects that were shit in Beaver's body and handing them to Hodgins) HODGINS: This is a commemorative pin from the Chinese Olympics ARASTOO: it was in what's left of the victim's liver. HODGINS: A ball-bearing...all this stuff is extremely common, nails, screws, bolts, washers, keys. ARASTOO: What is this? HODGINS: My guess, it's a USB drive. ARASTOO: What kind of people would do this? Perfect human remains with household commonalities and refuse. HODGINS: I don't know...every b*mb who ever lived? ARASTOO: Did you make that comment simply because I am Muslim? HODGINS: You serious? Of course! ARASTOO: Timothy McVeigh, Ted Kaczynski, William Ayres, Mr. George P. Meteski, known as the original Mad b*mb. (Hodgins gives him a defiant look then turns away) ARASTOO: It seems an insurmountable task, this. Each of these could have been the cause of death and yet we will not be able to trace it's... HODGINS: Trace it's? What? ARASTOO: It's origin. This is a b*llet. HODGINS: 22 caliber ARASTOO: A b*llet says "I wish to k*ll you" much more clearly than an Olympic pin. Don't we agree? (Hodgins looks at it more) HODGINS: Yup Cut to - Beta Delta Sigma frat house ROBERT HOOPER: I'm Robert Hooper, Beta Delta chapter president, this is Dalton Abbot, he helped Beaver steal the corpse from the medical school. BOOTH: Listen, guys, we don't care about the cadaver, we just want to find out who k*lled your brother. ELI ROUNDER: We agreed, before you got here, that we'd answer any and all questions you have, truthfully. SWEETS: A conspiracy to tell the truth, interesting. ROBERT HOOPER: Yea, Eli was the Beaver's frosh, you know, kinda breaking him in the Greek life. SWEETS: hmm, what was Beaver like? ROBERT HOOPER: The man was the most popular guy in the house SWEETS: No, I asked what was he like, not was he liked. BOOTH: Sweets SWEETS: What? There's a difference. ELI ROUNDER: Look, The Beaver was exactly like a great guy, who everybody liked. BOOTH: What was Beaver's life like outside the fraternity? ROBERT HOOPER: like Eli said, everybody liked him. ELI ROUNDER: Well except for the faculty, he was on academic probation. ROBERT HOOPER: Academic probation is the price you pay for everybody liking you. SWEETS: Girlfriend? Or is this one of those "Bros before Hoes" kind of frats? ROBERT HOOPER: Beaver was more like a partier BOOTH: Well we do know that Beaver was with at least one girl SWEETS: Why? What makes you think so? BOOTH: Scoreboard! (Booth gets up to get a closer look at it) SWEETS: What? BOOTH: Beaver. One star. One conquest SWEETS: So do the starts, here, represent the number of times individuals members of the fraternity completed the sex act or the number of girls? ROBERT HOOPER: The second SWEETS: (nods) Just curious, do you also compare penis size? ELI ROUNDER: No! Only if we're really drunk and already naked ROBERT HOOPER: What? ELI ROUNDER: What? We agreed to answer all their questions truthfully. SWEETS: Dalton Abbot, very successful, according to this, compensate for something... BOOTH: Sweets, just stop psycho-analysing frat life and just get on with the Beaver questions. SWEETS: Sure, of course, but guys, wouldn't it be more impressive to actually have a single girl want to have sex with you multiple times, unless your only objective is to impress other adolescent males? BOOTH: Guys! Beaver's single star? ELI ROUNDER: Molly Briggs BOOTH: Thank you! ELI ROUNDER: Guys, we agreed, for the last time. ROBERT HOOPER: If Harmalard found out that the Beaver was bouncing Molly, he'd k*ll him. BOOTH: Greg Harmalard? The guy who organized the bonfire? ROBERT HOOPER: Yeah, Molly's boyfriend, he's in ROTC. BOOTH: They like sh**ting things. Cut to - Brennan's office. BRENNAN: They keep track of sexual conquest with stars on the wall? SWEETS: It's emotionally stunted BOOTH: Guys, it's a college fraternity. BRENNAN: They seem like really terrible people. BOOTH: They're college kids, ok, it's their job description to be bad, it's what they do. SWEETS: Yeah, but still, a community of young man mutually supporting bad decisions. BOOTH: Look, these kids, they go out into the world, they're alone, they have no supervision, they have to be bad just in order to figure out what it is, you know. Scientific fact, their frontal lobes are the size of raisins. BRENNAN: No, that is not a scientific fact. BOOTH: What they gotta do is build their frontal lobes, with exercise, ok and that comes from doing the wrong thing. SWEETS: Ok, so your theory is, you gotta be bad to be good? BOOTH: Exactly, facts of life, my friend, ok so what transmissions did you get from the brothers? BRENNAN: Booth! He is not a radio! BOOTH: He kinda is, that's why I brought him along. SWEETS: What I did observe, using my eyes and my training, is that these three frat brothers weren't actually upset about Beaver's death BRENNAN: How do you know? SWEETS: Well, real grief comes and goes, in waves. Those guys had their faces set in sad, the whole time. They were lying. BRENNAN: I believe you're just guessing! SWEETS: Ok, fine, I'm a magic 8 ball. BOOTH: I think you hurt his feelings. BRENNAN: Did you believe him? (Cam walks in) CAM: The b*llet Arastoo found in the victim's remains was a 22 caliber, light and relatively undamaged. BOOTH: hmm, a pressure room f*re cartridge CAM: Which is consistent with ROTC small arms... Cut to- Interrogation room (Booth clicks the g*n) BOOTH: so, you recognize this p*stol? GREG HARMALARD: Yes sir, it's a Beretta U22 Neos, LR with a six inch barrel, ten round capacity, low blade front sights and adjustable rear sights. I'm in ROTC, I know my w*apon. BOOTH: And you know this one particularly well, because it was last signed out to you. BRENNAN: FBI Balistics has ascertained that this g*n fired this b*llet. GREG HARMALARD: And where did you find the b*llet? BRENNAN: In Beaver's corpse GREG HARMALARD: Beaver's d*ad? BOOTH: Hey! He's catching on pretty good! GREG HARMALARD: Hey I never sh*t Beaver. BOOTH: Did you f*re this g*n at the rally? GREG HARMALARD: Yes, sir, I did, but I loaded it with blanks. That was Beaver hanging in the otter mascot outfit? BRENNAN: He's quit adept at putting the puzzle together. BOOTH: humm GREG HARMALARD: What was Beaver doing in there? BOOTH: Well, we were hoping that maybe you'd be able to tell us. GREG HARMALARD: Look, I told you, I loaded the g*n with blanks. BOOTH: Did you check the chamber? GREG HARMALARD: I think so. BRENNAN: Well, obviously, you are either careless or you intended to f*re the b*llet. GREG HARMALARD: Or somebody, you know, sabotaged me, Beaver had to be hanging up there for at least an hour before... No way that Beaver was still alive when I fired, right? I had no idea that it was Beaver; I had no reason to sh**t Beaver. BOOTH: Except for the fact that he slept with your girlfriend. GREG HARMALARD: Humm, I don't want to sound conceited but look at Beaver, look at me, look at Molly, look at me... Cur to - float room MOLLY BRIGGS: Me and Beaver? Sexually? Do I look like a blow-up doll? BRENNAN: Beaver told his fraternal brothers that he had sex with you. MOLLY BRIGGS: Yeah, well, he lied. Look, I'll give you DNA or whatever you want and then you can do me a favor and broadcast the results across the campus. BOOTH: Thanks. (to Brennan) We don't have anything to compare her DNA to. BRENNAN: I have an idea. Cut to - Car BOOTH: We're gonna collect his sheets, off his bed? BRENNAN: Yes! And then we will check them for DNA, see if he had sexual intercourse with Molly Briggs BOOTH: Yea...who's gonna check the kids' sheets? Seems like a bad job to me! BRENNAN: Uh huh Cut to - Beta Delta Sigma frat house (The frat brothers, dressed in Toga outfits, are around a ping pong table, doing a ceremony for Beaver ROBERT HOOPER: Gentleman, raise your glasses. Members of the Beta Delta Sigma, I ask that you form in your mind, your favorite image of our fallen brother, Jimmy "the Beaver" Bouvier. FRAT BROTHERS: Bouvier! BRENNAN: Why are they all wearing bed sheets? BOOTH: It's a toga memorial. ROBERT HOOPER: And with that image formed in your mind, I say "Drink!" (They all drink) BRENNAN: Excuse me; did one of you take the sheets from Beaver's room? Because that room is sealed for evidence and you will be prosecuted. BOOTH: It's a good one, Bones, now, on one's gonna admit to having Beaver's sheets. BRENNAN: Well, then we'll have to take them all. ELI ROUNDER: Oh! You can take mine, pretty lady. (He starts to undress) ROBERT HOOPER: Hey, yeah, yeah, yeah, you heard him boys, give 'em your sheets. (They all take theirs sheets off which makes Brennan flush) BOOTH: I'll, humm, meet you back at the lab. ROBERT HOOPER: Can I...Can I offer you anything, ma'am? BRENNAN: No! Cut to - Front of the Diner. (Jared arrives on his bike) JARED: Hey, what do you think? BOOTH: Yeah, it's nice, not really gonna be much good around here in the wintertime, that's for sure JARED: You're always practical, huh, Seeley? BOOTH: Listen, I got you a job interview. JARED: Yeah? BOOTH: Ya, an army buddy of mine up in Pittsburgh is looking for someone to head up its criminal intelligence unit. JARED: You found me a job in less than 24 hours? BOOTH: Just an interview. You want to use my car? JARED: No BOOTH: Jared, you can't show up to a job interview on a bike! JARED: Seeley, I'm not going to the interview. BOOTH: Why? JARED: 'Cause I don't want a job. I'm gonna take this thing and I'm going in a trip. BOOTH: Oh, you're going on a trip? Where? JARED: I've always wanted to see India, without, y'know, spying on Pakistan. BOOTH: Oh, ok, I see. So, you're gonna somehow get this bike to India, ride it around. What if it breaks down? What are you gonna do for parts? JARED: What am I gonna do for parts, if It breaks down in India... That's all you have to say to me? BOOTH: You know what? Just go to the interview (He hands Jared that paper) JARED: Would you... (He grabs Booth's arm) You forgot to tell me to get sh*ts and not talk to stangers. (Booth leaves) Cut to - Jeffersonian Lab, Forensic Platform (Brennan arrives) BRENNAN: So, where you able to match sheets with boys? HODGINS: Believe me, there was enough DNA on these sheets to paint a very clear picture of life at Beta Delta Sigma. CAM: For example, these two boys were carrying on a sexual relationship with each other. HODGINS: Yeah, and those two guys were sleeping with the same girl, although, refreshingly, not at the same time. BRENNAN: What about Beaver? HODGINS: Oh! Lots and lots of DNA. CAM: All of it, his own. BRENNAN: So there's no DNA on any of the sheets that could be Molly Briggs'? CAM: Vaginal contributions were found on eight of the sets of sheets; none from Molly Briggs, but Dr. Hodgins did find something more than semen on Beaver's sheets. HODGINS: Yea, I found evidence of a vegetable-based Lanol, assorted liposomes, Sepigel, and micronized estriol. CAM: Ointment. HODGINS: From the stains positions on the sheets, and its shape, which was approximately three inches long by 1 1/4 inch wide CAM: Okay, we get it! HODGINS: The substance appears to have transferred from the victim's penis directly to the bed sheet. BRENNAN: Adolescent males will use almost any available lubricant when masturbating. CAM: Even estrogen cream? HODGINS: More plausible scenario has got Beaver sexing it up at a different location, and then coming home to his own bed, naked, and I refer you again to the imprint. BRENNAN: Sex with... HODGINS: An older woman, yeah, yeah, most likely menopausal. BRENNAN: Molly Briggs is twenty. CAM: Also, I finished my autopsy and the b*llet sh*t by Greg Harmalard was definitely not the cause of death. BRENNAN: He was d*ad when it struck him? CAM: For at least 12 hours. BRENNAN: So we still have no cause of death? HODGINS: Well, I got a theory, kid died of dehydration, forgot to replenish his fluids (Hodgins grins while Cam and Brennan wince) Cut to - Beta Delta Sigma frat house (Booth and Brennan enter Beaver's room) BRENNAN: Ok, what are we looking for this time? BOOTH: You know, photos, love notes, I don't know, fur, gray hair, anything that's gonna help us identify Beaver's cougar. BRENNAN: Beaver, otter, cougar, this case is like a day at the zoo! BOOTH: A cougar is an older woman who prefers younger man. BRENNAN: Wouldn't that indicate that every woman is a cougar? BOOTH: Thanks for the insight there, Bones. (Booth picks up a suitcase) Ok, what's the victim's birthday? BRENNAN: 11-05-89 BOOTH: I'm Jared's older brother, you know, he should listen to me. BRENNAN: I can provide you with several societies where younger brothers are required under pry of death to do what their older brothers tell them. BOOTH: I like those societies. BRENNAN: Well, they're mostly extinct now. BOOTH: Did you give me Beaver's birthday the scientific way? BRENNAN: Day, month, year, if you want month-day-year, 05-11-89 (Booth opens the suitcase) BOOTH: Ha-ah! Look at that! So when I ask a question, just answer in American, that's all (Booth open the suitcase, it's full of cash) Whoa, the kid had some cash. BRENNAN: Maybe he was a drug dealer? BOOTH: hmmm BRENNAN: What are those? (She picks up a notebook) some kind of code book? BOOTH: You got that right BRENNAN: Was our victim some kind of spy? BOOTH: Worse! Some kind of bookie. Cut to - Jeffersonian Lab, Angela's office. ANGELA: Well, Booth mostly broke the code. Column one is initials and nicknames, Beaver had approximately fifty regular clients. Column two is the day of the week BRENNAN: What is the significance of this sequence? Foot, bat, pig, dimple, fish BOOTH: Those are sports he took bets on, football, basketball, baseball, soccer, golf ANGELA: Beaver had over two thousand dollars in the suitcase. This whole operation generated twelve thousand Dollars this year. BOOTH: Whoa, no wonder this kid did not want to lose academic standing. ANGELA: Alright, now three of these people, Zimmer, CC and 4x4, they all owed him over three grand, a piece. BRENNAN: Do you think that could be motive? BOOTH: I bet those are the three guys, Sweets said were faking grief. ANGELA: Yeah, that is worth looking into. Ok, I found something else in his computer. A month ago, he hacked in the university's computer system and went straight to the chemistry's professor secure server and downloaded the exam. BOOTH: This guy was a true entrepreneur. ANGELA: Yeah, it was the third time he hacked in the chemistry's page BRENNAN: Who's the professor? ANGELA: Professor Marlene Twardosh BOOTH: Well... Cut to - Jeffersonian Lab ARASTOO: Out of all the damages the victim's remains suffered from the blunderbuss, twenty-three fractures. I discovered only three that occurred before he died. ANGELA: Do any of them offer us cause of death? ARASTOO: I think not. Both wrists sustained compressions fractures, the right radius, the left ulna and significant chipping to both the proximal and distal carpal rows and compressions of the lateral epicondyles. ANGELA: Ouch, what about the third? ARASTOO: Compression fracture, here, at the coccyx and the apex of the sacrum. These injuries appeared to have occurred at the same time. ANGELA: He fell backwards, tried to break his fall with his hands stretch behind him. ARASTOO: Dr. Hodgins had an idea of how to figure out the height from which the victim fell. ANGELA: Oh! That should be good! Cut to - Exterior of Middlesex College PROFESSOR TWARDOSH: The FBI is investigating student cheating? Who says America undervalues education? BRENNAN: Did any of your students do suspicioulsy well on your last exam? BOOTH: Starting with James Bouvier PROFESSOR TWARDOSH: Beaver has never done suspiciously well at anything, Agent Booth. He was about to be expelled because he failed my course. BOOTH: Did he show any signs that he wanted to do any better? PROFESSOR TWARDOSH: You mean begging for mercy? Or offering bribes or sexual favors, that sort of things? BRENNAN: Do you use an estrogen cream? (Booth winces at the question) PROFESSOR TWARDOSH: No... I make do with the meager hormones I produce naturally, why? BRENNAN: Did you have sexual intercourse with Beaver? BOOTH: What? (He looks disgusted) PROFESSOR TWARDOSH: I was joking about the sexual favors... BRENNAN: Also about the bribes? (Booth and Twardosh look at each other) PROFESSOR TWARDOSH: My God, you people are humorless. BRENNAN: Five students failed this exam PROFESSOR TWARDOSH: It was a tough exam BRENNAN: They got exactly the same score, 37%, what are the chances of that? PROFESSOR TWARDOSH: I teach chemistry, you'll have to ask professor Doowit in Statistics. BRENNAN: But the same five students did extremely well on the two tests preceding this one... BOOTH: Bones, what are you getting at? BRENNAN: I believe Professor Twardosh realized that those students had stolen her tests in the past and instead of informing the university, she planted a fake test online. BOOTH: To turn her students in? PROFESSOR TWARDOSH: No, that would results in hearings and excuses and tears and parents. I hate parents. BOOTH: Look, your college's experience was with professors, with was with students and jocks. What are you getting at here? BRENNAN: I believe Professor Twardosh took revenge against unethical students who had no respects for knowledge. BOOTH: And you approve? BRENNAN: Yes, I do! Beaver was obviously an emerging criminal (Twardosh smiles) PROFESSOR TWARDOSH: Thank you, I may need you to testify at my termination hearing when the university finds out. BOOTH: Can I ask you a question? What floor is your office on? PROFESSOR TWARDOSH: The third floor BRENNAN: Over grass? PROFESSOR TWARDOSH: Over flagstones. On my bad days, I consider jumping. You're a forensic anthropologist, correct, would it k*ll me? BRENNAN: No, Professor Twardosh, probably just break a few bones. PROFESSOR TWARDOSH: That's good to know! Cut to- FBI, lobby of Booth's office. (Booth and Sweets are walking in the lobby between the elevators, the kitchen and Booth's office) SWEETS: So, I checked out the nicknames of the kids who owed Beaver money BOOTH: Are those the guys you put down as not being sad he was d*ad? SWEETS: Huh, yeah, walking pretty fast! BOOTH: Huh, so did any of those three frat guys set off your psycho-k*ller alarm? SWEETS: No, no, no. They display a fairly banal mix of social awkwardness, narcissism, inappropriate fantasies, all within the normal range. BOOTH: Even the ROTC guy? SWEETS: Well, like most over-achievers, he displays a slight Oedipal neurosis. Will you share with me why you are so agitated? BOOTH: You know what? My brother Jared is ruining his life SWEETS: Oh! He's drinking again? BOOTH: No, I'm pretty sure he was dried out before his Court Martial. SWEETS: Then why the recent urge to self-destruct? BOOTH: I set up a perfectly great job interview for him, but instead he decides he just wants to travel across India on his motorcycle. Yeah, that's right, talk about a narcissistic dependence on stupidity! SWEETS: Uh huh, you are him! BOOTH: This is exactly why I don't talk to you about this kind of things. SWEETS: 'K, I'm gonna suggest that you're jealous of your brother's decision BOOTH: I don't want to go to India. SWEETS: You feel trapped here by the responsible nature of your job, your interpersonal relations. BOOTH: What? SWEETS: Whereas Jared is completely free. BOOTH: I am free! Free as a bird, free to do whatever I want! SWEETS: Yeah, what you're not free to do is control your brother's life. BOOTH: Control Jared? Good luck with that one! SWEETS: It's not for a lack of trying. Of course, you could always get a motorbike and go with him. BOOTH: A motorbike? A motorbike is used for people who deliver pizzas in Amsterdam. Yup. India is large and vast (Sweets gets in the elevator) Right! I'm getting an American motorcycle! Cut to - Jeffersonian Lab HODGINS: This dummy's exactly the same weight as our victim, correct? ARASTOO: 69.853 Kg, yes, and why are we the only ones here? HODGINS: I, uh, asked everyone to leave. Ok, now, I have installed four sensors in the wrists and in the back of the spine so we should be able to gage the height from which the victim fell, within a few centimeters, after only a few trials. ARASTOO: Why did you ask everyone to leave? Are we doing something shameful? HODGINS: Nah, it's just...last time I dropped something from up there, it bounced and injured An (Hodgins realizes he's about to say Angela's name) an innocent bystander, but nobody's here this time, so. (To his laptop) Coccyx text number one, Dr. Jack Hodgins supervising CAM: No, no, no, no HODGINS: I... CAM: no, no, HODGINS: But... CAM: No, stop! This is an unnecessary experiment. The height of the fall can be calculated mathematically. ARASTOO: That is true, but I decided to humor Dr Hodgins so we could bond over a project CAM: Why do you need to bond? ARASTOO: He mistrusts Muslims. (Hodgins nods in agreement) CAM: Go grab a beer together, but I am saying no to this experiment HODGINS: Yeah, I got that during the part where you said no, seven times in a row. CAM: I find that you don't pay attention during the first six. (Cam leaves) HODGINS: He can't drink beer, he's Muslim! Cut to - Angela's office. ANGELA: Hodgins and Arastooo have an estimate if how far the victim fell. CAM: 1.37 meters onto a hard surface. ANGELA: You know what this means, don't you? CAM: Yup! Dr. Brennan is gonna stare at the bones until they speak to her. ANGELA: So, rock, paper, scissors to see who stays to babysits her? CAM: Ok. (Angela pulls a rock, Cam pulls the scissors) ANGELA: Yess! CAM: Best two out of three! (Angela sighs, She pulls the paper while cam pulls the rock) CAM: Damn! Cut to - examination room (Brennan is examining every bone, one by one. She sees a small hole in the sternum) BRENNAN: Cam? (Cam comes in) Booth'll want to know, I found cause of death. CAM: Alright! Cut to - FBI meeting room CAM: Professor Twardosh was not Beaver's sex partner BOOTH: 'K, did anyone think that? Honestly? Because I did not. BRENNAN: Booth believes that the cringe facto was too high, even though cringe factor is not a valid mathematical construct. BOOTH: Believe me, it is! Ok, so the three boys that owed Beaver money all have alibis. ANGELA: Four people bought the bogus exam from Beaver, all members of the golf team. At the time of his death though, they were at a tournament in North Carolina. BOOTH: Great, so all we know now is that golfers cheat a lot. BRENNAN: We know that Beaver was k*lled by being s*ab in the chest CAM: A very small hole, perhaps an ice pick, punctured his aorta, he bled to death. BRENNAN: We also know that shortly before he died, he fell backward 1.37 meters, fracturing his wrists and his coccyx. BOOTH: Ok, so he fell backwards, that makes sense ANGELA: Something's bothering me about this. I went through the kid's computer and there's absolutely no indication that he had the skills to hack in the University's secure server. BOOTH: Well, it was probably one of his fraternity brothers that hacked in. BRENNAN: Well, Mister Vaziri and I will figure out exactly what w*apon k*lled Beaver. BOOTH: Right! (Booth turns around to leave) BRENNAN: What are you going to do? BOOTH: Uh, something personal BRENNAN: What? BOOTH: Personal! Personal means personal, you know, not for the public (He leaves) BRENNAN: Uh...I'm not the public! Cut to - Diner (Jared and Booth are having lunch) BOOTH: You know, the roads suck in India, when they're dry and...and they turn into rivers when the monsoons come. I tell you what, trucks don't even give way to anyone. JARED: Will you give the lifeguard thing a rest, Seeley, alright? BOOTH: State department had advised that there's a heighten security concern for anyone travelling alone in India. JARED: Then come with me. I mean that way, now you can watch over me every minute. BOOTH: You know what? Everywhere you've gone, you've always had the full might of the United States government behind you JARED: Yeah, I know. You were a frontline guy, a f*re eater and I was just a rear echelon wimp. BOOTH: I never said that JARED: If you're so worried, come along and I'll have the full might of Seeley Booth behind me. BOOTH: Seriously? I didn't think you were serious. JARED: I wasn't when I said it...but now I am. Yeah,I'm serious. BOOTH: You want me to come to India with you. (Jared nods) JARED: Ball's in your court, brother. (He leaves) Cut to - FBI Interrogation room (Sweets is interrogating Eli Rounder) ELI ROUNDER: I'm a freshman pledge; Beaver was kinda like my mentor in the fraternity. SWEETS: When Beaver, your mentor, asked you to hack in Professor Twardosh's files, to steal the test, what did you think? ELI ROUNDER: At first, I said no, but you know what? SWEETS: He was your brother. ELI ROUNDER: That's right. He was a brother who was on academic probation. I mean, he was gonna get expelled if he didn't pass the chem. Course, plus I know it may not have looked like it on the outside, but Beaver was a great guy. So, I had to help him. SWEETS: Our computer experts said some info was erased from Beaver's hard drive, erased by someone who knew what they were doing. (Eli raises his hand) ELI ROUNDER: That was me too. Jpg files, I think about thirty of them. SWEETS: Digital photographs? ELI ROUNDER: Yeah, I didn't see any of them, but before I permanently deleted them, Beaver had asked me to put four specific ones onto a USB drive. So I did it. Look, I told you everything, ok, but if my college finds out that I hacked in the chem test, they're gonna kick me to the curb, ok, they don't care about brothers. SWEETS: Well, I care about brothers, who are great guys, Eli, more importantly, I report to the FBI, not Middlesex College. ELI ROUNDER: Thanks Cut to - Jeffersonian Lab - Angela's office BOOTH: Ok, what have you got? CAM: We found the hacker. He told Sweets he put some very sensitive images in a USB drive for Beaver. BRENNAN: A damaged USB drive was amongst the shrapnel Mr. Vaziri removed from the remains. ` ANGELA: There're four JPG files on this drive. Two of them are total goners, but here's what I got for number three. BOOTH: Concentrate there. That looks like a face ANGELA: Yeah, that's Beaver BRENNAN: Is he being tortured? CAM: Not exactly BOOTH: It's, uh, it's a sex face, Bones. Can you pull up anything else to ID who he was with? ANGELA: No...but this one's almost done. BOOTH: Whoa BRENNAN: Is that a cougar? CAM: She could be in her forties BOOTH: Ok, print it and we'll see which member of the faculty this one is. Cut to - Jeffersonian Lab, Forensic Platform ARASTOO: There is no accelerated compression of the bone around the wound. BRENNAN: So, the shaft of the w*apon was uniform in thickness. If there were no lip on the outside, then we'd know it was a projectile that caused the wound. ARASTOO: Yes, a one-way trip, so to speak, but since there was a lip, we know it was a return trip for the w*apon into the aorta and back. As the w*apon entered, it was going substantially faster than when it was withdrawn, BRENNAN: A shaft consistent with... (She pulls up a nail) ARASTOO: Someone hammered a nail in the victim then pulled it out? BRENNAN: No, not hammered, Mr. Vaziri, sh*t. ARASTOO: A nail g*n? (She nods) BRENNAN: A nail g*n. Cut to - Middlesex College BOOTH: You recognize this woman, Dean Warner. DEAN WARNER: Yes, I know this woman, where'd you get the photo? BRENNAN: Off the victim's computer. BOOTH: Who is she? DEAN WARNER: Her name is Meredith Warner. She's my wife. Cut to - FBI Interrogation room BOOTH: We've been trying to track down you wife, guess what? BRENNAN: It's been a week since anyone saw her. DEAN WARNER: You think I k*lled my wife and James Bouvier. BRENNAN: Have you seen the photographs before? DEAN WARNER: It was just over a week ago, which was when I suggested to Meredith that it was a good time for her to visit her sister in Toronto. BOOTH: Why was it a good time? DEAN WARNER: Because the boy thr*at to put the photos of them together all over the internet if I didn't let him stay in school. BRENNAN: Beaver failed his chemistry test, you were going to expel him. DEAN WARNER: Yeah. I declined to be blackmailed. BRENNAN: Did the photos ever appear on the internet? DEAN WARNER: They did not BOOTH: Is that because you k*lled Beaver? DEAN WARNER: I have nothing more to say other than I did not k*ll the boy. I'm even a little sorry that he's d*ad. So either arrest me and let me call my lawyer or let me go. BOOTH: Okay! Vernon Warner, I am placing you under arrest for the m*rder of James Bouvier. Anything you say can and will be used against you in a court of law. You have the right to remain silent. Cut to - Car BRENNAN: It doesn't make sense! I mean, logically, it doesn't make sense. BOOTH: Yeah, I know. BRENNAN: But the dean kills the kid with a nail g*n and places him in the mascot costume that's full of leftovers. BOOTH: I know, doesn't make sense. BRENNAN: No, that's what I said BOOTH: Exactly, that's what I'm saying too! Doesn't make sense. BRENNAN: Why did you arrest him? BOOTH: Pissed me off, y'know, instead of helping, he starts screaming for a lawyer...Jared wants me to go to India with him. BRENNAN: Indiana? BOOTH: India! OK, Taj Mahal, cows, tigers, cobras, Slumdog Millionaire. BRENNAN: yes...I know. Are you going? BOOTH: We don't like each other. BRENNAN: So...not going? BOOTH: I mean, he's my brother, so I love him. BRENNAN: I'm confused, you are going? BOOTH: I mean, Jared should not go to India alone, he'll get in all kinds of trouble. BRENNAN: You said he's never been alone. BOOTH: Exactly, you know what? He'll get eaten alive BRENNAN: If you go with him, then he won't be alone, you won't let him be bad and his frontal lobe will always be the size of a raison, that's what you said. Makes no scientific sense. BOOTH: Yea, I said that...got it (He nods) Cut to - Jeffersonian Lab (Booth, Brennan and Arastoo are walking towards Brennan's office) ARASTOO: I did an inventory of the nails found in the victim's body. There were thirty-six. BRENNAN: Arastoo, we know the nail that pierced the aorta was pulled out of the victim. ARASTOO: Yes, but I thought, perhaps, the k*ller didn't throw it away. Perhaps, he simply left it on the body. One never knows. BOOTH: One never does ARASTOO: I examined the nails very carefully for marks that would confirm it was sh*t from a nail g*n. A nail g*n leaves distinctive marks, not from the hammering mechanism, you understand, but from the reloading mechanism. BOOTH: Why are you telling me this? ARASTOO: Dr. Brennan said to be especially polite with out when the science is difficult. BOOTH: How stupid do you people think I am? BRENNAN: Booth? BOOTH: Yeah? BRENNAN: Do you recognize this nail? (She shows him the head of the nail, which has a star marking on it) BOOTH: Oh! Cut to - Float room (Booth, Brennan and Sweets enter the room housing the float, which is full of nails with the same star marking. Booth grabs the nail g*n that is on the float and gets up on it. He sh*ts a nail on one of the panels, then pulls it out to reveal the same star marking seen on the nail that was found in Beaver's remains. Sweets looks at the reactions from the students, and he singles out Molly Briggs) SWEETS: She's the one you want. Cut to - Interrogation room and the viewing room. (Booth and Brennan interrogate Molly Briggs while Sweets is looking on in the viewing room) MOLLY BRIGGS: Beaver came up to me, I was working on the float he wa always hitting on me. BOOTH: You didn't like Jimmy? MOLLY BRIGGS: Not in the way, y'know? BOOTH: Why did you sh**t Beaver with the nail g*n? MOLLY BRIGGS: Look, everybody went for a coffee, I stayed. Beaver must have been waiting, cause he shows up and he's all "come on, everybody thinks we're doing it, might as well make it official" and I've been up all night, all night, right, BOOTH: Working MOLLY BRIGGS: So he moves in closer and sticks his tongue right in my mouth. That's as*ault. BOOTH: Right. That is as*ault. (Brennan gets up and leaves the room) BOOTH: You're right. That is as*ault. MOLLY BRIGGS: And y'know, I've got this nail g*n and I just pulled the trigger, and Beaver falls off the float, onto his back, and he's hurt. He's hurt with this nail sticking out of his chest and he says "pull it out, pull it out" and I say to him "I've seen on TV, things like this, you leave it in, leave it in" but he pulls it out himself. BOOTH: You're right and he dies (Brennan enters the viewing room) MOLLY BRIGGS: Everybody believed that we were sleeping together; maybe they would believe I k*lled him. So I put his body in the mascot, before anyone came back. BRENNAN: I Have to admit, I'm impressed you picked her out of the crowd. How did you do it? SWEETS: You're not gonna believe me anyway, you're just gonna say I guessed, so have it your way. I guessed. (He turns to leave) BRENNAN: No, I don't think you're serious. I'd...I'd like to know what you saw! Cut to - Founding Fathers (Booth entersand sits at the bar with Jared) BOOTH: Ok JARED: You're not coming, are you? BOOTH: You really wanted me to? JARED: Does it matter? BOOTH: You know, I was going to. I really was, but uh, I think you should go alone. JARED: You think it's a good idea for me to go to India. BOOTH: Yeah, I do, alone. Our whole lives, as kids, I was always standing behind you. Or you had the Navy stand behind you, but this time, y'know, I think you should stand alone. You don't need your big brother. JARED: So, come as a friend. BOOTH: We both know, I'm not your friend. I'm your big brother. JARED: Yup (They cling bottles) BOOTH: Alright, right, so, got you something. (Booth puts a medallion on the counter) JARED: It's Grandpa's St-Christopher's medallion. BOOTH: Noo, no. It's a new one. I got you that. JARED: Seeley, it looks like the one Grandpa gave you. BOOTH: Nooo, Grandpa gave me mine when I was shipped out to the rangers. This one, I'm giving to you. Patron Saint of Travelers. It kept me safe in Somalia; let's hope it does the same for you in India. Wear it around your neck. JARED: I don't know man, am I alone if I take a Saint with me? BOOTH: You're not alone (Booth smiles) JARED: Thanks (Jared gets up to leave) BOOTH: Hey! Don't forget your jacket! (Jared leaves. Booth goes on the other side of the bar and sits where Brennan joins him) BRENNAN: How'd he take it? BOOTH: Ahh, it's Jared, meaning I have no idea. BRENNAN: So, uh, do you...do you really think you have to be bad to be good? BOOTH: Yeah, I do. BRENNAN: Well, I've never done anything bad. BOOTH: I believe you BRENNAN: I mean, I've made mistakes, of course, but I've never purposely done anything bad. BOOTH: And I believe you. BRENNAN: I don't want my frontal lobe to be a dried up raisin. BOOTH: You know what? We're going to do something bad now! BRENNAN: What? BOOTH: Have you ever dined and dashed? You know the concept, right? We're gonna run outta here without paying the bill. BRENNAN: No...That's stealing BOOTH: That's why they call it bad. We're doing something bad. BRENNAN: No! No! I can't...really? NO BOOTH: Come on (Booth gets up) BRENNAN: No! BOOTH: One BRENNAN: Are you serious? BOOTH: Two BRENNAN: Oh my God! BOOTH: Three Go, go go (She gets up and starts running. Booth takes out a bill from his pocket and leaves it on the bar. He runs after her) BRENNAN: No, No, OH! We're bad. We're bad BOOTH: Get in the car BRENNAN: Woohoo! We're baaaaad! END.

{"type": "series", "show": "Bones", "episode": "04x24 - The Beaver in the Otter"}

foreverdreaming

"The Critic in the Cabernet" Episode 4x25 / Production 4x19 Airdate: May 7, 2009 Written By: Stephen Nathan Directed by: Kevin Hooks Transcribed by: vanima_luhta Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Bedford Creek Vineyard, Aging Cellar- Several people stand around a wine cask sampling wine.) SEAN MORTENSON: Now this cab is young, so limited finish, of course, but still has a nice depth. DR. LES GRANGER: I can taste cherries, a bit of ginger... KIM MORTENSON: Plums and cassis. RACHEL GRANGER: And a hint of dark chocolate. Lovely. BRUCE HANOVER: In another five years, it’s going to be an exceptional wine. SEAN MORTENSON: Yes, Bruce is a magician with my grapes. Of course, he convinced me to sink a mint into the vineyard over the last two years alone. But, money well spent. DR. LES GRANGER: You’re going to make Virginia the next California, Sean. SEAN MORTENSON: Doc, wait until you taste the ’97. Gotta be the best year we’ve ever had at Bedford Creek. Wouldn’t you say, Bruce? BRUCE HANOVER: Perfect balance of sun and rain, limestone and gravel. It was a year one dreams about. Now, some sediment is normal, especially in such a big wine. (Bruce pours several glasses of wine and passes them out. They toast and begin to drink. They make faces and gagging sounds and spit it out.) SEAN MORTENSON: What the hell is going on, Bruce? BRUCE HANOVER: I don’t know, sir. RACHEL GRANGER: Something’s in my glass. (Her husband reaches into her glass and pulls out a purple object.) DR. LESS GRANGER: My God, that’s a human finger! (Rachel screams and drops her glass which shatters on the ground. The other guests make similar gestures .) (Cut to: Dr. Lance Sweets’ office at the FBI building. He’s having a session with Booth and Brennan.) SWEETS: (He opens the blinds on his office window and walks back to sit down in his chair.) It’s quite simple. Whatever Agent Booth says, you respond with whatever word or phrase pops into your head. And vice versa. BRENNAN: Well that’s ridiculous. I can’t properly respond without careful thought. BOOTH: Can’t we just make it a drinking game? SWEETS: No. This is a valuable, psychological tool, Agent Booth. When you respond viscerally we can get to the root of your emotional issues and figure out what binds you two together as partners. BOOTH: Donuts. SWEETS: Beg your pardon? BOOTH: Donuts. Glazed donuts. I see ‘em right there. BRENNAN: Because you had no breakfast. You’re hungry. BOOTH: I’m starving. BRENNAN: Yeah. SWEETS: No, that’s not the proper response. BRENNAN: Of course it is, I’m explaining why he said "donuts". SWEETS: The point of the exercise is not to explain, but to respond. Okay? Children can do this. BRENNAN: Because it’s childish. SWEETS: Can we just try it, please? BOOTH: All right, okay, fine, here we go. Are you ready? Hunger. BRENNAN: Sex. BOOTH: Whoa. BRENNAN: Horse. BOOTH: Cowboy. BRENNAN: Child. BOOTH: Baby. BRENNAN: Booth. BOOTH: What, what do you think I’m a baby? BRENNAN: You’re a father. BOOTH: Oh. Mother. BRENNAN: Birth. BOOTH: Happy. BRENNAN: Sperm. BOOTH: Sperm? Isn’t this getting a little weird? SWEETS: No, keep going. BOOTH: Okay. Egg. BRENNAN: I want a baby. BOOTH: Whoa. BRENNAN: Horse. BOOTH: Wait. Whoa, whoa, wait a minute. SWEETS: Yeah, we can stop here. BRENNAN: I actually found that quite interesting. BOOTH: You want to have a baby? BRENNAN: Yes, I do. I just—I just realized it. I should have a progeny. It’s selfish of me not to. BOOTH: Selfish? BRENNAN: Yes. BOOTH: Don’t you need a, you know, guy to... BRENNAN: Just sperm. You’d be a very good donor, potentially. BOOTH: Me? BRENNAN: But you need to be tested, of course. (Booth’s cell phone starts ringing.) What, is something wrong? BOOTH: Yeah. Okay. You don’t just go around asking for people’s sperm. (He answers the phone and talks into it.) Yeah? No, I wasn’t talking to you. Uh, right. Yeah, okay. On our way. (To Brennan.) We got a case. BRENNAN: Okay. (She and Booth get up and head for the door.) SWEETS: Uh, wait. Perhaps we should discuss this. BRENNAN: I’m not conflicted if that’s what you’re concerned about. I’ve made a reasonable choice. BOOTH: In two seconds over some stupid game. SWEETS: This is a well researched, therapeutic technique, Agent Booth. BOOTH: Oh, really? This happens all the time—patients asking for sperm? SWEETS: Yeah—no, well not this specifically. Which is why I think some discussion is in order. BRENNAN: Shouldn’t we go? Don’t we have a case? BOOTH: Yeah. You’re right. We gotta get going. Right. (Points at Sweets.) This is all your fault. SWEETS: Okay, I know this was surprising, but... (Booth slams the door in his face.) (Cut to: Bedford Creek Winery; Aging Room. Booth and Brennan are walking toward the cask with the human remains in it.) BRENNAN: You’re the one who’s always touting parenthood, implying that my life is incomplete because I don’t have a child. BOOTH: I know, but this is kind of sudden. BRENNAN: Hmm, perhaps you don’t want to help me. BOOTH: Of course I do. BRENNAN: So you’ll do it? BOOTH: I’ll think about it. BRENNAN: What? I don’t understand. It’s a simple request. I’m sure you engage in masturba... BOOTH: Whoa. BRENNAN: Horse. BOOTH: Enough. Okay, we’ll talk about it later. BRENNAN: Well, I’m not asking for you to be involved. All I want is your sperm. BOOTH: (Bursts out laughing, obviously a fake laugh.) That’s a good one. "All I want is your sperm." (He puts his arm around Brennan and aims his laughter at the forensic tech.) I’ve never heard that joke before. BRENNAN: I don’t understand. BOOTH: Yeah, okay. All right. (To the FBI forensic tech Marcus Geier) Just close your mouth and point us to the body, okay? MARCUS: The barrel’s over here. (They approach the barrel which is having the lid removed to reveal a very goopy, very purple mass with a few discernable human bones floating in it.) BOOTH: Whoa. SEAN MORTENSON: Dr. Granger said it was a human bone, but... that’s impossible. This may be an animal, a rat. That could happen, right? BOOTH: And you are? MORTENSON: Uh, Sean Mortenson. This is my winery. And this is Bruce Hanover, my viticulturalist. BRENNAN: The remains are human. HANOVER: The cask has been sealed since 1997. I did it myself. BRENNAN: The seal must have been broken when the body was thrown in here. Exposure to air turned the wine to vinegar. BOOTH: Looks like a purple smurf. BRENNAN: Pelvic bone indicates a male. (She bends the bone back and forth, like rubber.) BOOTH: More like a rubber purple smurf. BRENNAN: Bones in vinegar leech calcium and will become gelatinous within three days. BOOTH: That is actually cool. BRENNAN: This cask is filled with debris, decomposed tissue and organs. It all has to come back to the lab. (Brennan pulls the skull out and Hanover gags. She and Booth look at each other.) MORTENSON: Oh, God. ACT ONE (Open: Medico-Legal Lab platform. Camile Saroyan, Jack Hodgins, Brennan and Intern Colin Fisher are examining the gelatinous remains.) CAM: Liquefactions suggests he’s been there at least eight months. BRENNAN: Scapula, clavicle. CAM: Fat globule. FISHER: We’re all just one step away from dissolving into the primordial ooze. Manubrium and ilium. CAM: Rendered brain matter. HODGINS: You got a sock, a belt. BRENNAN: Molar, lateral incisor and... canine. CAM: And this is just goo. HODGINS: Okay, I got a grommet, three nickels, and I am guessing a chocolate kiss. CAM: Bingo! A chunk of liver, enough for a tox screen. FISHER: My guess—you’ll find a high alcohol content. BRENNAN: Tibia. I’ve decided to have a baby. (Everyone turns to stare at her in shock.) Capitulum. CAM: Wait. Baby, like a small human? BRENNAN: Yes. I know I’ve had no interest in the past. But neither did you and you seem to find parenthood very fulfilling. CAM: Uh, yes. I do. And you brought this up now... why? BRENNAN: Well, I wanted to give you notice. I’ll be needing some time off when the baby comes. About six weeks I imagine. The staining makes it very difficult to see any anomalies on the bones. HODGINS: Is there a father? BRENNAN: Well, I’d like to use Booth’s sperm. CAM: Booth. Whadda ya know? FISHER: If Booth doesn’t work out, I donate my sperm monthly. I have a high IQ, excellent genetics, and motility. No emotional baggage. I’m kind of a catch. HODGINS: Okay. Down boy. CAM: Weren’t we investigating a death? (Angela approaches the exam table.) ANGELA: Oh, my God. HODGINS: Dr. Brennan wants to have a baby. FISHER: I offered my sperm, but she’s leaning more toward Agent Booth. ANGELA: You’re joking, right? BRENNAN: Booth and I discussed it in Sweets’ office. He’s thinking it over now. Although, I don’t understand why he’d be protective of his semen. (Angela, Cam and Hodgins look at each other in disbelief.) BRENNAN: There are six evenly-spaced cavities along the sides of the frontal and parietal bones. (To Hodgins.) Hand me that grommet you found. HODGINS: Uh. FISHER: (Whispers.) Grommet. HODGINS: The grommet. Yes. Right. Mm-hmm. There you go. (He hands the pitri dish to Cam who hands it to Brennan.) BRENNAN: Thank you. FISHER: I could get you my little swimmers at a substantial savings. ANGELA: Uh, Fisher, just scoop please. FISHER: Sure. BRENNAN: (Sets the grommet in a divet in the skull.) He had a craniofacial implant. CAM: The way they’re spaced, they’re positioned to secure a prosthetic hairpiece. Those are not very common. FISHER: I’ll strain for the rug. BRENNAN: If there’s a missing persons report on the victim, it would definitely mention a surgical hairpiece. You can also replace the teeth in the mandible and confirm with dentals. ANGELA: Bren... (Brennan exits. Angela turns to the others.) ANGELA: We heard right, didn’t we? HODGINS: A baby. Yeah. CAM: With Booth. (Cut to: Brennan’s office. Angela enters.) ANGELA: Brennan? BRENNAN: There’s a fracture on the zygomatic. Probably from a blow to the face. ANGELA: The guy is pickled, Sweetie. He can wait. You can’t just announce you’re having a baby and walk away. BRENNAN: 15,000 babies are born every hour. It’s not all that exceptional, Angela. ANGELA: Brennan... this is crazy. BRENNAN: Why? I’m intellectually gifted, financially secure. Statistically I could expect to have an exceptional child. ANGELA: Fine. Yes. Absolutely. But you do know how this is supposed to work, right? You get naked together. You devour each other in a passionate frenzy. BRENNAN: Booth would think that would create an emotional bond between us. ANGELA: Of course that’s ridiculous. BRENNAN: I knew you’d understand. ANGELA: Then why use Booth at all? Why don’t you use Fisher and his discount sperm? BRENNAN: No, Booth has a larger mandible and a more prominent zygomatic than Fisher, as well as a more pronounced ratio between the width of his clavicles and his ilia. ANGELA: So, it’s because Booth is hot. Now we’re getting somewhere. BRENNAN: Statistically, attractive people are more successful. I’m only thinking of the child, Angela. ANGELA: Then do this right, sweetie. BRENNAN: I am. Emotional ties are ephemeral and undependable. Look at you and Hodgins. You and Roxy. Booth and Rebecca. Booth and Cam. ANGELA: Brennan, I... BRENNAN: I appreciate your concern, but I have thought this through rationally. This fracture hasn’t fully remodeled. It occurred within a month of death. Possibly from an att*ck. (Cut to: FBI Building; Booth’s Office. Cam and Booth are talking and walking into the office.) CAM: The victim is Spencer Holt. Missing almost a year. He was a wine critic. Apparently he could destroy a vineyard with one review. BOOTH: Everyone likes a d*ad critic. I mean there’s—we’re going to have a lot of suspects. So, why are you here and why didn’t you just send an e-mail? CAM: You and Brennan, you’re going to have a baby? BOOTH: She told you. CAM: She told everyone. It’s probably on the news by now. BOOTH: I’m just donating. CAM: So you decided? BOOTH: No, no. I am deciding. I-N-G, ing. CAM: I know you, Seeley. You’re going to do it. You want to do it without really doing it. But it’s still doing it even if you’re not doing it the way it should be done. BOOTH: She wants a kid, okay? It’ll make her more personable with people. CAM: And what will it do for you? BOOTH: She’ll get what she wanted. CAM: A piece of you? BOOTH: Oh, look at this. Okay, Holt’s wife filed for a missing persons report. Now, I have to go tell her the bad news. CAM: Sure. BOOTH: You done? CAM: Yes. BOOTH: Thank you. (Cut to: Booth and Brennan driving in the SUV.) BOOTH: So apparently, Holt’s wife was pregnant when he disappeared. BRENNAN: So she’s raising the child alone? BOOTH: I guess so. BRENNAN: You know, and no one thinks twice about that. There are millions of single women raising healthy, productive children. (Looks down at the file in her lap.) There was a domestic disturbance report filed a month before he disappeared. BOOTH: Uh, you know, if we go, uh, through with this, and I’m around, and if you need help... BRENNAN: Well, I’ll have a nanny. BOOTH: I—I figured. But, you know, if it’s her day off. BRENNAN: You don’t have faith that I can do it? BOOTH: What? BRENNAN: You think I’d be a good mother, don’t you? BOOTH: Yeah, of course. BRENNAN: I know sometimes you don’t think I’m empathetic. And it can be difficult for me sometimes. But I would love my child, Booth, I would. BOOTH: I know. I—I know that, Bones. BRENNAN: I know people disapprove. If you’re uncomfortable, Fisher sells his sperm monthly, he’s very intelligent and... BOOTH: Oh, Fisher? Fi—Oh, no, you are not having Fisher’s kids. You’d be giving birth to the spawn of Satan, okay? I’ll do it. BRENNAN: No obligation. I don’t want you to feel any obligation. BOOTH: I’ll do it. Don’t worry about it, okay? It’s your kid, it’s totally yours. BRENNAN: Not worried about it. BOOTH: I’m just saying I’ll do it. ACT TWO (Open: Jenny Holt’s house. Jenny is working on a playset and her daughter is sitting in a baby seat. Booth and Brennan are questioning her.) JENNY: You hold out hope, but in my heart, I’ve known for months. What happened? BOOTH: Well, we don’t’ know yet; we’re still investigating. BRENNAN: He was found at Bedford Creek winery. JENNY: At Bedford Creek? BOOTH: You been there? JENNY: I’m the wife of a wine critic. I’ve had to sit through tastings at half the places in the country. I don’t even like wine. (The baby starts to fuss.) Oh, God. I’m all covered. BRENNAN: I’ll get her. BOOTH: Bones. JENNY: Spencer always wanted me to give up my carpentry business. Said I smelled of stain. Ruined the bouquet when he was tasting the wine. BOOTH: Bones, you need help? BRENNAN: No, no, I’m fine. BOOTH: You gotta help with the... BRENNAN: (Swings the baby back and forth in her arms.) You like spatial disorientation, don’t you? Yes, you do. JENNY: She likes you. All Spencer could ever talk about was having a little girl. He would’ve made a good father. (Jenny wipes her hands and takes her daughter from Brennan.) BRENNAN: Your husband also exhibited a facial fracture that hadn’t fully remodeled. JENNY: Yes. He tried to break up a fight at the wine expo. Mortenson was going after Charles Dunwood. BOOTH: Mortenson from Bedford Creek? JENNY: He’s a real bastard. BOOTH: He and your husband didn’t get along? JENNY: No, Mortenson loved him. Spencer gave his cabernet a 99. No one gets that. It was Charlie Dunwood Mortenson hated. Because Charlie made a cheap wine next door and he wouldn’t sell out to Mortenson. BRENNAN: And you saw this fight? JENNY: No. They all deny it, of course. But Spencer told me about it. BOOTH: There was a domestic disturbance report filed approximately one month before your husband disappeared. Can you explain that? JENNY: Our neighbor heard us arguing. That’s all. She called the police. BRENNAN: The report says it was more than an argument, Mrs. Holt. JENNY: I threw some dishes. But not at Spencer. It was just the pregnancy hormones, you know? I would ever hurt Spencer. (Cut to: Booth and Brennan driving in the SUV) BRENNAN: You don’t believe the victim’s wife? BOOTH: I just think that we should check with this guy Dunwood. He might have a different story. BRENNAN: What about the owner of Bedford Creek Winery? BOOTH: Mortenson is rich. If he’s involved, you don’t want to spook him or he’s just gonna hire an army full of lawyers to come make our lives miserable. BRENNAN: Would you like legal protection? BOOTH: What? BRENNAN: With the child, so you feel secure that I won’t be asking for money or support. BOOTH: No, I—I don’t need legal protection. BRENNAN: But if you do... BOOTH: I don’t. BRENNAN: Okay. I’ve made an appointment for you at the fertility clinic. They will check your semen for motility, morphology, sperm count. BOOTH: My boys can swim, alright? I have a child, do you remember? BRENNAN: This isn’t personal. I—I’d be remiss if I didn’t look at an analysis of your semen. It’s a very simple process. You just go to the clinic, give a sample. It takes five minutes. They have p*rn, if you need stimulus. BOOTH: I get it. BRENNAN: Okay. BOOTH: You really liked holding that kid, didn’t you? BRENNAN: Yeah. I’ve been thinking about how exciting it will be to expose my own child to early pattern recognition. BOOTH: You know, they like singing and, uh, when you make funny faces at them, too. BRENNAN: Yeah, of course. I will make a diverse schedule. (Cut to: Medico-Legal Lab. Hodgins and Fisher are straining the goop for evidence.) HODGINS: You know when it doesn’t contain human remains, Bedford Creek makes an excellent cab. It’s very full-bodied. It’s like an Australian Shiraz. FISHER: I only drink diet soda. I’m hoping the preservatives can add some s*ab to my life. HODGINS: (Pulls something out of the goop.) Here’s a little pocket Kn*fe. And some glass fragments embedded in the fabric from his shirt. FISHER: There’s some scraping on the anterior of this rib. I got a gouge on the third rib and one here on the sternum. HODGINS: You think he was s*ab? FISHER: I can’t tell from the incised edges, because the bones are soft and completely stained from soaking in the wine. HODGINS: Man, I can barely get wine stains out of my shirt, let alone a skeleton. FISHER: But your shirt isn’t composed of calcium. Oh, my God. I can clean them. This is weird. Something good is happening. HODGINS: Take a deep breath; I’m sure it’ll pass. FISHER: The approximate weight of the bones is 12.43 kilograms. I’m gonna need 781 boxes of denture cleaner. (Cut to: FBI Building; Booth’s Office. Brennan is sitting next to Charlie Dunwood. Booth is sitting at his desk.) DUNWOOD: Ah, shame about Holt. He was a good guy. One of the only critics who didn’t dump on my wine. BRENNAN: But your wine sells for three dollars a bottle. DUNWOOD: That’s right, yeah. In a bottle or a box. It’s a good honest drink. BOOTH: It’s good. BRENNAN: I didn’t know you knew anything about wine. Booth: It’s good stuff. It’s like the beer of wine. DUNWOOD: Holt got that. He knew I wasn’t trying to be more. BOOTH: Holt’s wife said that, um, he had to break up a fight between you and Mortenson from Bedford Creek Winery. DUNWOOD: Yeah. Yeah, it was at the wine expo, in the parking lot. I told Holt to stay out of it. I shoved Mortenson, all right? The guy was in my face. Holt got in the middle, right when Mortenson was taking a swing, so he took the h*t. Mortenson walked out. Just left him. BOOTH: What was the fight about? DUNWOOD: My vineyard is next door to his, and uh, he thinks I’m an embarrassment. He wants to buy me out. He thr*at some bogus lawsuits. My family’s been working those fields since 1928. This is my life. BRENNAN: So you had no issue with Mr. Holt? DUNWOOD: Hell, no. You know, if he were alive, I’d pat him on the back. BOOTH: For what? DUNWOOD: For taking that bastard Mortenson down a peg. BOOTH: Yeah, but he loves Bedford Creek wine. DUNWOOD: Yeah. But I heard he loves sleeping with Mortenson’s wife even more. (Cut to: Medico-Legal Lab. Cam, Hodgins and Fisher are standing around a large t*nk with the bones submerged in water. Fisher dumps buckets of denture cleaner into the water and it fizzes.) CAM: Is that what I think it is? HODGINS: Were you thinking sodium perborate and potassium monpersulfate? CAM: Actually, I was thinking Nana Shirley’s teeth. FISHER: More like 781 sets of Nana Shirley’s teeth. HODGINS: Fisher says this will remove the staining from the bones. FISHER: Could. I said could. There is no certainty but death and the incomprehensible conundrum that is life. CAM: Fisher, have you ever just taken a moment to forget yourself? Watch, like, the Three Stooges and just laugh? FISHER: Yeah, I never found humor in grown men giving each other concussions with construction equipment. CAM: (Turns to Hodgins.) I tried. Tox screen on the remnants of the liver was inconclusive. HODGINS: Yeah, the vinegar will obscure just about everything. CAM: But I did find some inorganic agents mixed in with the liquefied tissue. Might help us find cause of death. FISHER: I think I found s*ab wounds on the ribs and sternum. We’ll know more if we can clean the stains. ACT THREE (Open: Medical Dental Office. Booth has gone to give his semen sample at the clinic. A nurse is instructing him on the correct procedure.) NURSE: It’s quite simple. You just ej*cul*te into the cup. (She and Booth step into a small room.) Here we go, Mr. Booth. You look a little flushed, are you okay? BOOTH: Sure. Yeah, I’m fine. NURSE: Sometimes men can feel awkward. Knowing people out there know what you’re doing in here. BOOTH: Thanks for that. NURSE: You know what to do? BOOTH: You’re kidding, right? NURSE: Okay. There are magazines and videos, if you need them. Enjoy. (Nurse closes the door to the room and Booth looks around, then turns to lock the door when the television suddenly comes on. Stewie from the Family Guy is talking to Booth.) STEWIE: Why are you here at the bank, Booth? BOOTH: (Surprised, he whirls around.) Ahhh. STEWIE: You’ve got a hot doctor friend. Go to her and make a direct deposit like a man. BOOTH: (He goes to the television punches the power button off, the screen goes black. He turns away from the television.) That’s impossible. STEWIE: (The television magically comes back on.) And yet we converse. BOOTH: (Again, surprised.) Oohh. STEWIE: Ooo, look. A pile of p*rn. Delicious. Give me a peek, Booth. Mmm? Just a little peek at a booby? Please? (Booth unplugs the television and the screen goes black again.) STEWIE: What’s the problem? You’re thr*at by a cute, harmless baby? Grow a set! You do want her to have your baby, don’t you? BOOTH: Of course I do, it’s just, I want her to have a baby because it’s what she wants. STEWIE: And you could just walk away like a heartless cad while she changes poo all by her lonesome? BOOTH: (Raising his voice.) It’s what she wants! NURSE: (Knocks and speaks from the other side of the door.) Are you okay in there, Mr. Booth? BOOTH: Uh, I’m fine. (Grabs some DVDs and holds them up, turning around.) Just, uh, fine, thank you. (Back to Stewie.) Listen, could you just go away now, okay? I don’t need your help. STEWIE: You know, you’re not a bad looking fellow, and if you’d just keep an open mind... BOOTH: Go back to cartoon land, wherever you came from. Leave! STEWIE: You sure? I’m good at pretend games. BOOTH: (Uses the remote control to turn the television off and the screen goes black once more. Booth stares at it for a moment before shaking his head.) That wasn’t possible. (Cut to: FBI Building, Booth’s office. Booth is sitting in his chair, tapping himself in the forehead when Sweets walks in.) SWEETS: Agent Booth. BOOTH: (Gets up and walks toward his desk.) Sweets, hey! SWEETS: How you doing? BOOTH: I’m fine, great. Turns out that, uh, the victim might have been sleeping with Mortenson’s wife, huh? Jealousy, always a good motive. SWEETS: Yeah, that’s good. But right now, I’m more interested in whether you decided to inseminate Dr. Brennan. BOOTH: God, you know. Don’t say it like that. SWEETS: I’m sorry. I’m interested in whether you decided to provide your semen for her fertilization. BOOTH: Saying it like that is worse. (Starts pacing restlessly.) SWEETS: Okay, well, I could go with "baby daddy" but that just seems even more... BOOTH: I’m gonna do it. Hey, I’ve already made the deposit. That’s right. Apparently, I am a god. That’s right. Motile sperm count: 28.8 million. I could start my own country. (Spins and points to his globe.) SWEETS: Okay, then. Well, I’m sure you’ll be going through a lot of emotional changes because of this, so if you need to talk... BOOTH: Thank you, but um, it’s her baby, so it’s gonna be her life that’s turned upside-down, not mine. SWEETS: So you’re not at all stressed by this? BOOTH: Sweets, I’m an FBI agent, okay? And a former sn*per. This is not a life or death situation, you understand? SWEETS: Yeah, sure. Well, if you need anything, I’m available. BOOTH: I don’t need anything, okay? I am just doing what, you know, anyone else would in this situation, right? (Picks up a football and tosses it to Sweets, then sits down on his cabinet and sighs.) SWEETS: Like, what? BOOTH: Just... I got a little, you know, anxious at the clinic. SWEETS: Anxious? BOOTH: Anxious. Don’t get all shrinky on me. SWEETS: No, no. Uh, what kind of symptoms? Shortness of breath, lightheaded? BOOTH: It’s normal, right? SWEETS: Absolutely. Sometimes donors can feel an emotional attachment, even if they don’t know the recipient. But in this case, since you and Dr. Brennan are... BOOTH: It’s normal to imagine things? SWEETS: Well, not pink elephants, but... BOOTH: No, no, no, of course not. Like, um, baby things. SWEETS: It’d be odd if you didn’t. BOOTH: Ha! It’d be odd if I didn’t. You’re my guy. That’s all I needed to hear. Thanks, Sweets. Thanks, uh, I gotta go, you know, take care of somebody. (He leaves Sweets standing in his office.) SWEETS: No problem. Anytime. (Cut to: Medico-Legal Lab; Exam Room. Brennan and Fisher are looking at the clean white bones.) BRENNAN: There are tiny fractures near the coronal sutures. We never would have noticed these before. The denture cleaner was an excellent idea, Mr. Fisher. FISHER: Now if I only possessed rudimentary social skills. BRENNAN: They aren’t really necessary for your work. FISHER: I wish my parents were that understanding. You’re gonna be a good mother. BRENNAN: I would imagine so. (Turns the rubbery skull over in her hands.) Evidence of hemorrhaging on the underside of the fractures. There was a perimortem blow to the head. (Her phone rings and she hands the skull to Fisher and pulls her gloves off, grabbing her phone from her pocket and answering it.) Brennan. (She listens for a few seconds.) Okay. Uh, Booth is waiting for me. Check the degree of hemorrhagic staining to see if it was cause of death. FISHER: If Booth is still reluctant... BRENNAN: No, he offered—28.8 million viable sperm in a mere three milliliters of ejactulate. (She leaves.) FISHER: As the feeling of inadequacy makes me shrivel. (Cut to: Bedford Creek Winery; Mortenson Home. Kim Mortenson, holding her infant son, leads Booth and Brennan into a parlor.) KIM: Spencer Holt was a big supporter of Bedford Creek wines. He was here for numerous tastings. BRENNAN: Your little boy is adorable. KIM: Oh, thank you. BRENNAN: (Holds her hands out to the baby.) Phalanges, dancing phalanges. BOOTH: Bones. BRENNAN: Right, sorry. So, you were sleeping with Spencer Holt, weren’t you? BOOTH: Subtle. KIM: Sleeping with him? Of course not. Who told you that? BOOTH: Seems like your husband had, uh, quite the temper, huh? KIM: Charlie Dunwood, right? BRENNAN: (Looking at the baby.) That is not your husband’s child. KIM: What? I think you should leave. BRENNAN: The bone markers bear a clear resemblance to Spencer Holt. BOOTH: They do? BRENNAN: Research shows that babies strongly resemble their fathers in the first year of life. The evolutionary theory being that they’re less likely to be abandoned if the fathers recognize themselves in their offspring. KIM: What is she talking about? BOOTH: Oh, does that mean that your kid will look like me, at least for the first year? BRENNAN: There’s a high statistical probability, yes. (Takes out her camera and takes a picture of the baby.) KIM: Excuse me. BRENNAN: I can compare these photos against Spencer Holt’s remains. The maxilla and nasal aperture... KIM: Stop. My husband could come in any moment. BOOTH: So it’s true? KIM: Sean and I tried. It’s all about business with him, but I really wanted a child. Spencer understood, and one night after a little too much wine... I appreciate everything Sean does for me, but Spencer was, you know... BOOTH: Kind? KIM: I wish he had the chance to see his child. BRENNAN: So does his wife. BOOTH: Maybe your husband found out you were having an affair, and uh, he decided to get rid of Mr. Holt. Seems like the kind of guy who likes to get what he wants. KIM: Sean has a temper, but he would never hurt anyone. SEAN MORTENSON: (Enters, looking angry to find Booth and Brennan talking to his wife.) What the hell are you doing, Kim? BOOTH: We were just asking a few questions about Spencer Holt. SEAN: Uh huh. (To Kim.) You keep your mouth shut. (To Booth.) Now look, I told you everything when you found him, and we’re not saying anything else without our attorneys present. Is that clear? (Cut to: Medico-Legal Lab; Cam’s Office. Cam and Angela are talking as Cam sits down at her desk.) ANGELA: I tried to talk to Brennan about that whole baby thing. She won’t listen to me. CAM: Neither will Booth. Guess all we can do is board up the windows and hope the levees hold. ANGELA: It’s none of our business. CAM: Exactly right. ANGELA: Oh, that kid is gonna be so cute, though. CAM: Please, we’re gonna go nuts. ANGELA: I bought it a little onesy today. HODGINS: (Enters.) I got the results back on the inorganic goo. (Puts the file on Cam’s desk and picks up a remote for the computer.) Contains calcium arsenates. CAM: Aresenic. HODGINS: Yeah, it was on his clothes and mixed in with the tissue. ANGELA: So, he was poisoned? CAM: This isn’t a high enough concentration to k*ll him. HODGINS: Booth said Holt’s wife worked with wood building playsets? Aresenic is used in stains and wood preservatives. It’s tough to wash off. CAM: So Jenny Holt found out her husband was cheating on her, s*ab him, and left us a chemical fingerprint. (Cut to: FBI Building; Interrogation Room. Jenny Holt is sitting across the table from Booth.) JENNY: Spencer traveled a lot, visiting vineyards across the country and Europe, South America. That’s why I waited to file the missing person’s report. BOOTH: He was missing for ten days. You didn’t even talk to him during that time? JENNY: We’d been having some trouble in our marriage, but we loved each other. BOOTH: You know he was having an affair with, uh, Kim Mortenson? JENNY: Yes, I knew about Kim, but we would have gotten past it. When the baby was born, we would have gotten closer, like we had been. BOOTH: Did you know he was the father of Kim’s baby, too? JENNY: What? BOOTH: Yeah. JENNY: No, that’s impossible. BOOTH: Knowing that he was having an affair is one thing, but knowing he fathered another child while you were pregnant—that would put anyone over the edge. JENNY: I didn’t k*ll Spencer, I loved him. BOOTH: In your work, um, do you use stains or wood preservatives that contain arsenic? JENNY: There are traces, yes. BOOTH: Arsenic was found on his clothes, in his wounds in an amount that could easily have been transferred from the assailant during an att*ck. JENNY: Why would I leave my little girl without a father? Why would I do that to her? BOOTH: Where were you for the ten days he went missing? JENNY: That was months ago. I couldn’t tell you. No one could. (Cut to: Medico-Legal Lab; Exam Room. Hodgins, Angela, Brennan and Fisher are still going over the bones. Hodgins is pointing to something on the screen.) HODGINS: All of the injuries to the ribs and sternum had silica embedded in them which matched all of the glass shards found in the wine cask and on Holt’s clothes. BRENNAN: Yes, these injuries to the ribs and sternum—(turns to Angela) can you connect the impact points? ANGELA: Why, you think Holt’s wife was making a design when she was attacking him? BRENNAN: There are three main impact points. What if they were a circular pattern? ANGELA: Okay, well, a circumference... (a 3D model on the screen shows the circular pattern on the bones) the circle is nine and a half inches. BRENNAN: What is the circumference of a wine bottle? HODGINS: My guess, nine and a half inches. ANGELA: Yeah, let’s see. Yep, nine and a half inches. BRENNAN: Okay, get some Bedford Creek wine. See if the bottle was sufficient to cause these injuries and the hemorrhagic staining at the coronal suture. (They all leave the exam room, Hodgins and Fisher walk together.) FISHER: You know, a watermelon is the same density as the human head. HODGINS: Oh, I like the way you think, Fisher. (Cut to: FBI Building; Sweet’s Office. Brennan and Booth are talking to Sweets.) BRENNAN: I have an appointment with a fertility specialist next week. I could be inseminated within a month. BOOTH: Really? BRENNAN: Mmhmm. SWEETS: You didn’t tell Agent Booth? BRENNAN: I promised him he wouldn’t have to be involved. BOOTH: Right, exactly. You see, ‘cause we have a...an arrangement. BRENNAN: Well, I thought that these sessions were meant for you to see how we interact as partners. How does this relate? SWEETS: You’re using Agent Booth to have a child. You don’t see how that might relate to your partnership? BRENNAN: It has nothing to do with our work. SWEETS: Okay, um, let me just organize my thoughts here. BRENNAN: It’s not like I’m going to be bringing the child along when we interrogate someone. BOOTH: Ah, but you might decide to breastfeed. It is healthier. BRENNAN: Oh, that’s true. So, yes, there might be some crossover. I can see that now. I’m sorry, go on. SWEETS: I think you need to acknowledge that there are some emotional considerations that you might be denying. BRENNAN: Like what? SWEETS: There are sperm banks that guarantee high IQs and exceptional physical prowess, yet you specifically chose Agent Booth. Why? BRENNAN: He has traits like courage and compassion and empathy that would be tremendous assets to my child. Sperm banks don’t catalog those traits. BOOTH: Did you just say something nice? BRENNAN: No, I gave an objective evaluation. BOOTH: Oh, because it sounded like you said something nice. BRENNAN: No. SWEETS: How can you two not see what is going on here? BOOTH: Sweets, what is the big deal? She was gonna have a baby anyway, I mean, with Fisher. Fisher, okay? What would you have done? SWEETS: Again, what I would have done is not important, but you, you admitted to feelings of anxiety. BOOTH: You know what, Sweets? You are crossing a line right there. BRENNAN: I agree. SWEETS: No, I’m not actually. In my position, I could make an evaluation that states that you two are not suited to work together because of interpersonal issues that are not being dealt with. BRENNAN: Ridiculous. BOOTH: Dreamer. SWEETS: So perhaps until our next session, maybe you should think about some of the things that I brought up today. (Cut to: Medico-Legal Lab; Exam Room. Fisher and Hodgins have watermelons lined up on a table.) HODGINS: Hmm, it’s confirmed by the modeling. Yep, the shards of glass found in the cask have the same thatch design as the base of the Bedford Creek bottles. FISHER: So, we know the bottle was from Bedford Creek. Then we don’t have to do the experiment. HODGINS: We have all the melons already, you know, and the bottles... FISHER: Confirmation would be beneficial. HODGINS: We’d be remiss if we didn’t confirm. FISHER: Yeah. (They grin and pull their safety goggles down over their eyes.) HODGINS: Sorry, Mr. Holt. (Hodgins slams the bottle into the melon, which is completely smashed but leaves the bottle intact.) FISHER: That bottle was supposed to break. HODGINS: Yeah, otherwise, the injuries make no sense. You’re sure a melon has the same density as a human head? FISHER: Would I waste our time? Give me that. (He reaches for the bottle and smashes it into another melon with the same result. He looks pretty happy.) I enjoyed that too much, didn’t I? HODGINS: It’s important to love your work. Maybe she h*t him with the narrow end. (He grabs it back and turns it around and smashes it into the next melon with the same result.) FISHER: She was a carpenter, more strength. (He grabs it and brings it down into the melon with a primal yell just as Cam walks in wearing a pretty dress and looking nice. She ends up with smashed melon guts all over her.) (Fisher and Hodgins both look very apologetic and shocked as Cam begins to pick the melon off herself.) CAM: I was going out to dinner. HODGINS: Would you like a towel? CAM: Very much. HODGINS: (Hands Cam a towel.) The Bedford Creek bottles, they wouldn’t have broken. FISHER: But it would have smashed his skull. CAM: But you said the design you found on the glass confirmed that it was a Bedford Creek bottle. HODGINS: Yeah, but... these bottles wouldn’t have provided the injuries that we found. CAM: So... after all this, we have no w*apon or cause of death? (Fisher and Hodgins look blank.) CAM: Okay. (She throws the towel at Hodgins and walks out.) FISHER: Whoops. ACT FOUR (Open: Medico-Legal Lab. Angela and Brennan are walking.) ANGELA: Did you ever think, what if Booth is the perfect father for your child? Not just his stuff, but him. What if you’re throwing away the chance to have a family, a real family, because you’re scared? BRENNAN: Scared? Why would I be scared? I’ve been to Rwanda, to Iraq... ANGELA: (She stops and turns to face Brennan.) Listen, you just said you wanted to do this alone because feelings are ephemeral. So is life, Brennan. We’re here one minute, and then we’re gone the next. You should know that better than anybody. If you keep living trying to protect yourself, nothing is ever gonna touch you. BRENNAN: Sweets said that it’s not his job to tell somebody what they’re feeling or how they should live their life. (She walks away.) ANGELA: Lucky thing I’m not a shrink. (They both walk to a station where Hodgins, Fisher and Cam are standing around a computer.) HODGINS: The bottles were counterfeits. BRENNAN: Counterfeit? HODGINS: Yep. Even though the design was the same, the glass found in the cask had a lower concentration of dolomite and magnesium dioxide than the real Bedford Creek bottles. FISHER: Someone’s been counterfeiting Bedford Creek Cabernet. ANGELA: A bottle of Bedford Creek sells for over a hundred bucks. CAM: So if someone fills counterfeit bottles with cheap wine and ships out a couple thousand cases saying it’s from Bedford Creek, they could make some serious money. HODGINS: Yeah, exactly. Now, I also found that the arsenic compound I thought was from the stain contains parathion. (He speaks to Brennan and she gets a look of understanding.) CAM: Okay, we don’t know what that means. BRENNAN: It’s an organophosphate used as an insecticide. HODGINS: The only vineyard in the area licensed to use it by the EPA is Dunwood Winery. BRENNAN: Charles Dunwood. (Cut to: FBI Building; Interrogation Room. Charles Dunwood is sitting at the table when Booth and Brennan walk in and sit down.) BOOTH: We found cases of this in your warehouse. (He is holding a bottle and shows it to Dunwood.) You were counterfeiting Bedford Creek wine. BRENNAN: You charged a hundred dollars for a three-dollar wine. BOOTH: The stupid wine snobs, they don’t even know the difference. BRENNAN: But Holt did. He found out, didn’t he? He was going to tell Mortenson. DUNWOOD: It was none of Holt’s business. I told him to stay out of it. I need the money to fight Mortenson’s bogus lawsuits. I wasn’t gonna let that bastard take my place. My family’s been there for over 80 years. STEWIE: Is this man a complete dunce? (Stewie appears in the room next to Dunwood, sitting in his high chair. He waves at Booth.) BOOTH: Oh, God. BRENNAN: Booth, what is it? STEWIE: Why doesn’t he just clam up and ask for a lawyer? (To Dunwood.) You sir, are a boob! BOOTH: (To Stewie.) Some people, they just feel remorse, and they want to set the record straight. STEWIE: Oh please! He makes wine a homeless person wouldn’t cook with. He never felt remorse about that. BOOTH: Nobody asked you. BRENNAN: Booth, who are you talking to? DUNWOOD: What’s going on? BOOTH: Nothing, just, um, go on. DUNWOOD: I followed him to Mortenson’s. He had one of the bottles. And it was late and... STEWIE: And you cornered him in the wine cellar and b*at him to death to shut him up. Blah, blah, blah, blah, blah. We know. BOOTH: Will you shut up? Shut up! BRENNAN: Booth, who are you talking to? STEWIE: So, are you going to let her have this baby alone? BOOTH: I didn’t say that. STEWIE: You are! You’re going to abandon your child! Oh, night’s deepest gloom washes over my tiny frame. BOOTH: No, no, I—I can’t walk away. I never said that, okay? Do you understand? I can’t walk away. This is my kid. If I can’t be involved, I don’t want her to have the baby! STEWIE: And the sun shines again! Good man, Boothie! DUNWOOD: What the hell’s going on here? BRENNAN: (To Dunwood.) You shut up and don’t move. (To Booth.) Booth, you’re coming with me. (She grabs him by the arm and hauls him to his feet and to the door.) STEWIE: Hey, hey, wait! Stop! You’re leaving a helpless child alone with a k*ller! Stop! (Outside the interrogation room.) BRENNAN: Hey, what is going on? BOOTH: I can’t do it. Listen, I have to be involved. If I’m the father, then... I have to be a father. BRENNAN: You were seeing something in there—what were you seeing? BOOTH: Stewie—you know, the baby from The Family Guy. BRENNAN: You—you saw Stewie... in there? In the interrogation room? BOOTH: So what do you say about the kid? BRENNAN: Fine, I won’t have a baby. BOOTH: Fine? That’s it? BRENNAN: No, it doesn’t matter now—we’re going to the hospital. BOOTH: It’s no big deal, okay? BRENNAN: It is. Booth, you thought you saw Luc Robitaille and then the ghost of a d*ad friend and now a cartoon baby. Trust me, something is wrong. Trust me. (Cut to: Hospital Waiting Room. Cam, Hodgins, Sweets, and Angela are all waiting to hear back on Booth’s condition.) SWEETS: They should have the CAT scan results by now. CAM: They’re getting a second opinion. SWEETS: Well then the other doctor should have been standing by. ANGELA: Are you alright, Sweets? SWEETS: No, no, I’m not. I’m not the—the level-headed shrink at the moment... I’m just the guy whose friend is in trouble, and I’m having a hard time dealing with it. Okay? I’m sorry. I just need a moment. (Walks away.) ANGELA: Sure. (Hodgins moves to sit on the couch next to Angela.) HODGINS: Man, just when you think you know what’s what. Man, we can’t take anything for granted, can we? ANGELA: Why is it so easy to forget that? HODGINS: Ange, when we split, either one of us could’ve stopped it. It would’ve been easy. ANGELA: I know. HODGINS: It would be just as easy... to begin again. (Brennan approaches the waiting room and everyone stands to hear the news.) BRENNAN: They think it’s a crebellar pilocytic astrocytoma. SWEETS: Oh, God. That sounds bad. BRENNAN: Brain tumor. It’s usually benign. CAM: Usually. BRENNAN: They’re prepping him for surgery now. HODGINS: Wow. So fast. BRENNAN: They didn’t want to take any chances. ANGELA: Go. He shouldn’t be alone before he goes in there, Brennan. BRENNAN: I just wanted all of you to know (She chokes up.)... statistically, he should be fine. (Everyone nods. Angela hugs her and she returns the hug, then disengages.) This isn’t about me. (She walks away.) (Cut to: Hospital Surgery Prep Room. Booth is being worked on by a few nurses and techs, taking his vitals and prepping him for surgery. He’s looking for Brennan. She finally appears in the window outside the room and they smile at each other before she enters and stands at the foot of the bed.) BRENNAN: The surgery should take about two hours. BOOTH: (Nods.) I was getting used to hallucinating. It’s gonna get lonely. (They both laugh softly.) BRENNAN: You’re gonna be fine, Booth. Dr. Jurzik is one of the best. BOOTH: Would you come in there with me, to the operating room? BRENNAN: No, I’ll see you in Recovery. BOOTH: Oh, come on, what are you gonna do, sit in the waiting room and read all those old magazines for hours? BRENNAN: I’m not a neurologist, Booth, or a surgeon. BOOTH: Yeah, but you’re a genius. That’s good enough for me. Plus, you’ll know if they’re screwing up. BRENNAN: I’ll ask. (A doctor enters the room.) DOCTOR: (To a tech.) I’ll let you know when we’re ready for that, uh... thanks. (He gets to Booth’s bedside and lifts his wrist.) Hi. Let me just take a look. (Booth motions toward the doctor with his head, telling Brennan to ask.) BRENNAN: Uh, excuse me. (She takes the doctor aside.) (Cut to: Hospital Hallway. They are wheeling Booth to the operating room. Brennan is next to him. She is wearing scrubs and was evidently permitted to be in the room during his surgery.) BOOTH: (To the nurses wheeling the bed down the hall.) Can we just stop for a second? Can you just give me a minute, please? (The nurses back off and leave Booth and Brennan alone.) BRENNAN: What’s wrong? BOOTH: Listen, Bones, if I don’t make it... BRENNAN: Booth, you’re gonna be fine. BOOTH: Yeah, but if I’m not... I want you to have my stuff. You know, for a kid. BRENNAN: Booth. BOOTH: I want you to. You’re gonna be a really good mom. BRENNAN: You’re gonna be fine, Booth. I’ll be right here. BOOTH: I’m ready. (Brennan looks around for the nurses who come back and start wheeling Booth down the hall again. Brennan holds his hand as they push through a set of double doors and the scene whites out.) END

{"type": "series", "show": "Bones", "episode": "04x25 - The Critic in the Cabernet"}

foreverdreaming

"The End in the Beginning" Episode 4x26 / Production 4x20 Airdate: May 14, 2009 Written By: Hart Hanson Directed by: Ian Toynton Transcribed by: curious_cookie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Interior BOOTH and BRENNAN'S APPARTMENT - BEDROOM, 4:47 AM. BOOTH is sleeping) HODGINS: [narrating] People say you only live once, but are as wrong about that, as they are about everything. (BRENNAN enters) HODGINS: [narrating] In the darkest moments before dawn a woman returns to her bed. What life is she leading? Is it the same life the woman was leading half an hour ago? A day ago? A year ago? (Pan to BOOTH) HODGINS: [narrating] Who is this man? Do they lead separate lives, or is it a single life shared? BRENNAN: Do you love me? BOOTH: Yeah. Do you want me to prove it to you? BRENNAN: Mmm, if you're not too sleepy... (BOOTH kisses BRENNAN) HODGINS: [narrating] A storm approaches. A still over the horizon, but there is lightning in the air. Are either of them aware of the gathering turbulence? Can the feel the crackling of electricity in the wind? Or are they only aware of the power they generate between themselves? BOOTH: Ooh, I love when you do that. BRENNAN: [giggles] (Cut to morning. 5:43 AM.) HODGINS: [narrating] The first hint of the storm is not a thunderclap. It is a knock. (There's a knock at the front door) BRENNAN: Get it! BOOTH: [groaning] No. You get it! BRENNAN: No, you get it! BOOTH: You get it! (BRENNAN pulls sheet off BOOTH) BOOTH: [groans] BRENNAN: [giggles] BOOTH: Aww! Great, I get it. (BOOTH answers the door in BRENNAN'S floral bath robe) BOOTH: What? What? (CAM and JARED are waiting at the door) CAM: Morning. I'm Detective Saroyan. BOOTH: Yeah, I know who you are. You're my brothers' partner. (CAM flashes her Police badge) JARED: She prefers the term "boss". CAM: Official visit. See the badge? (BRENNAN enters) BRENNAN: What's going on? BOOTH: Aah! There's my robe! CAM: A body was found at your nightclub. (Cut to: exterior of THE LAB, BOOTH and BRENNAN'S nightclub. BOOTH and BRENNAN pull up in THE ALLEY behind the club in their Mercedes. There are two Police cars also in the alley, as well as a number of Police officers.) BOOTH: So who was still at work when you left? BRENNAN: Zack came in just before four. Brought the car around for me. And then Fisher was supposed to come in at five so that they could do an inventory. Do you think it was one of them? BOOTH: Well, you know, they should have said more than "there's a body". (Cut to: interior THE LAB - THE PLATFORM) ZACK: They found him laying in the bathroom. BRENNAN: Is it terrible? FISHER: Uh when Zack saw it he, he screamed. I heard him from the kitchen. ZACK: Yelped, not screamed. (CAM enters) CAM: Ready? (BRENNAN leaves) ZACK: I was taken aback! FISHER: Yeah, it was a scream. (Cut to: interior THE LAB - THE TOILETS. A foot is visible from one of the cubicles.) HODGINS: [narrating] She has never seen a d*ad body before. (CAM, BOOTH and BRENNAN enter) HODGINS: [narrating] He was in the Army and has seen too many. (CAM opens cubicle door to reveal a man sh*t in the chest.) JARED: Recognise him? BRENNAN: No. (BOOTH and CAM exchange glances.) JARED: You didn't see this guy last night? BRENNAN: No. BOOTH: Neither one of us was in the floor much last night. JARED: What about this? (JARED crouched and pokes a matchbox on the floor near the deceased's foot) JARED: You ever hear of a place called, uh, "Amicangelo's"? BRENNAN: [shakes head] uh uh. CAM: Which one's closer to the washroom, your office, or the kitchen? BRENNAN: My office. CAM: How is it that the chef heard your assistant shout, but you didn't hear a g*n? BRENNAN: Maybe I'd already gone home, I left at 4am. JARED: But coagulation suggests that time of death occurred between 1 and 3am. CAM: Obviously you weren't where you said you were, so where were you? BRENNAN: From midnight until 4am I was in my office, then I went home. BOOTH: Let's go Honey. Thanks. Thanks a lot. (BRENNAN and BOOTH leave) CAM: You think that was insensitive? JARED: I dunno, implying that she was cheating on her husband maybe could've waited until he wasn't standing right next to her. CAM: Why? They bust up and you finally get a crack at her. It's what you want, right? (CAM leaves) (Cut to: interior THE LAB - THE BAR) CAROLINE: I know you all worked late last night. Maybe short on sleep, but I need to prepare you for what happens next. Anybody not heard about our m*rder? (Pan to WENDELL, DAISY, ANGELA, VINCENT, SWEETS AND FISHER, all shaking their heads) CAROLINE: Good, 'cos you are all suspects. (CAM enters, followed by the deceased being wheeled away on a gurney) CAM: Somebody turned off the security cameras. SWEETS: You think one of us is the k*ller? CAROLINE: You mind, Detective Saroyan, I am conferring with my clients. (CAM rolls her eyes and leaves) VINCENT NIGEL-MURRAY: Are you in fact acting as our solicitor in this matter? CAROLINE: I am the nightclub's lawyer. You are welcome to call up your own. ANGELA: Well if we didn't do it, why do we need a lawyer? DAISY: I didn't k*ll anyone! WENDELL: Zack screamed when he saw the body, so he's off the hook, right? ZACK: Yelped! FISHER: He screamed like Slutty Girl #1 in a teen horror flick. CAROLINE: From here on in you do not answer questions you don't get asked! (Cut to: interior THE HOMICIDE DIVISION - THE INTERVIEW ROOM. FISHER is being questioned by CAM and JARED, CAROLINE is present as his attorney.) FISHER: Consider me your top suspect, CAROLINE: Oh for God's sake! FISHER: I'm a trained chef, alright. Finest schools in Europe. But my professional life consists of cooking chicken wings designed to make people drink more beer. I'm a man on the edge. (JARED throws a file of Crime Scene photos to FISHER) CAM: Your wings have been voted best in the city two years running. FISHER: Not best. Tallest. I'm the originator of the "Tower of Wings", which'll probably be on my tombstone. (FISHER looks at a Crime Scene photo of the deceased) FISHER: Never seen him before in my life. CAM: You're the hostess, you see everyone who comes in. (Cut to ANGELA) ANGELA: Uh maybe if you had a picture of him alive, I don't have a very visual imagination. (Cut to DAISY) DAISY: He looks like a lot of guys. Is that his real hair? (Cut to WENDELL) WENDELL: [shakes head] CAROLINE: Let the record show that my client is indicating with his head that he does not recognise the victim, like all my clients. Next question. CAM: Have you witnessed any... altercations, any differences of opinion at the club lately? (Cut to ANGELA) ANGELA: Well, Mr. B, I mean, that's what we all call Mr. Booth, told this hip-hop impresario, "C-Sync", who is actually very cute, by the way, that he would never book him, or any of his acts into the club. (Cut to VINCENT) VINCENT: C-Sync, yeah, he's alright, inn'e. He's right hand full of talent, left hand full of street cred, due to the fact that his brother's a big time gangsta. JARED: Clark Edison, aka C-Sync, you restrained him from lunging at your boss? (Cut to WENDELL) WENDELL: [squints at JARED] (Cut to CAM and CAROLINE looking at each other quizzically, then back at WENDELL) (Cut to DAISY) DAISY: I heard C-Sync shouting all the way at the back of the coat check. He was mad. JARED: You're aware of a city councilman named Max Keenan? (Cut to SWEETS) SWEETS: Everybody knows Max. He's around all the time. Max Keenan is upset because he never got his "facilitators fee" for getting city council to re-zone us for live entertainment. CAM: Why would crooked politician tell you about not getting a pay off? SWEETS: I'm a bartender, I'm practically a phycologist. (Cut to CAM looking exasperated) ZACK: A Persian named Ara Something wants to buy the nightclub JARED: Arastoo Vaziri? ZACK: Bren's met with him about forty times. Mr. B does not want to sell. (Cut to DAISY) DAISY: It was me who shut off the security cameras. I wanted some privacy with my boyfriend, whom I will not name. (Cut to FISHER) FISHER: OK, me and Daisy, look we have a thing. But the thing that we have isn't, you know, isn't a boyfriend-girlfriend thing. It's a thing. It's just not a thing. (Cut to ANGELA) ANGELA: Miss Julian warned us that you have to make an arrest in this case, and I just wanna say that just because Jared Booth and I went out on a couple of dates, and he cannot accept the fact that it is going no where, does not mean that I should go to gaol. JARED: Didn't your lawyer tell you not to answer any questions you weren't asked? CAM: Should I mark your people down as "stupid" or "uncooperative"? CAROLINE: Put 'em down as "well represented". CAM: How about I put 'em down as "accessories after the fact"? (Cut to: Interior THE ROYAL DINER. BRENNAN and BOOTH are at the counter eating.) BRENNAN: How long will the club be shut down? BOOTH: Oh, well, as long as they want, it's a m*rder scene. BRENNAN: Financially that's gonna hurt. (MAX enters) MAX: I'm your councilman, maybe I can help. BOOTH: [laughs] What's that going to set us back? MAX: I want you to consider the possibility that this unfortunate incident, BRENNAN: You mean the homicide. MAX: Maybe if you had remembered to reimburse the people that went out of their way to get you that zoning change, BOOTH: Ok, really, what're you gonna do, put the squeeze on us retractably? MAX: Why's it so hard for your husband to see the ways of the world? BRENNAN: Because he wants me to be proud of him. (Cut to: interior THE HOMICIDE DIVISON - OFFICES) CAM: I'm afraid you won't be able to reopen the nightclub for quite some time, BRENNAN: Well, where can I appeal that decision? CAM: Wow, what they said about you was true! BRENNAN: What's that? CAM: That you're kind of a cold fish. BRENNAN: Well if by cold fish you mean pragmatic and rational, then that's what I am. CAM: No I meant more like somebody when a human being is m*rder cares more about reopening the club than capturing the m*rder. BRENNAN: Well, I have my job, and you have yours. (CAM and BRENNAN enter CAM'S OFFICE) CAM: Where were you really last night? Who were you with? BRENNAN: I had a very satisfying go-around with my husband at about 5 this morning, how about you? CAM: The victim was k*lled by a g*n wound to the chest. g*n are loud, but you did not hear it. You were not in the building. Either we talk about this now, maybe it goes no further, or otherwise I've gotta pursue this line of enquiry in a graceless manner. BRENNAN: So this is blackmail. CAM: You pride yourself on being pragmatic, I figured you'd appreciate the logic. (Cut to: interior THE HOMICIDE DIVISION - THE STAFF ROOM. JARED is getting a cup of coffee while BOOTH leans on the door jamb) JARED: This guy, the Persian, or whatever, how bad does he want your place? BOOTH: Who? Viziri? He's the kinda guy who won't take no for an answer. Why? JARED: Because the guy comes up shady. But he's got an alibi for last night. Twin hooker alibis. Now I'm gonna tell you something Cam doesn't even know yet. Coroner's found fibres inside the b*llet track, from something used to muffle the g*n. BOOTH: Well that'd explain why Bren didn't hear the sh*t. JARED: Yeah, well, it's amazing what forensics can do these days. Now, if we happen to find that particular item, it could lead straight to the k*ller. BOOTH: So you think I know where it is? JARED: I'm just saying the best thing is that item never shows up. (JARED exits) (Cut to: interior BOOTH'S CAR) BRENNAN: Cam says everybody thinks I'm a cold fish. BOOTH: Nah, what you are is Iceland. Cold to the touch, but underneath you're all volcano. BRENNAN: (giggles) I don't like people thinking that I'm a cold fish. BOOTH: Look if you were really a cold fish, you wouldn't care. BRENNAN: You used logic on me. That's sweet. (rubs BOOTH'S neck) BOOTH: (laughs) BRENNAN: Cam says the reason I didn't hear the g*n is because I'm cheating on you. BOOTH: Oh well, Jared thinks I'm, you know, the k*ller, and he's helping me get away with it, BRENNAN: So you're a m*rder, I'm unfaithful... we are a very exciting couple. BOOTH: Except the real reason you didn't hear anything is because the g*n was muffled. (BOOTH'S phone rings) BOOTH: That's Caroline's phone. What's she calling for? (BOOTH answers the phone) BOOTH: Hello, you've reached Bonnie and Clyde, BRENNAN: m*rder Incorporated , (Cut to: interior THE LAB - THE BAR. CAROLINE is on her cell phone) BOOTH AND BRENNAN: (over the phone) How may we help you? MAX: Yeah, it's Max, (Cut back to: BOOTH'S CAR) BOOTH: Max, what're you doing on Caroline's phone? (Cut back to THE LAB) MAX: I don't own a cell phone. Big Brother always knows where you are when you've got a cell phone. CAROLINE: I guess when you're as shifty as Max here, paranoid is good. MAX: You're open for business tonight. (Cut to BOOTH'S car) BRENNAN: Well how'd you pull that off? CAROLINE: (over the phone) Let's say.... (Cut to: THE LAB) CAROLINE: I went in the front door, Max slipped in the back, and we got it covered. (Cut to: BOOTH'S car) BOOTH: What does that even mean? MAX: (over the phone) It just means that you've gotta remember (Cut to: THE LAB) MAX: what they say about one hand washing the other. (CAROLINE hangs up phone) CAROLINE: That particular cliché pertains to people with clean hands, Max. You do not qualify. (CAROLINE exits, camera focuses on WENDELL who is standing near the PLATFORM) (Cut to: interior THE LAB - THE CATWALK. VINCENT moving boxes of his DJ equipment around, ZACK is watching him) ZACK: There's a blood stain on the bathroom wall, VINCENT: Yeah, someone smashed the victim's head against the wall, knocked him out, then came back and finished him off with a sh*t to the chest. A very cold-blooded execution, in fact. ZACK: How did you know that? VINCENT: I eavesdropped on the cops. Also, they're looking for something that was used to smother the sound of the sh*t. (VINCENT removes a panel from one of his equipment boxes, revealing a g*n atop his DJ gear) ZACK: (moves over to the equipment box and removes the g*n) Why do you have a g*n? VINCENT: (startled) Ooh! I'm English, alright. We don't use g*n. We use our foreheads. What you've most likely picked up is the m*rder w*apon. ZACK: (replaces g*n in the equipment box) Why would the m*rder hide the g*n in your stuff? VINCENT: Perhaps because the m*rder sussed me out as, you know, the type of fellow who'd be smart enough to get rid of it. Evidently he didn't expect you to be here when I discovered it. ZACK: You mean we should get rid of it? VINCENT: You and I are not in collusion. ZACK: Why not? VINCENT: Because you're the type of moron who goes to gaol for a m*rder he didn't commit, and I am not. ZACK: Then, whatta we do? VINCENT: OK, what I should do is k*ll you with the g*n, and then tell the cops that you att*cked me after confessing to the m*rder. (holds up hand for a high-five) ZACK: (looks uncertainly at VINCENT) (Cut to: exterior THE LAB) (Cut to: interior THE LAB - THE BAR. SWEETS is behind THE BAR, while HODGINS sits at THE BAR) SWEETS: It's hard to believe that someone was m*rder just over there. HODGINS: Means nothing to me, a best selling pulp crap crime novelist. I trade in death daily. (takes a sip from his drink) Theoretically. What liquor best exemplifies death by substance abuse? (SWEETS shrugs) HODGINS: Irish Whisky? (puts on an Irish accent) 'Course, but which spirit best represents m*rder most foul? SWEETS: You know, everyone who works here is a suspect? I'm working with the m*rder. HODGINS: (with Irish accent) Do you have a picture of the poor bastard who was m*rder? (SWEETS reached under the bar for his phone) SWEETS: Fisher sent this to me this morning before the cops arrived. HODGINS: Ooh! (leans forward to grab the phone) SWEETS: (hold phone to his chest) I'll only show you if you lose the Irish accent. HODGINS: (holds up his hands to say OK) SWEETS: Take a look (gives HODGINS the phone) HODGINS: (looks at the photo on the cell phone) This may was obviously a hired k*ller. SWEETS: You get that from a phone pic? HODGINS: His hair, his suit, his ring. The fact that I talked to him last night. Here. SWEETS: (shocked) You? Here? In this bar? I didn't see him. HODGINS: (disbelieving) Gottcha. Yeah, right, none of us did. Very good. m*rder most foul. (Cut to: interior THE LAB- THE PLATFORM. CLARK walking up onto THE PLATFORM, followed by BOOTH, BRENNAN and CAROLINE) CLARK: Can you feel that? I mean this place is magic! Your stage has mystic properties (kisses his fingers) BRENNAN: That is a ridiculous urban legend. CLARK: Then explain to me how so many of the people who've played here over the years have gone on to fame and fortune? BOOTH: Maybe it's because we have good taste. CLARK: This place had the power before you got here, and'll have it after you're gone. All I want is my piece of the legacy. (Spins around) C-Sync baby! And if you had good taste, you would book me first, and then each of my protégés thereafter, ya dig? BOOTH: Well, dig this. I recognise you're personal talent, but we won't book you or you're... BRENNAN: Protégés, BOOTH: Because of your bro-tha CLARK: So, you're just brazenly r*cist. CAROLINE: This is exactly where I did not want this conversation to go. BRENNAN: My husband is concerned about your g*ng ties. Which is not you, but is your brother. CLARK: Look, there's Kane, and then there's Able. Do you see a mark on my forehead? Nah. So that makes me Able. And on top of that, how're you gonna penalise my protégés because of my brother? How is that fair? CAROLINE: (to BOOTH) As your lawyer I must advise you, if Mr. Edison lodges a suit, CLARK: (mouths "lawsuit" at BOOTH) CAROLINE: the outcome is not assured in our favour. BRENNAN: We will discuss it. Since we are partners. (VINCENT enters) VINCENT: Hi hi. Listen, I know whatever you're doing is very important but, C-Sync? C-Sync! CLARK: Hey! VINCENT: Wasswah! CLARK: Be glad you're a pasty white albino, Vinny. VINCENT: Cheers. Uh, I need to talk. (Cut to: interior THE LAB - THE CATWALK. VINCENT'S equipment boxes. BOOTH looks at the g*n sitting on top of the DJ gear) BOOTH: Wooo, oh no. VINCENT: 200 million unregistered g*n in the country, this one finds its way into my gear. BOOTH: Anybody touch it? (Pan to ZACK who raises his hand) (Cut to CAROLINE looking at the g*n on the DJ gear) CAROLINE: Did anybody touch it? BOOTH: Zack did. CAROLINE: (sighs) VINCENT: Legally, it's with my stuff, can I, like claim it as my own and toss it into a volcano? BRENNAN: Caroline is an officer of the court. She has to report it. Right? CAROLINE: I sure as hell do now! (Cut to BOOTH and BRENNAN looking at the g*n in the DJ gear) BOOTH: 38, right? Matches the m*rder w*apon. BRENNAN: Zack touched it. (CAM enters, looking at the g*n in the DJ gear) CAM: Will you two let me do some of the detecting, please? (picks up g*n with her pen) Saturday Night Special. Totally disposable. (Pan to HODGINS, leaning on the railing of THE CATWALK) HODGINS: My theory, it's the m*rder victims g*n. Taken away from him by persons unknown, who sh*t him in the chest then hid it here, thinking that Vincent would find it, panic, and throw it away because he's, well, English. CAM: Who is this now? CAROLINE: Jack Hodgins, very successful crime novelist. CAM: They never get anything right. VINCENT: I'm not going to fair well in gaol. I'm lovely. BOOTH: Don't worry Vincent, I'll bail you out. BRENNAN: (clears throat and puts her hand on BOOTH'S shoulder) BOOTH: You too, Zack. (Cut to: interior THE LAB - THE BAR VINCENT is handcuffed and being led out of THE LAB by CAM) HODGINS: No Vincent, no DJ. No DJ, no entertainment. You carpe your diem, bub. SWEETS: (serves HODGINS a drink) You mean the band? HODGINS: Get the girl to smack the tambourine, and maybe you've got a sh*t. SWEETS: You mean Angela? HODGINS: Of course I don't mean Angela. You don't stand a chance with Angela. Her. (motions towards DAISY) Pansy, or Buttercup... SWEETS: Daisy? (ARASTOO enters) HODGINS: The mysterious Persian real-estate mogul who's been trying to buy our home away from home. What various reasons does he have? ARASTOO: I want this club because I know how to turn it into a gold mine. HODGINS: Boring. ARASTOO: Good business, like a good marriage, is outwardly boring. HODGINS: (looks at ARASTOO incredulously) ARISTOO: Sorry. (Cut to: exterior THE LAB - THE ALLEY. BOOTH is sitting on the bonnet of his car while WENDELL talks to him from the back door of THE LAB) WENDELL: So, I go home a little before 3. Check to make sure that Bren has locked up the safe. I wonder, did somebody taped the door after I checked it? 'Cos this guy got in somehow. BOOTH: The d*ad guy, or, uh, whoever k*lled him. (WENDELL crouches down and fiddles with the lock of the door) WENDELL: There's nothing tacky on the bolt here, so it's wasn't taped. That means that either the d*ad guy hid in the club after closing, or Bren let him in after my sweep. BOOTH: Nah, she didn't. WENDELL: Whoever k*lled this guy had a key or was also already in the club. BOOTH: Bren wasn't the only one inside the club. (WENDELL and BOOTH exchange glances) BOOTH: You seem pretty sure this is the way it played out. (WENDELL shifts) WENDELL: The d*ad guy, chats me up last night. BOOTH: (shocked) OK, why didn't you tell the police? WENDELL: Creepy old guy trespassing around our club during the night. I know what I'd do if I caught him. BOOTH: (pauses) Did you catch him? WENDELL: (pauses) Nope, did you? 'Cos until I get the specific answer to that question, my loyalty is with you. BOOTH: I didn't catch him, but I appreciate your loyalty. WENDELL: (nods his head, holds a finger to is mouth to say he'll keep quiet and beats his fist over his heart) (Cut to: interior THE LAB - THE BAR) (FISHER enters carrying a "Tower of Wings") (Pan to BOOTH entering, carrying a carton of wine. BRENNAN and ARASTOO are talking at THE BAR) BOOTH: Hey Arastoo, how you doing? BRENNAN: He's making me another offer on the nightclub. BOOTH: How big of a bump do we get for m*rder? BRENNAN: The offer is lower. ARISTOO: The place is under a cloud. Things like this occur when people are not reasonable. BOOTH: Implying that you're behind the m*rder, trying to scare me to sell. Ballsy move, pal. ARASTOO: Behind it? No, merely taking advantage. It's good business. BOOTH: Right, well, my club's not for sale, but my booze is. So either get a drink or get the hell out of here. (BRENNAN and ARASTOO exchange glances) (SWEETS enters) SWEETS: Hey, Booth, Bren, heard about Vincent being arrested. Can my band audition? BRENNAN: No. BOOTH: (imploringly) C'mon, what's the harm? Be ready in one hour, pal. SWEETS: (pumps fists in the air) Yes! You won't be disappointed. (SWEETS exits) BRENNAN: (to BOOTH) Why? BOOTH: I've got a soft spot for the kid. BRENNAN: We are made of soft spots. You're still gonna make the call, right? BOOTH: Of course I'm gonna make the call, I'm not soft in the head. ARASTOO: What is "the call"? BOOTH: It's why I own this place, and you never will. OK? So, drink? Or are you gonna leave? (Cut to: interior THE LAB - BRENNAN'S OFFICE BRENNAN enters BRENNAN'S OFFICE, ANGELA runs in behind her) ANGELA: Hey! Awkward, very awkward. Awkward. BRENNAN: Angela, what is awkward? (ANGELA takes a folded up napkin from her pocket and gives it to BRENNAN) BRENNAN: It's a floor plan, for the nightclub. ANGELA: Yeah, I drew it. For the m*rder victim, last night. (moves over to BRENNAN'S couch) You know how what I really wanted to do was interior decorating, right? I mean, I'm very good, I sort of have a knack. (picks up a cushion from BRENNAN'S couch and ruffles it) And he told me that he owned a nightclub, and that he'd hire me to... and I figured that he was probably hitting on me, but then Jared showed up and asked me out for, like, the hundredth time, BRENNAN: Why are you showing this to me? ANGELA: Because if I show it to Mr. B, his head will explode. You're a cooler customer. BRENNAN: I'm not a cold fish, I'm Iceland. ANGELA: (scoffs) OK, If I had a better grasp of geography I might know what you mean. BRENNAN: Why would his head explode? ANGELA: Well, note the X. At this office. Traditionally, X marks the spot. BRENNAN: The safe? You think he wanted to rob us? ANGELA: Well, yeah, maybe, or it's possible that the X marks a whole other objective. The only thing left is... BRENNAN: Me. ANGELA: (impersonates BOOTH'S head exploding) (Cut to: interior THE ROYAL DINER. BRENNAN is meeting with MAX) BRENNAN: (slides the napkin with the floor plan that ANGELA drew to MAX) MAX: Why didn't you show this to the police? BRENNAN: Because they'll take it without telling me what it means. MAX: What do you think it means? BRENNAN: People know the best way to hurt him, MAX: Is to hurt you. BRENNAN: (nods) MAX: The Persians are capable of sending a very bad message. BRENNAN: What do you mean, "bad message"?(puts the napkin back in her bag) MAX: Head cracking, leg breaking, neck snapping, finger snipping. Like that. It's possible they sent this guy... BRENNAN: To break my legs? MAX: And the g*ng-bangers make him, and they k*ll him to make a statement. BRENNAN: (pauses) So Booth was right about the g*ng-bangers? MAX: Everyone serves somebody. Something you husband refuses to accept. BRENNAN: I know he's stubborn. MAX: He's a man of principle, and I mean that as a terrible insult. Now, if he had just paid me off, none of this would have happened. BRENNAN: Who do you work for that could scare of the Persians and the g*ng-bangers? MAX: Ask your brother-in-law about the Gravedigger. BRENNAN: Because he's a cop? MAX: Because he and I work for the same guy. (BRENNAN'S phone rings) BRENNAN: (answers the phone) Hello? (Cut to: interior THE HOMICIDE DIVISTION - THE CONFERENCE ROOM. CAM has a file in front of her, CAROLINE is seated next to her, BRENNAN and BOOTH are opposite and JARED is standing behind) CAM: The m*rder victim's been identified as Dick Worstenbach, (CAM slides the file over to BOOTH) JARED: He was a security officer for a waste disposal company in Newark. CAROLINE: (laughs) A mobster named "Worstenbach", what's the world coming to? BOOTH: So what was he doing at our place? JARED: That's a mighty fine question. (JARED and BOOTH eye each other off) (BRENNAN removes the napkin with the floor plan of THE LAB from her handbag and slides it over to CAM) CAM: Where did you get this? BOOTH: What's that? BRENNAN: It was slipped to me anonymously by somebody who drew it for Worstenbach last night. JARED: Your office is marked. CAM: Which means that Worstenbach was in your club last night, but nobody saw him. (BOOTH leans forward from his chair) BOOTH: Excuse me Cam, but this proves that Worstenbach was sent to hurt my wife. CAM: That is one of out theories, yes. BRENNAN: Could the Gravedigger have sent Worstenbach? JARED: Now where did you dig that up? CAROLINE: Isn't he some old mobster type; has his finger in every pie? JARED: There's no Gravedigger. CAM: Max likes to say he works for the Gravedigger, makes him scary. JARED: Exactly, so forget the Gravedigger. (CAROLINE pouts and rolls her eyes) CAM: Our first job is to find out who k*lled Worstenbach, finding out who sent him is totally secondary. BOOTH: Right, but here in the real world, when do we get our DJ back? CAM: Never. (BOOTH sighs and rolls his eyes) CAM: You people are lying to me, and until I find out why you can't have your DJ, (to BRENNAN) nor your assistant, nor anybody else I can scoop up. CAROLINE: Now, now, it's blatant police brutality to use the word "nor" so aggressively! (Cut to: interior BOOTH'S CAR) HODGINS: [narrating] Violent death. m*rder. It sends out shockwaves. The closer you are to it, the greater the shock. BRENNAN: Max told me that he works for the Gravedigger. BOOTH: (snorts) BRENNAN: He told me something else. He said that Jared works for him too. BOOTH: (hits steering wheel) BRENNAN: Don't get so mad! Max could be lying. BOOTH: Look I'm mad because I don't find it hard to believe at all! Alright? Did Max give you the napkin? BRENNAN: No. Angela. (BOOTH looks at BRENNAN quizzically) BRENNAN: What? BOOTH: What? What do you mean "what"? Why're all of our employees holding out on the cops? BRENNAN: They love us. Especially you. BOOTH: They love us. We're loveable. So, OK, what math gets them to obstruct justice? BRENNAN: They all know that you'd k*ll anyone who was going to hurt me, and that man, Worstenbach, was going to hurt me. BOOTH: They think I'm the k*ller. BRENNAN: That's the math that gets them to lying to police and obstructing justice. (Cut to: interior THE LAB - THE PLATFORM. SWEETS and his band "GORMOGON" are auditioning to become the new entertainment for the club, DAISY is accompanying on the tambourine) SWEETS: Hey, so, uh, we're Gormogon, um, I mean, the name of the band is Gormogon. Some people think that I'm Gormogon, but I'm not, it's like how there's no-one named "Floyd" in Pink Floyd... BOOTH: Just play, Sweets. SWEETS: Yeah, ok... (SWEETS begins to play the intro on keyboard) BRENNAN: "Gormogon" is a stupid name. What does it even mean? (GORMOGON perform the song "Never ending Summer") (Pan to WENDELL, FISHER, ANGELA and HODGINS sitting at THE BAR watching Gormogon performing) ANGELA: (to HODGINS) Man, I'm telling you, I'm looking at Sweets in a totally different way! HODGINS: Really? (CLARK enters, looks down his nose at GORMOGON, rolls his eyes and walks away) (GORMOGON finish playing, everybody claps unenthusiastically except for ANGELA, BRENNAN and DAISY) ANGELA: Whoo hoo! SWEETS: Thank you! BRENNAN: That was wonderful. (to BOOTH) That was wonderful. (Pan to FISHER sitting at THE BAR drinking) FISHER: Why did they even invent piano? (Pan to THE PLATFORM) BOOTH: You see it's, uh, it's, uh, a nightclub, and people they gotta, they gotta dance, not just... DAISY: Fall in love. SWEETS: (laughs nervously) (Pan to FISHER at THE BAR looking exasperated) DAISY: (voice-over) You're really good. SWEETS: (voice-over) Oh, stop, (Pan to THE PLATFORM, BOOTH is being joined by CLARK) BOOTH: Uh, it was great stuff, though. But people, they gotta, uh, they gotta... it's a dance club, big, big noise. You understand. SWEETS: Alright. CLARK: (to BOOTH) Hey, my brother would like to talk to you, he's waiting out back. BOOTH: Right, (Pan to WENDELL watching the conversation between BOOTH and CLARK looking concerned) BOOTH: (voice-over) uh Sweets why don't you play another song for the girl, there. (BOOTH leaves THE PLATFORM, leaving BRENNAN) BRENNAN: (sighs happily at GORMOGON) (Pan to BOOTH leaving THE BAR, he is closely followed by WENDELL. FISHER is still sitting at the bar looking frustrated) (GORMOGON begin to play another ballad) FISHER: (exasperated) Oh c'mon! (Cut to: interior THE LAB - THE BACK OF THE LAB. BOOTH opening the door out onto THE ALLEY) WENDELL: What's going on, boss. BOOTH: Oh, I've got a meeting with an angry g*ng-banger in the alley. Why? WENDELL: I've got my g*n. BOOTH: You've got a g*n? WENDELL: (checks the magazine of his g*n) He's the leader of a g*ng. He's k*lled people. And, he hates your guts. I ain't a mathematician, but that adds up bad. BOOTH: Alright, hang back. WENDELL: Alright. (BOOTH goes through the back door and into THE ALLEY, locking WENDELL inside THE LAB) (WENDELL is surprised to see the door slam in his face, and presses down on the handle to try and open the door) WENDELL: Whaa? (WENDELL turns to go back into THE LAB) GRAYSON: (voice-over) I want my brother to play in the club! (BOOTH is then thrown by GRAYSON into the door, and is then heard to be bashed) WENDELL: Open the door, Boss! I'm right here! C'mon... (BOOTH is thrown against the door again. WENDELL is taken aback) (Sounds of a vicious fight come from THE ALLEY) WENDELL: I'm coming! (Cut to THE PLATFORM. GORMOGON is still performing. BRENNAN is watching. WENDELL comes running in and whispers in BRENNAN'S ear before they both turn and run) (Cut to THE ALLEY, WENDELL and BRENNAN come around the corner to find both BOOTH and GRAYSON sitting on the back of a delivery truck) BRENNAN: (voice-over) Who is that? WENDELL: (voice-over) C-Sync's brother. Head of the g*ng-bangers. (WENDELL cocks his g*n and aims it at GRAYSON) WENDELL: Don't move, or I'll blow your head off. (JARED and CAM enter. JARED cocks his g*n and aims it at WENDELL'S head) JARED: You wanna drop that? (WENDELL uncocks his g*n and hands it to JARED) JARED: Thank you. (Pan to BOOTH who is bleeding from a gash to his left eyebrow) BOOTH: Hi Honey! BRENNAN: Hey, you OK? BOOTH: Yeah. You should see the other guy. (Pan to GRAYSON who is clearly unharmed) JARED: (to CAM) So who do you wanna arrest? CAM: (sighs) Let's take 'em all. (Cut to: interior THE HOMICIDE DIVISION - THE INTERROGATION ROOM. BOOTH and GRAYSON are seated next to each other, both handcuffed to their chairs) GRAYSON: Look Man, my brother don't sag, slag or bang. BOOTH: What about you? GRAYSON: (scoffs) Man, Clark barely talks to me, ya dig? BOOTH: Why do you care? GRAYSON: He's my brother. And, your club is on my block. Do the math, Man. BOOTH: Look, I've been here before, OK. The place becomes a g*ng hangout, East Coast meets West Coast, somebody gets popped. GRAYSON: Says the dude with a d*ad body in his bathroom. BOOTH: Yeah, for all I know, you did it! GRAYSON: I pop somebody; I don't muffle the sh*t, brother, (Pan to CAM and JARED watching the conversation behind the one-way mirror.) GRAYSON: (voice-over) I sh**t him right up in his face. Ask anybody. Look, Man, what if I decree your place off limits to my crew or any other crew? (Pan to BOOTH) BOOTH: You can decree? GRAYSON: He's my brother, Man. I wanna see him get his cheese, see his face on buses. BOOTH: (chuckles) Fine. C-Sync in da house. (BOOTH and GRAYSON go to shake hands, but their hands are handcuffed to the seat. They bump fists in agreement instead) (Pan to CAM and JARED behind the one-way mirror) JARED: You still think it could be him? CAM: Nope, he'd of taken credit if he did it, used it to scare your brother. This guy's got nothing to do with Worstenbach's m*rder. Let 'em go. (Cut to: interior THE LAB - THE BAR. BRENNAN, BOOTH and ANGELA are having a conversation) BOOTH: (to BARMAN) Thanks BRENNAN: Now they have my assistant, our doorman and our DJ... ANGELA: Well, I can watch the door until they release WENDELL. BRENNAN: What about entertainment? ANGELA: I thought that Sweets was fantabulisticulious. BOOTH: Uh, we got "The Crue". ANGELA: What crew? (SWEETS and DAISY enter. SWEETS' face is covered with lipstick marks, and DAISY is wiping her mouth) SWEETS: Hey, uh, so Daisy told me something, and I figured you need to know. DAISY: That m*rder guy? I sorta had a conversation with him... BRENNAN: And you didn't tell the police? SWEETS: Well, it's what they discussed that's important. ANGELA: It's Daisy, so they discussed sex. DAISY: That's mostly true. BRENNAN: OK, please, what is the point? DAISY: Well, Lance's songs were so romantic, which made me amorous... SWEETS: Oh, maybe skip ahead a little bit, DAISY: Oh, well, Lance was afraid we'd get caught because I am not abashed about noise, BRENNAN: OK is it skip, ahead or point that she doesn't understand? DAISY: Well, I told Lance that I knew a place where a couple in love could find some privacy. (BRENNAN looks at DAISY imploringly) DAISY: Oh! Which is what I also told Worstenbach. SWEETS: Yeah, and that's the point. (Cut to THE LOST AND FOUND, DAISY, BRENNAN and BOOTH are all present) DAISY: When Wendell does his sweep, he never checks the lost and found. BOOTH: Worstenbach could've hid back here, (Pan to BRENNAN crouching over to pick up a match) BOOTH: (voice-over) and waited for the club to be empty. BRENNAN: Remember all those wooden matches around the body? (holds up the match to BOOTH) BOOTH: He was here! BRENNAN: (to DAISY) Why didn't you tell the police you saw Wostenbach? DAISY: Fisher says that Mr. B probably k*lled the guy to save you, and that we should do everything we could to impede the investigation. Was that wrong? It felt right. (Cut to: interior THE LAB - BRENNAN'S OFFICE. ZACK is lying on BRENNAN'S couch without any shoes on) (BRENNAN enters, and is shocked to find ZACK on her couch) BRENNAN: What? They let you out! ZACK: Yes. Someone stole my shoes. BRENNAN: (chuckles) Of course they did. ZACK: Sweets found your coat. BRENNAN: I don't get the connection. ZACK: It was jammed into a case of premium gin. He brought it to me. I found the b*llet hole. BRENNAN: Someone used my coat to muffle the g*n. ZACK: (nods) BRENNAN: Well, what'd you do with my coat? (Cut to THE STORAGE ROOM, SWEETS and ZACK are moving boxes to show BRENNAN where they've disposed of her coat) BRENNAN: (looks into a bucket and sees the charred remains of her coat) That's my expensive Belgian Corduroy coat? SWEETS: I decided to douse with pure grade alcohol and burn it. BRENNAN: So you two conspired to keep this big secret from the rest of us. SWEETS: Mr. B had the strength to smash the guy's head against the wall, and you had the, ZACK: Clarity of will to sh**t him. BRENNAN: Is that why you picked up the g*n? In case my fingerprints were on it? ZACK: I've learnt a lot from Mr. Hodgins' books. (Cut to: interior BOOTH and BRENNAN'S APPARTMENT - BEDROOM. BOOTH is getting changed) (BRENNAN enters) BRENNAN: Zack and Sweets found my Belgian Corduroy coat and b*rned it because it had a b*llet hole in it. BOOTH: Oh, wow, are you serious? BRENNAN: Yeah, the figured you bashed his head against the wall and I sh*t him. BOOTH: Should I be upset that everyone thinks that we're m*rder, or just happy that everyone's trying to help us get away with it? BRENNAN: You should recognise that everything they do to try to help just makes us look more guilty! Especially you. BOOTH: Why me? BRENNAN: Because you are strong enough to bash his head into the wall and I'm not. BOOTH: Oh, so, are we having some doubts? BRENNAN: Not about anything important. Here. (BRENNAN goes over to fix BOOTH'S tie, BOOTH kisses BRENNAN) (Cut to: exterior THE STREET - THE ROYAL DINER. JARED and BOOTH are walking together) JARED: Yeah, the fibres we found in the wound track are Belgian Corduroy, how'd you know? BOOTH: We can't find Bren's coat! JARED: If it's in that club we'll eventually find it so, BOOTH: Yeah, I know, I heard you the first time! Get rid of it, burn it, whatever. The problem is, I didn't k*ll the guy. Max says that you're in the Gravedigger's pocket. Did he send this man? JARED: Max is nuts, and crooked as a stick in water. (JARED and BOOTH enter the ROYAL DINER) BOOTH: Oh, hey, hey, somebody put this Worstenbach guy on Bren. (JARED looks down) BOOTH: What? JARED: You're not gonna like it. BOOTH: Somebody comes into my club to hurt my wife, of course I'm not gonna like it! JARED: Bren was cheating on you with the Persian. BOOTH: (scoffs) You got that wrong. (JARED pulls some phone records from his jacket pocket) JARED: She met with him over a dozen times, over 70 phone calls over the past two weeks. How many times a day you talk to her? (BOOTH looks at JARED incredulously) JARED: This is what happened. They get into a thing, it goes south, Bren figures that it's not true love and that the Persian wants her for your nightclub. (BOOTH stands up, JARED does too) JARED: And then he thr*at her, he sends this Worstenbach guy on the job, but you don't see it, because you don't use your head. You think that everything you feel is true, (BOOTH punches JARED in the face and walks out) JARED: You need to grow up. (Cut to: interior THE LAB. BOOTH enters, ANGELA is checking the guest list) ANGELA: Hey, Mr. B. Anybody else get arrested? BOOTH: Not that I know of. Hey, listen, Ange, you know the napkin you drew for Worstenbach, ANGELA: Yeah, I'm sorry about that, I didn't know what he wanted it for, BOOTH: No, uh, I know that, I, uh, just, why wasn't it finished? ANGELA: Oh, well, I got interrupted. BOOTH: Interrupted? By who? ANGELA: By Jared. He came in to ask me out. BOOTH: (scoffs) Jared saw Worstenbach and the napkin? ANGELA: (nods) BOOTH: Right. You seen Max? ANGELA: Yeah, uh, table 11. (BOOTH walks over to TABLE 11 where MAX is seated, on the way he passes a ROADIE for MOLTLEY CRUE) ROADIE: (to BOOTH) Hey, as soon as The Crue gets here we'll do a sound check. BOOTH: That's great. ROADIE: What time you want us to go on? BOOTH: Midnight. ROADIE: You got it, give or take. (BOOTH arrives at MAX'S TABLE) BOOTH: So, the cops think I committed the m*rder! MAX: The cops are the least of your worries. Make the payment. BOOTH: Right, you tell the Gravedigger that unless he's willing to k*ll me, it's over. Oh, one more thing, anything happens to my wife, it's you I'm coming after. MAX: Woah, woah, woah, me? I'm just the messenger! BOOTH: (scoffs) Oh, I don't know how you got Jared to believe that crap, but my gut is telling me you're nobodies messenger. (BOOTH exits, MAX calls after him) MAX: It's only money! I hate it when people say that. (Cut to: interior THE LAB. CLARK is entering with an entourage of women. He waves to BRENNAN and BOOTH who are standing on THE CATWALK above THE PLATFORM) (Pan to BRENNAN and BOOTH on THE CATWALK) BRENNAN: So, did the police try to convince you that I was having an affair with Arastoo? BOOTH: It's what they do, you know, drive wedges. BRENNAN: It wouldn't be irrational to think that I was having an affair with him. He's very handsome. BOOTH: Yeah, I'd feel if the energy was bad between the two us, I'd know. The same way that you would know that I couldn't m*rder someone. BRENNAN: I do believe that you would m*rder someone for me. And I believe that you'd lie about it so I wouldn't have to carry that burden. RANDOM GIRL: Tommy! Tommy! I love you! (Pan to THE PLATFORM, MOTLEY CRUE enter) BRENNAN: Hey, Nicky! Vince! NICKY: S'up! BOOTH: Excellent update on the lid, Nick. (MOTLEY CRUE do their sound check) MOTLEY CRUE'S MANAGER: Listen, go bigger, go louder, or just go home. (Pan to BRENNAN and BOOTH on THE CATWALK) BRENNAN: (to BOOTH) How did you convince them to leave Crue fest and appear here? BOOTH: Benefit for the kids. BRENNAN: We're doing a benefit for sick kids? Aww! (BRENNAN kisses BOOTH'S cheek) BRENNAN: Poor Cam and Jared. You know, if this m*rder is any inclination, I don't know how any homicide is ever solved. When everyone lies, everyone has a secret agenda. I'm glad we're nightclub owners and not crime solvers. BOOTH: I know who did it. BRENNAN: So do I. (Cut to WENDELL, VINCENT and CAM entering THE BAR) WENDELL: Awesome, it's the Crue! VINCENT: I've been bounced by a rock band! (MAX exits the club, whispering in CAM'S ear on the way out) (Cut to: interior THE LAB - BRENNAN'S OFFICE. BRENNAN and BOOTH are entering) BOOTH: When did you realise it wasn't me? (pours himself a large drink of whiskey) BRENNAN: You would k*ll for me, I know that, but whoever did this knocked him out, got my coat, before executing him. You would never do that. Jared is different. BOOTH: My brother k*lled a man to save my wife. What are we gonna do? (takes a large sip of whiskey) BRENNAN: Do? We thank him and shut-up. BOOTH: Bren, this is m*rder! BRENNAN: It's more like a rescue. BOOTH: Not everything is just so clear to you! BRENNAN: It is this time. BOOTH: I don't think I can live with this. (WENDELL enters) WENDELL: Boss? (Cut to: exterior THE LAB - THE ALLEY. BOOTH, BRENNAN and WENDELL are exiting THE LAB into THE ALLEY. CAM is holding JARED at g*n, CAROLINE and MAX also enter) JARED: I'm not going to prison. CAM: GPS puts you in this building at the time of the m*rder. MAX: Hey, I told you, no cell phone, no GPS. Should listen to me. CAM: Lose the w*apon Detective. JARED: (shakes his head) BOOTH: Jared, just take out you g*n. JARED: Oh, that's exactly what I'm gonna do. You ready? I'm a quick bastard. CAM: By the barrel, nice and slowly. JARED: That's not how it's gonna go. (JARED reaches down to his holser) JARED: We both know how this is gonna go. (CAM cocks her g*n) (BRENNAN walks between CAM and JARED) BOOTH: Bren! BRENNAN: It's OK, it's all ok. (to JARED) Thank you. (CAM lowers her g*n) BRENNAN: You helped us. Now please, let us help you. (JARED gives his g*n to BRENNAN, who then passes it to CAM) ANNOUNCER: (voice over) Please welcome to the stage, Motley Crue! CAM: Put the handcuffs on, Jared. (JARED handcuffs himself) (Cut to: interior THE LAB - THE PLATFORM. MOTLEY CRUE play "Dr. Feelgood") (Scene fades to white, then fades back to THE LAB at closing time) HODGINS: [narrating] You love someone, you open yourself up to suffering; that's the sad truth. Maybe they'll break your heart; maybe you'll break their heart and never be able to look at yourself in the same way. Those are the risks. WENDELL: (voice-over) Locking up now, Boss! (Pan to BRENNAN'S OFFICE, BOOTH is standing in the doorway while BRENNAN stands behind her desk) BOOTH: Thanks, Wendell. You know, I think you're right, you know, I think we should sell out. BRENNAN: You're not afraid of this Gravedigger person? BOOTH: Nah, I told him if he didn't leave us alone I'd k*ll him. And he believes me. (BOOTH sits down in an armchair) BRENNAN: You mean you told Max to tell him. BOOTH: Yeah. BRENNAN: Mhm. Caroline says if they can't trace the g*n to Jared, they can't find my coat, he's going to walk. We can't sell the club; your brother might need a job. Plus, I have another confession. BOOTH: What? HODGINS: [narrating] You see two people and think they belong together, but nothing happens, (BRENNAN sits herself on BOOTH'S lap) BRENNAN: Well, you know that glass of wine that we share every night? BOOTH: Yeah... BRENNAN: I have to stop that. BOOTH: Oh c'mon, Bren. Just because you have one glass of wine every night with your husband, doesn't mean you're an alcoholic. BRENNAN: That's not why. (BOOTH realises what BRENNAN is trying to say and grins) BOOTH: No way! BRENNAN: (chuckles) BOOTH: Yeah! (BOOTH kisses BRENNAN) BOOTH: You are pregnant! There's a little baby boy, huh? BRENNAN: Or girl... HODGINS: [narrating] The thought of losing so much control over personal happiness is unbearable. (Scene fades to BOOTH lying in a hospital bed after his brain surgery, BRENNAN is sitting in a chair next to the bed typing on her laptop: "You love someone, you open yourself up to suffering, that's the sad truth. Maybe they'll break your heart; maybe you'll break their heart and never be able to look at yourself in the same way. Those are the risks. That's the burden. Like wings, they have weight, we feel that weight on our backs, but they are a burden that lifts us. Burdens which -." [NOTE: Text differs from HODGINS narration slightly]) HODGINS: [narrating] That's the burden. Like wings, they have weight, we feel that weight on out backs, but they are a burden that lifts us. Burdens that- BRENNAN and HODGINS: [narrating] allow us to fly. (BRENNAN looks over at BOOTH and then back to her computer. She considers what she has written, and then deletes it) BOOTH: Such a weird dream, BRENNAN: Booth? Booth! You're awake! BOOTH: So real. BRENNAN: You're operation was a success, but you reacted poorly to the anaesthesia. You've been in a coma for the past four days. What took you so long to wake up? BOOTH: It felt so real. BRENNAN: It wasn't real. BOOTH: Who are you? (BRENNAN is taken aback and looks hurt) END.

{"type": "series", "show": "Bones", "episode": "04x26 - The End in the Beginning"}

foreverdreaming

"Harbingers in the Fountain" Episode 5x01 Airdate: September 17, 2009 Written By: Hart Hanson and Pat Charles Directed by: Ian Toynton Transcribed by: Aranel Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Garden. Day. AVALON, ANGELA, and BRENNAN are sitting at a stone picnic table. AVALON turns over a Temperance tarot card.) AVALON: Temperance ANGELA: First card she turns over is literally your name. Are you going to tell me this is a coincidence? BRENNAN: Yes, a 1 in 78 chance. AVALON: It was on top. It's not really speaking to me. (AVALON turns over anther card: IX with a man sitting weeping on a bed.) AVALON: Ok, I see a sick man in a hospital. He takes refuge in a dream life. (AVALON turns over the XI card with a couple on it.) You're there in the dream and you're helping him to create that dream life by tellin' him a story. (AVALON turns over a X card where a couple is walking happily together towards a building.) You're both so happy in the story, so happy it's almost sad when he wakens. BRENNAN: Ok, no offense to you and your psychic, but I just got off of a flight from Guatemala. I wanna go check in with Cam and then shower and change. (AVALON turns over the VI card, entitled "The Lovers.") ANGELA: Ohhh. AVALON: The man whose life you saved is really excited to see you again. BRENNAN: No, I don't save lives. People are already d*ad when I get to them. AVALON: I'm pretty sure you saved somebody's life. (AVALON turns over a VIII card entitled "Strength.") A man with a heart of a lion. ANGELA: Booth has a lion heart! BOOTH: (off screen) I do not like cats. (Cut to BOOTH and SWEETS in Sweet's office.) SWEETS: (sitting) Well that's consistent with the person you were before your brain surgery. (BOOTH is sitting on the couch opposite wearing a T-shirt and jeans and has grown some stubble.) BOOTH: I don't own a nightclub, I'm not married to Bones, you are not a zany bartender, and I hate clowns. So, can I go back to work now? SWEETS: When our sense of reality is challenged, you know, really challenged, it can take some time to regain our footing. BOOTH: Look, it's been six weeks since I put my brain box through the blender there, ok. I am back baby, huh? (stands up) Special agent Seeley Joseph Booth. SWEETS: Have you been in touch with Dr. Brennan since your release from the hospital? (BOOTH sits and lets out a deep breath.) BOOTH: Uh, no. She's uh you know in Guatemala there, digging up Aztecs. SWEETS: Do you miss anything about the alternative life you experienced while in a coma? (pause) BOOTH: Yeah. (pause) BOOTH: The clothes. Mm, I miss those clothes. They were great clothes. SWEETS: Ok, I am certifying you as fit for duty. (SWEETS stands up and walks left off screen during BOOTH's next line.) BOOTH: I am fit for duty. SWEETS: That's what I'm saying. BOOTH: Yeah, and what I'm saying to you is, (stands up) heh, you don't have to certify me for anything, (SWEETS comes back on screen, carrying his briefcase.) pal, 'cuz I told you, I'm back. SWEETS: Well, heh, in fact (sits down) you had amnesia, slurring of speech, identity confusion, (gives BOOTH his g*n back) headaches, irritability, and double vision, so yeah, as a psychologist, I do have to certify you for duty. W-Why are you arguing? BOOTH: I'm not arguing. (BOOTH opens the door, turns around, and flashes his badge and a huge smile at SWEETS.) AVALON: (off screen) This man was lost. (Cut to the previous garden scene.) AVALON: You brought him the light that showed him the way home. Without it, he would've died. ANGELA: Oh, Booth was in a coma. Brennan read him the book she was writing. When Booth woke up, he thought that they had a whole different life together. He thought that they were married. He thought that for days. AVALON: You were joined at that time. You're still joined. BRENNAN: Nothing either of you is saying makes sense. (BRENNAN stands up to leave. AVALON turns over a X card, with a picture of a couple embracing, looking at a rainbow, and two children playing with each other.) AVALON: Were you pregnant? BRENNAN: What? No, of course not. AVALON: I mean in your book. BRENNAN: No, I deleted the book. I-I'm tired Angela. I'm gonna go check in at the office and then go home. Nice to meet you, Mrs. Romania. (BRENNAN takes her suitcase and walks away.) ANGELA: Underneath the icy exterior beats a very warm heart. AVALON: Her life is at a very critical turning point, between great happiness... (AVALON turns over a XIII card entitled "Death.") ANGELA: That's death. (Cut to BRENNAN wheeling her suitcase into the Jeffersonian lab. CAM enters the sh*t.) CAM: Dr. Brennan! Would you care to hug? BRENNAN: Why? CAM: Ok. I'm... good with that. Welcome home. BRENNAN: Thank you. W-What did Booth do while I was gone, solve boring normal m*rder? CAM: He hasn't been reinstated yet. BRENNAN: The doctors told me that he'd be fine in a couple of days, that's why I went. CAM: Sweets is examining Booth today, fingers crossed. (CAM exits.) (HODGINS enters and hugs BRENNAN.) BRENNAN: Oh, uh, I'm uh happy to see you too. HODGINS: Oh, I'm happy personally and professionally. Unsolved m*rder have gone up a thousand percent since you've left. BRENNAN: Well, I find that hard to believe. (BRENNAN exits.) HODGINS: Rough estimate. Welcome back! (Camera shifts to BRENNAN again. She is walking into her office.) BRENNAN: Thank you. (BRENNAN leaves her suitcase by her desk. She crosses to the couch, throws her purse on the floor in front of it, takes off her coat and scarf as she starts to sit down. She ends up sitting on BOOTH, who was sleeping on the couch obscured from the viewer. Both of them scramble up.) BRENNAN: Whoa! Oh! Booth! BOOTH: Bones! BOOTH/BRENNAN: Hey! (They hug.) BOOTH: Hi! (BRENNAN laughs. BOOTH stops smiling as the hug lengthens and pulls away.) BOOTH: Look at that, I'm reinstated on the day that you come home. That's the weirdest coinkidink ever. BRENNAN: No, it's not even the weirdest coinkidink today. But if you were reinstated today why are you dressed like a furniture mover? BOOTH: Well Sweets he just um cleared me so I came straight over to tell ya. BRENNAN: What took you so long to recover? BOOTH: Oh, um, don't worry, nothing wrong with me. I'm 110%. BRENNAN: Well, you know there's nothing more than 100%, right? (ANGELA enters.) ANGELA: Hey, Brennan. Hey Booth. BOOTH: Hey. ANGELA: Listen guys, there are a bunch of bodies buried under the Taversham fountain. BOOTH: How do you know that? ANGELA: Avalon told me. BOOTH: Who's Avalon? BRENNAN: Avalon is Angela's psychic. BOOTH: (sticking his tongue out) Phfffft. BRENNAN: See, even superstitious Booth doesn't believe in psychics. ANGELA: That's interesting because she says that you two were linked in a very profound and spiritual manner. (BOOTH looks at BRENNAN, unsure.) BRENNAN: (imitating BOOTH) Phfff. BOOTH: Phfff. ANGELA: Oh really, well she also says that in your weirdo alternate shared life experience thing that Brennan was pregnant. (BOOTH looks at BRENNAN again, then down at the floor.) It's odd that neither of you mentioned that. (ANGELA exits. BRENNAN gives BOOTH a look, but BOOTH is still looking down. She looks away and BOOTH gives her a look. They exchange a few more looks.) BOOTH: Let's go check it out. BRENNAN: What? No. Why? BOOTH: Six weeks Bones, I'm going stir crazy here okay? Look, let me suit up. BRENNAN: Can I at least take a shower? BOOTH: Yeah I need to shave. (Cut to exterior garden. A gardener is using a metal rod to turn a metal plate in the ground.) BOOTH: So this ground penetrating radar can really see things? (Camera shifts to BOOTH and BRENNAN walking around a fountain. BOOTH is pushing the ground penetrating radar machine. BRENNAN is holding the viewfinder.) BRENNAN: Yeah, a lot clearer than a psychic. You're dressed very oddly. BOOTH: What do you mean? This is regulation FBI. BRENNAN: Well what about the garish socks and the gaudy tie? What, you don't remember? You resist regimentation with these tiny symbols of rebellion. BOOTH: Nah, I remember. I remember, okay? Let me just re-acclimate myself at my own speed here, okay? What is that? (Close up of the radar screen.) BRENNAN: Nothing. Because there's nothing here (cut back to BRENNAN and BOOTH walking) because there's no such thing as a psychic. BOOTH: In my coma dream you were pregnant. BRENNAN: Sweets said that your dream was nothing more than your comatose brain processing what I read to you from my book. BOOTH: Wait, the point is how did the psychic know that if she isn't psychic? (The radar starts beeping) BRENNAN: Oh, the psychic was right. BOOTH: What about us being linked in a very profound manner? What is it? What do you see? BRENNAN: It's human remains. Lots of human remains. (Camera zooms underground to reveal a human skull and bones.) (Cut to opening credits.) (Cut to a close up of the radar screen.) CAROLINE: What's that supposed to be? BOOTH: Bones says d*ad people. (Cut to BRENNAN, BOOTH, and CAROLINE at the fountain. There are now a couple of cops with cars and a crowd of bystanders has formed.) BRENNAN: At least eight, maybe more. CAROLINE: Is there any chance these are very old remains of settlers or Indians who should be left in peace? BRENNAN: Yes, except for that. CAROLINE: What's that? BRENNAN: Plastic disk. BOOTH: Fine, listen, Bones wants to start digging, I'm wanna go talk to the psychic who sent us here. CAROLINE: I did not hear psychic, I heard anonymous source. BOOTH: Just get Bones the warrant that she needs so she can start digging. CAROLINE: Wow, you are keen to get back to work. Got something to prove, sheery? BRENNAN: Well it is plausible Booth feels the urge to prove that he's no longer brain damaged. CAROLINE: You can start. I can get the warrant in ten minutes. (CAROLINE exits.) BOOTH: (smiling) Yes, we're back! (He tries to hi-five BRENNAN.) BRENNAN: You're the one who told me never to look happy at a crime scene. BOOTH: Right. We'll look happy after we find out who did this horrible crime and get them behind bars. BRENNAN: All right. (Cut to AVALON and BOOTH in an interrogation room at the FBI.) AVALON: (putting her tarot cards between them on the table) It's very hard for me to explain my process. BOOTH: Well you're gonna have to do better than, um, 'I'm a psychic.'" AVALON: You're the man who was in a comma, aren't you? Would you pick a card please? (AVALON and BOOTH stare each other down.) BOOTH: Um, okay. Um... (He picks a card) (AVALON turns over a card with a picture of a king on his throne.) AVALON: You're worried you lost something. BOOTH: Look, M-Miss Harmonia, I really don't need a tarot card reading right now. What I need to know is how you knew that those people were buried under the Taversham fountain. AVALON: It's all in the cards, Agent Booth. You can't argue with what's in the cards. You never lost anything in that coma, Agent Booth. You gained something. (Cut to a sh*t of the White House from the air. Dusk.) (Cut to a shaft near the fountain. Cop cars are set up as a perimeter. Jeffersonian workers are moving above the shaft. Night.) (Cut to the interior of the shaft where BRENNAN and HODGINS are working.) BRENNAN: The remains are all in the soil beneath a layer of gravel. HODGINS: Ten years ago they renovated the fountain. They raised it on hydraulic lifts, sunk a series of shafts, mucked out the clay, laid down a layer of gravel, and then poured cement over that. BRENNAN: So it's reasonable to assume that the bodies were tossed down the shaft before the gravel was dumped. HODGINS: I've got samples of the soil, gravel, scrapings from the cement, and this. (HODGINS holds up a piece of fabric with tweezers.) HODGINS: If we're lucky it's something the m*rder left behind. BRENNAN: Well you might as well head back to the lab. Start analyzing your samples. (ANGELA enters, climbing down a ladder into the shaft.) ANGELA: Oh my god. This is like climbing down into a grave here. HODGINS: It's great. Us back together again, chasing criminals. ANGELA: Yeah, a pit full of mass m*rder victims. What's not to love... (HODGINS exits) BRENNAN: As soon as I get the skull free, I'd like you to start facial reconstruction. ANGELA: Sweetie, does the fact that Avalon was right about these bodies make you rethink her abilities? BRENNAN: Ang, I have met dozens of shamans, medicine men, so-called holy people over the years and I've never seen any hard evidence that they're in touch with any spirit world (BRENNAN puts a skull in a box) where the laws of physics don't apply. ANGELA: Until now. BRENNAN: This is actual evidence, Angela, not some mumbo jumbo from a deck of tarot cards. (BRENNAN hands the box to ANGELA) (Cut to a bar. CAM and BOOTH are drinking.) CAM: First drink since the brain operation? BOOTH: Yeah, since uh, you know getting back to work. CAM: I'm honored. An auspicious occasion. So what do you want? BOOTH: Just wanna share a drink, you know, with one of my closest and dearest friends who, you know, I can trust um with certain things. CAM: Oh god. There's lasting brain damage isn't there? Something you haven't told anyone. BOOTH: What? CAM: Are you hearing voices? BOOTH: No. CAM: Seeley if you're hearing voices that's really quite serious. BOOTH: (to CAM) That's nice. (to the bartender who has given BOOTH another round) thank you. (to CAM) I know, I'm not hearing voices Camille, all right. Relax. It's just, well, I did forget that I wore goofy socks so we can do one for that huh? (BOOTH and CAM take the sh*ts) CAM: The things that make you a good cop have nothing to do with the socks. What's really on your mind? (BOOTH lets out a big breath.) BOOTH: All right, um, that place that, I went to, you know, in my coma dream, it was just Bones and I. It was so real. CAM: You're in love with Dr. Brennan. (BOOTH stares at CAM who is smiling at him, then looks away. There is a significant pause.) BOOTH: What I'm wondering is, am I the same guy? CAM: A sweet, kick-ass, FBI m*rder-solver with hard fists and a lion heart? Yeah, you're still him. My advice, for what it's worth: forget the bruised brain, and go with your lion heart. BOOTH: Right, right yeah, and uh tell Bones how I feel. CAM: Yes, except be sure about your feelings because if you crack that shell, and you change your mind, she'll die of loneliness before she'll ever trust anyone ever again. BARTENDER: [in the background] Coming right up. BOOTH: Right. (Cut to the shaft at the fountain where BRENNAN is working. There is a music montage ["Fearless" (Acoustic) by Cyndi Lauper ] throughout the cuts.) (Cut to the Jeffersonian lab, where HODGINS is analyzing his samples.) (Cut to ANGELA's office where she is reconstructing the face to the skull.) (Cut to BRENNAN taking a bone and putting it in a box.) (Cut to HODGINS looking in a microscope at his sample.) (Cut to BOOTH's office, where he has put on colorful socks. He sits down in front of his desk and puts his feet up.) (Cut to ANGELA manipulating a computer program.) (Cut to BRENNAN pulling out a minidisk from the soil.) (Cut to BOOTH sitting on his desk, looking at newspaper articles about BRENNAN and his partnership. (Cut to the shaft. BRENNAN is still working.) BOOTH: (off screen) Hey Bones. BRENNAN: What time is it? BOOTH: Oh it's early. BRENNAN: What are you doing here? BOOTH: I...I hate this part of the case, you know, when you're doing stuff and I'm just at home doing nothing... BRENNAN: I-I have something for you do to. BOOTH: Right. (BRENNAN turns to walk over and pick up an evidence bag. The minidisk is inside. She walks back to BOOTH and hands it to him.) BRENNAN: This is um, the disk we saw in the GPR. (There is a long pause. BOOTH looks at the disk and BRENNAN at BOOTH.) BOOTH: Yeah uh, hey, look at that, mini-disk. Definitely 90s technology. (BOOTH climbs up the ladder, talking as he goes.) BRENNAN: But, don't you wanna go to breakfast? BOOTH: No time, I gotta you know get this to my people so they can find out the manufacturer and all that hooey and get it to Angela so she has all the information she needs to [unintelligible] BRENNAN: But no one is awake except you and me. (BOOTH exits.) (BRENNAN stares up where BOOTH was.) (Cut to a conference room at the FBI. SWEETS, CAROLINE, and BOOTH are present. Day.) SWEETS: (walking around the room) Avalon Harmonia is her professional psychic name. Born Sephanie Susan James. No criminal history. (leaning against a chair) No known criminal associations and in my professional psychological opinion, not a nut bar. CAROLINE: (sitting) Law abiding and sane does not explain twelve buried skeletons. BOOTH: (standing with a cup of coffee) She honestly thinks that she's psychic, I mean, she really does. CAROLINE: If she's not psychic then she's involved. I don't believe in psychics. SWEETS: Well, neither did I. Do I. Present tense. BOOTH: She got to you, huh Sweets? SWEETS: Ok, check it out, my Dad's watch goes missing three months ago. BOOTH: Right. SWEETS: I have no idea where it is. She tells me it's in the pocket of a jacket that I forgot I owned at the unclaimed goods at the FBI drycleaner. (BOOTH shrugs) Yeah. (CAROLINE looks dumbfounded. SWEETS exits. The computer monitor beeps. It is a call from HODGINS. He appears on a laptop and TV screen.) HODGINS: Booth. How many fingers am I holding up? CAROLINE: Yeah, brain damage joke. That's real funny. BOOTH: What've ya got? (Cut to HODGIN's office at the Jeffersonian.) HODGINS: What I've got are multiple degrees in botany, geology, and entomology, which allow me to discern vital clues like this one. (HODGINS puts up a graph on his computer screen.) (Cut to the conference room where CAROLINE and BOOTH are looking at the graph on their screen.) CAROLINE: What's that, a graph of Russian wheat production in 1955? (Cut to HODGIN's office) HODGINS: It's a microspectrophotometry scan indicating that the fabric we found with the remains... (Cut to a close up of the screen showing the fabric) HODGINS: (off screen) ...is lint free static resistant polyester. (Cut to the conference room) HODGINS: (off screen) It was designed for use in f*re hazardous... (Cut to HODGIN's office) HODGINS: ...oxygen enriched atmospheres. (Cut to a close up of the screen. HODGINS puts up a picture of two men in blue jump suits.) HODGINS: US Navy refers to them as Poopy Suits. (Cut to the conference room) BOOTH: Right, you mean for submarine crews. HODGINS: (off screen) Yeah, exactly. (Cut to HODGIN's office) HODGINS: Now, my conclusion is we have uncovered the anonymous grave of the crew of the super secret stealth submarine (Cut to a close up of the screen, with a picture of a submarine.) HODGINS: Hawkfish, which disappeared in the late 90s. (Cut to the conference room) HODGINS: (off screen) Now, the US government denies the very existence of the submarine, yet I... (BOOTH shuts the laptop, cutting HODGINS off.) CAROLINE: The way it works Booth is that I'm impatient and curt, while you somehow keep the Squints motivated and productive. BOOTH: (as he takes out his ringing phone) Right, I'll keep that in mind, thanks. CAROLINE: Good. BOOTH: (answering the phone) Hiya Bones. (Cut to the Jeffersonian lab. The bone room. BRENNAN and BOOTH are looking at a skull with a hole in it.) BRENNAN: There's no sign of any v*olence on any of the skeletons we found except for this one. BOOTH: Could the victims have drowned? BRENNAN: No, drowning leaves diatoms in the marrow and Cam didn't find any, why? BOOTH: Hodgins said that it could've been a submarine crew. BRENNAN: Preliminary histological evidence shows that the victims were of both sexes encompassing Mongoloid, Negroid, and Caucasoid features and ranging in age from the late teens to the early 70s. BOOTH: That is a b*llet hole. BRENNAN: Nope. (BRENNAN moves a microscope over the hole) Micro-fractures indicate that the projectile was moving much slower than any b*llet. Also, (she puts her finger in the hole) I can't feel any beveling on the inside of the skull, but there's very slight beveling (she points to it) on the outside. BOOTH: He was k*lled from the inside out. (ANGELA enters.) ANGELA: Awkward. Awkward, awkward, very awkward. BRENNAN: Angela, what is awkward? (Cut to a work room in the Jeffersonian that contains the freestanding clear computer monitor. ANGELA enters, followed by BRENNAN and BOOTH) ANGELA: The casing on the minidisk that you found at the dig was cracked so there was damage. I did what I could but I got this one frame off the corrupted file. BOOTH: What's so awkward about that? ANGELA: This isn't the awkward part yet. (Close up on a sign on a car and a license plate. They are blurry until ANGELA makes them clear.) BOOTH: Glen Echo car rentals. And a license plate. ANGELA: I figure you have twelve bodies and this vehicle holds between twelve and fifteen, so-- BRENNAN: Ang, you shouldn't feel awkward about this. You should be proud of your excellent work. ANGELA: Now comes the awkward part. (ANGELA runs her facial reconstruction.) BRENNAN: Oh. Why'd you make a picture of the psychic? ANGELA: This isn't Avalon. This is the facial reconstruction of the first fountain skull. (Cut to interrogation room at the FBI. BRENNAN is standing at the table, while BOOTH is leaning by the window, arms crossed. AVALON enters.) AVALON: Hello Seeley. Hello Temperance. Nice to see you two together. BRENNAN: This is an official visit. (AVALON sits at the table.) AVALON: Am I in trouble? (BRENNAN sits.) BOOTH: (walking to the table) We just uh need you to explain a few things, that's all. (He slides an envelope across the table to AVALON. He sits.) BRENNAN: We're still trying to identify the twelve victims under the fountain. BOOTH: You see, Dr. Brennan and her people were able to give one of them a face. We need you to take a look at it. (BRENNAN pulls out a picture from the envelope and lays it on the table.) AVALON: Oh no. This can't be. BRENNAN: It can't be what? AVALON: It's my sister. (Cut to an exterior aerial sh*t of the Royal Diner.) (Cut to an interior sh*t of the diner. BRENNAN and ANGELA are standing, getting coffee at the bar.) ANGELA: Avalon told me she had no family. BRENNAN: Obviously telling the truth her sister's been d*ad for ten years. ANGELA: Yeah it's just you'd think that was something that would show up in the cards. BRENNAN: Well, the future consists of the culmination of a near infinite number of variables. Turning over a card has no effect at all. (BRENNAN pays for her coffee and turns to leave.) ANGELA: (following BRENNAN) Well then how did the cards tell her where her sister was buried? BRENNAN: (opening the door and walking out) Well I'm certain that the knowledge of her sister's remains did not stem from pictures on a card. (As BRENNAN finishes, they both stand outside and BOOTH enters, carrying a stack of papers in a file folder.) BOOTH: So, you're going to have to work late tonight. ANGELA: "Oh, hello Angela, you look so pretty today." Well thank you Booth, and hello to you too. BOOTH: Right. BRENNAN: Oh, she's being you and herself. I don't know why. What do you want Angela to work on? ANGELA: (reading off a paper in the file) Harbingers of a New Day. BOOTH: Right, Glen Echo car rentals uh it went out of business but we did find this guy who rented this van to the Harbinger group and get this, the group never brought it back. BRENNAN: Some kind of cult? BOOTH: Exactly. And you know what, (BOOTH closes the file and herds her towards the street as he talks) Angela is going to get to work on the Internet and find out all that information for us now. (ANGELA and BRENNAN start to walk away.) ANGELA: Yes, sir, on my way, you bet. BOOTH: Hey look, I'm sorry, Ang. You know, it's first case back, you know, it's been a long day. Maybe I got something to prove. I'm sorry, you look, you look beautiful. (ANGELA smiles, laughs, and kisses BOOTH on the forehead.) BRENNAN: Ah, would you like me to kiss you on the forehead too? BOOTH: Sure. (BOOTH closes his eyes and leans forward for a kiss. BRENNAN laughs and walks away with ANGELA. BOOTH checks BRENNAN out as she is walking away from him.) (Cut to the outside of the Jeffersonian.) (Cut to CAM, HODGINS, and ANGELA watching a video file on the clear monitor.) FARGOOD: (on the video) In order to clean society where we will no longer live amongst the poisons and pollutants of this modern... ANGELA: I managed to get a partial video file off the minidisk. ANGELA: This (points at a man in the video) is Tom Fargood. El supremo. He sold places in a secret undersea facility he called Harbinger. CAM: So these people are all nuts. HODGINS: Not at all, people pay a fortune to visit that giant underwater hotel in Aubudabi ANGELA: Yeah, Dubai. There's another one in Istanbul. Key West. Sweden. CAM: So where did Fargood locate his new Atlantis? ANGELA: A secret site. In French Polynesia. HODGINS: Buried under a fountain? That's a bit of a come down from Bora Bora. CAM: I count 14 people in this video. HODGINS: Dug out 12 from under the fountain. ANGELA: Look at this. (She pauses the video at a woman who looks like AVALON.) CAM: Is that Avalon? ANGELA: No, that's her sister. CAM: How do you know? ANGELA: Because... (she runs the video for a short time then pauses it again) that is Avalon. HODGINS: Wow. They look like they're pretty close. CAM: Her sister ended up in a mass grave that she led us too. I'm not sure that adds up to pretty close. (Cut to the conference room at the FBI. AVALON, BOOTH, SWEETS, and CAROLINE have been viewing the video file. All except SWEETS are sitting.) AVALON: It was my idea to join Harbingers. It cost every cent my sister Jenny and I had from my parents' insurance. BOOTH: Look, how much did Fargood get from you? AVALON: Almost a million dollars. SWEETS: What motivated you to join Harbinger? AVALON: My sister suffered from MCS. BRENNAN: Multiple Chemical Sensitivity. CAROLINE: Allergic to the whole world? AVALON: (looking at a certificate in front of her) Fargood put these gold seals on our diplomas whenever we passed part of his training. This day was how to use a spear g*n to hunt fish. CAROLINE: Fascinating. I need to know how you knew where your sister's body got dumped. CAROLINE: I think you're hiding something. It rankles me. I'm rankled. I suppose this time you thought your sister was living in a yellow submarine. AVALON: The Harbingers facility, yeah. BOOTH: Well, why would she go and leave you behind? SWEETS: (sitting now) You did something that got you expelled, didn't you? What was it? AVALON: I went to an outside doctor for my headaches. It wasn't allowed. BOOTH: We're going to need a list of all these people's names. BRENNAN: And the name of the Harbinger doctor. AVALON: There never was any underwater facility was there? He just k*lled everybody for their money. My sister was k*lled for money. (Cut to the exterior of the Apex Free Family Clinic) (Cut to the interior. There are many patients. BOOTH and BRENNAN are waiting in the lobby.) LEACOCK: (coming over to greet them) I am Doctor Leacock. Ah, as you can see I'm a little pressed for time. BRENNAN: We're here about Tom Fargood and the Harbingers of a New Day. BOOTH: Yeah he knows 'em. LEACOCK: Would you like to come with me? BOOTH: Okay. LEACOCK: (walking to his office) Fargood wanted me to be the physician in his underwater utopia. I declined. BOOTH: Uh, why, because you thought it didn't exist? LEACOCK: No, I believed it existed but the idea-to spend the rest of my life underwater babysitting a bunch of people who were allergic to the 20th century? I'm more useful here. (LEACOCK leads them into his office.) BRENNAN: So, they all suffered from MCS? LEACOCK: Yeah, pesticides, power lines, incinerators, gas stations, fresh paint, even perfume made them sick. These people are canaries in a coal mine when it comes to blooms. I always thought they'd head down there, move into some renovated Russian submarine, and then come up and you know live happily in grass huts and a mowto. Was I wrong? BOOTH: Well, maybe you've heard of the twelve human skeletons that were found under the Taversham fountain. LEACOCK: Oh my god, are you serious? BRENNAN: If you still have their medical records it would be very helpful in positively identifying victims. LEACOCK: Of course. H-How did they... BOOTH: Dr. Brennan here is a forensic anthropologist. She's still trying to figure out the cause of death. BRENNAN: If they had MCS, it should show up fairly obviously in their bones. LEACOCK: Do you have a warrant? BRENNAN: Do we need one? LEACOCK: This is a state funded clinic. I-I have to abide by the l-letter of the law. I'm sorry, I... BOOTH: Right. We'll be back. LEACOCK: Hey, can I ask how you connected me to the group? BOOTH: Hey, we have our own rules. (Cut to the FBI building interior hallway. CAROLINE and BOOTH are walking.) CAROLINE: Dr. Leacock was right to require a warrant. BOOTH: Right, and I was right to tell him we have rules too, right? CAROLINE: Ugh, yeah. You know what, I'll have it for you in the morning. (camera pans away from her.) BOOTH: Great, that's all I needed to hear. Thanks Caroline, you're the best. (BOOTH walks into his dark office. He turns on the lights to find SWEETS sitting in front of a BOOTH's desk, playing with BOOTH's bobble head. SWEETS is holding a laptop.) BOOTH: Whoa, easy, don't touch the bobble head. Hey, Sweets, hi. I'm working. Everything's great, look at me, I'm fine, m-my brain's feeling good, so bye. SWEETS: Well I've been informed that your brain still thinks that it's in love with Dr. Brennan. BOOTH: Great, Cam ratted me out. (He takes a golf club and heads to the other side of the office.) SWEETS: No, I found out through Avalon. You told Cam? BOOTH: Oh, great, she finds your watch so now all of a sudden you believe everything that she says? (SWEETS stands up with the laptop while BOOTH is talking and walks toward him. BOOTH walks away behind the desk.) SWEETS: Ok, you just admitted that you told Cam you're in love with Dr. Brennan. (SWEETS opens the laptop on BOOTH's desk. It has a picture on it resembling an hourglass shape in various shades of blue and yellow.) SWEETS: Do you know what you're looking at? BOOTH: Yeah and I'm pretty sure you haven't been this close to one in a long time. SWEETS: It's a PET scan of your brain. BOOTH: Hmm, then I was wrong. SWEETS: (pushes a button on the laptop) This is called the ventral tegmental area. This is the dorsal caudate body. Now these two areas have been proven to be linked to romantic love and sexual arousal. BOOTH: Okay, if this is your version of dirty pictures, it's really not working for me right now. (closes the laptop) SWEETS: (opens the laptop) Now this uh, (shows a picture of a brain) this scan was taken before your operation. The green and blue colors indicate very low activity. SWEETS: (pushes a button) The same scan while you were in a coma. Just lit up like the 4th of July. You were dreaming of being in love, of being married, right? SWEETS: (pushes a button) Same scan. Three days ago. Before your operation, you were not in love. After your operation you were. Conclusion: your feelings are not real and will fade away like every other symptom of your coma. Now, I think you and I both know that Dr. Brennan's hyper-rationality is really just a cover for a very vulnerable and sensitive core. BOOTH: Ok, great so we're talking about Bones's brain too here. (SWEETS closes the laptop and picks it up to leave) SWEETS: So, if you breach those defenses and it turns out you don't really love her... I left you hard copies. (Cut to the Jeffersonian lab. Main room. Several skeletons are laid out on tables for examination. CAM and ANGELA enter.) CAM: Based on the Harbinger video, Avalon names, and Dr. Brennan's analysis, this is most likely Louis Lampcov. ANGELA: The man with the hole in his skull. CAM: The only victim we know for certain that died violently. ANGELA: My 3D imaging suggests (turns to bring up a computer image of the skull) that a shaft sh*t from a spear g*n through the soft palate would've caused the wound. (HODGINS enters.) HODGINS: (walking briskly to another computer) I know how everybody else died. Not Mr. Hole-in-the-Skull, but the others. CAM: (looking at the image HODGINS as pulled up on the screen) That's the crystallized calcium oxalate you found in the soil. HODGINS: Right. Minute amounts in the soil layer beneath each and every body. ANGELA: Well is it poisonous? HODGINS: No, but it makes sense to ask ourselves what processes might result in crystalline calcium oxalate. CAM: Liver or kidneys. HODGINS: Kidney function would do that to plain old oxaline, which is derived from glycolate. CAM: Well, Glycolate's poisonous. HODGINS: (showing a diagram of chemical formulas on the screen) Glycolate is a conversion of glycolaldehyde via the aldehyde dehydrogenase in the liver. CAM: A poison that isn't a poison until it's metabolized? HODGINS: Ethylene glycol. ANGELA: That's antifreeze. HODGINS: Sweet to the taste. Easily disguised. Administered over time, which gives the kidneys time to crystallize the stuff. It's virtually untraceable. CAM: Well unless some brilliant bug and slime womp finds it in the soil HODGINS: And that, ladies, that is why they call me "King of the Lab." ANGELA: Nobody does that but you. CAM: The early symptoms of ethylene glycol poisoning: fatigue, nausea, headache. HODGINS: Indistinguishable from MCS. CAM: Dr. Brennan's going to want to confer with that Harbinger doctor. (CAM exits.) HODGINS: Is that true about the king of the lab? ANGELA: That only you care? Yeah. (ANGELA exits. HODGINS ponders this for a moment, then smiles. (Cut to aerial sh*ts of D.C. at night.) (Cut to the outside of apartment buildings. AVALON is sitting on the steps to one. BOOTH is standing talking to her.) AVALON: (sigh) I always thought that Jenny was alive and happy somewhere. Some psychic I am. BOOTH: Look, I don't know if you're psychic or not. AVALON: Then why would I send you to the fountain in the first place? BOOTH: (crosses arms) Remorse. (BOOTH sits next to AVALON on the stairs. He takes out papers from an envelope.) BOOTH: The neurosurgeons tell me right here that this part of my brain shows love. And this... (points to picture) AVALON: Hmm. BOOTH: What? AVALON: Let the neurosurgeons have your brain. They know about your brain. They don't know jack about your heart. AVALON: Here, (gets out tarot cards) cut the deck. BOOTH: (laughs) Come on, what is this? AVALON: Cut the cards. BOOTH: Alright, fine, I'll cut the deck. (BOOTH cuts the deck. AVALON turns over a card labeled "The Devil.") BOOTH: Oh. AVALON: She's in terrible danger. You gotta go to her now. BOOTH: Oh come on Avalon... AVALON: (at the same time) No, no. BOOTH: I-I'm still a cop, I know when someone's looking to escape here. AVALON: So chain me to the railing. Do what you gotta do. But you better go to her now, Agent Booth. Go to her now. Go to her right now. Go to her now. Now. Right now. BOOTH: Bones... AVALON: Go right now. (AVALON takes her briefcase and hails a cab. She gets into it.) (Cut to the interior of the Apex Free Family Clinic. BRENNAN opens the door. The office is empty.) BRENNAN: Hello? (BRENNAN takes a step into the office.) BRENNAN: Dr. Leacock, it's Dr. Brennan with the FBI. LEACOCK: (off screen) Dr. Brennan, come back to my office. Lock that door behind you please, (BRENNAN locks it) this isn't the best neighborhood. BRENNAN: (walking towards LEACOCK's office) There's been an interesting development in the Harbinger case. LEACOCK: (off screen) Yeah? BRENNAN: Well it appears that the victims were poisoned. But is there any chance that what appeared to you to be MCS was actually the result... (BRENNAN walks into LEACOCK's empty office. She sees several files with victim names on them. The one on the top reads Lampcov, Louis.) BRENNAN: You're studying the Harbinger files. (LEACOCK enters the office, holding a Kn*fe. BRENNAN turns just in time and throws a lamp at him and he falls to the ground. She runs out of the office into the hallway, trying to escape, but LEACOCK grabs at her legs and trips her. They both get up and start running down the hall, BRENNAN grabbing a rolling cart and pushing it into the hallway to obstruct him on her way. She reaches the locked door, but LEACOCK also reaches her and they scuffle at the door. BRENNAN picks up a metal tray from the front desk and hits him with it, but LEACOCK parries and stashes her in the arm with his Kn*fe. LEACOCK comes at her again but BRENNAN parries, knocking him over. LEACOCK quickly recovers and tries to s*ab her again, and BRENNAN defends her body with her right arm. BOOTH enters, breaking the door and immediately sh**ting LEACOCK in the chest. BRENNAN is sitting down against the front desk, her arm bloody and the Kn*fe still in it. BOOTH takes her arm and crouches beside her.) BOOTH: (holding her arm in both hands now) Bones, you all right? You ok? BRENNAN: Yeah, I'm all right, I'm okay. BOOTH: Bones, your arm. Look. BRENNAN: Oh god. BOOTH: No, don't pull it out. Don't touch that! (BRENNAN pulls it out of her arm) Bones... Easy, I gotcha. Gotcha, gotcha. It's gonna be all right, alright? Alright. BRENNAN: Thank you. BOOTH: (rests his chin on her head) Easy. Ambulance is on the way, ok? BRENNAN: Ok. Keep the pressure on it. BOOTH: Ok, I got it. I got it. Just relax. Just trust me, alright? I'll take care of you. Shhh. I've got you. Breathe. I'll take care of you. I'm right here. I'm not going anywhere. I got you. (BOOTH kisses BRENNAN's head) I've got you, baby. (cut to BOOTH's office. BOOTH is sitting at his desk, playing with his cell phone. His shirt is covered with BRENNAN's blood. CAROLINE enters and crosses to behind BOOTH's desk.) CAROLINE: That's a lot of blood. BOOTH: I'm fine. This is Bones's blood. CAROLINE: That supposed to be good? BOOTH: She's fine. They fixed her up and uh, she's in her home. I should've been there for her. CAROLINE: You were there! You k*lled the bad guy d*ad. I know you hate that but it always makes me a little glad. Does that make me a bad person? (BOOTH gives a noncommittal sigh and a half smile.) CAROLINE: I guess that closes the case. (BOOTH stands up.) CAROLINE: Uh-oh. BOOTH: (pacing the left side of the office) None of the remains have been identified as Fargood. CAROLINE: You think the bad doctor was working for Fargood. BOOTH: Yeah. Used to be that my hunches were good enough to keep us working a case. (BOOTH sits.) CAROLINE: (walking to the door) Sheery they still are. That means our little psychic friend is still a suspect. And change your shirt. (CAROLINE exits. BOOTH looks after her then down.) (Cut to BRENNAN opening a door to AVALON's office.) BRENNAN: (in the doorway) Hello? Miss Harmonia? AVALON: (off screen) Down here. (BRENNAN walks cautiously down a hallway. AVALON is sitting in the next room at a kitchen table, with 10 tarot cards out in front of her.) AVALON: Dr. Brennan. How are you feeling? BRENNAN: Well they gave me medication so I feel how I imagine people of average intelligence feel all the time. I came here to see if you'd run away. AVALON: No, I'm here looking for clues. Something I might've missed. BRENNAN: (sitting down at the table) What, in your cards? Because that is a waste of time. AVALON: You say that after I sent Agent Booth to save your life. BRENNAN: Well, you knew where the bodies were buried. You knew Dr. Leacock would att*ck me. (AVALON turns over a tarot card from her deck. It is a wanderer in a field.) AVALON: You are an abandoned child. (AVALON turns over another card entitled "The Hanged Man.") AVALON: The world scares you, so you wrap it up neatly in bonds of reason, education, and proof. All riddles are solvable to you except for one. BRENNAN: Yes, the riddle of how you knew where your sister was buried. AVALON: No. The riddle you can't solve is how somebody could love you. BRENNAN: (laughs) Well, I'm beautiful and very intelligent. AVALON: The answer to the question that you're afraid to say out loud is, (AVALON draws a card) yes, (she puts down a card entitled "The Sun") he knows the truth of you, yet he is dazzled by that truth. (Cut to ANGELA's lab, a close up of the clear monitor.) ANGELA: I'm pulling up websites containing the words Harbinger, utopia, undersea, and MCS and running them through my facial recognition program. SWEETS: Hmm. Fargood's arrogant. He'll think he's changed his modus operandi but it'll only be superficially. ANGELA: What, so you think these keywords won't work? SWEETS: No, not specifically. ANGELA: By the time we finish a more general search, you'll actually have to shave. SWEETS: Ok, why is facial hair the marker of an adult male? Why not height? I'm tall. (ANGELA gives him a look.) SWEETS: Right, keywords. Uh, well, Fargood targeted a group of people who were sick of the world. Literally. And promised them a new life, right? A life without suffering. ANGELA: Sick of the world, of course! You know who you're referring to. SWEETS: Yeah, people who are in pain. Who've lost hope. Or sunk in existentialist despair. ANGELA: That's not literal enough Sweets. (sits down at a computer) You're talking about old people who've nobody else to turn to. SWEETS: Huh. (Cut to an FBI interrogation room. BRENNAN, sitting, is holding the photo result of ANGELA's search. FARGOOD is sitting opposite to her.) BRENNAN: Angela's right. The bone structure is a very close match. (The camera pans to reveal BOOTH sitting on the table next to BRENNAN.) BOOTH: See, we're trying to figure out exactly when you changed your name (takes the picture from BRENNAN) from Tom Fargood to Alexander Galow. FARGOOD: I have no idea what you're talking about. BRENNAN: You're selling shares in a very exclusive retirement community. FARGOOD: Very sound investment in your future. I recommend you buy. BOOTH: Well, we won't be doing that anytime soon Mr. Galow (sits down in the chair) because a significant number of people who put down their non-refundable deposits, they died before they moved in. BRENNAN: Probably from methylene glycol poisoning. FARGOOD: I want a lawyer. And I won't be drinking anything from that glass. You want my DNA? Get a warrant. BRENNAN: Well, there's no point in getting your DNA. We have nothing to compare it to. (BOOTH sh**t a look at BRENNAN and then the door.) BOOTH: Excuse us. (BREANNA and BOOTH stand to leave. BOOTH drains the glass of water.) (Cut to CAROLINE, who was watching their interrogation through the 2-way mirror. BRENNAN and BOOTH enter.) CAROLINE: Alexander Galow's identity is b*llet proof. BRENNAN: I'm certain that's Fargood. BOOTH: (off screen) See, she's certain, that is good enough for me. (comes on screen) We gotta keep this guy in custody or he's gonna run. CAROLINE: Good enough for you is not good enough for a judge. BRENNAN: That man poisoned 11 people and used a spear g*n to k*ll a 12th. BOOTH: Look, we gotta find a way to hold him. CAROLINE: Don't arrest him until shift change. BRENNAN: Why? CAROLINE: We'll lose him in the system. BOOTH: FBI stall tactics, Bones. Thank you. (He pats CAROLINE on the back.) CAROLINE: (crossing to the door) Do not thank me. He'll be out of here in 24 hours. And even if you prove that Galow and Fargood are the same man I don't see a shred of evidence that he k*lled those 12 people. (CAROLINE exits. BOOTH looks at BRENNAN, who shakes her head. The camera pans to FARGOOD through the 2-way mirror, who smiles and waves as if he sees them watching him.) (Cut to the exterior of the FBI building. Day.) (Cut to a briefing hall in the FBI. Interior. Day. BOOTH is on the stage giving a briefing to FBI agents.) BOOTH: (pacing) I need proof that before he was Galow our bad guy was Fargood so, I need the van. (The screen behind BOOTH projects a picture of the van. BOOTH holds up a picture of it as well. Agents pass back folders of information.) FBI AGENT: What are the chances of finding a van stolen 10 years ago? BOOTH: And I need this. (The screen and picture BOOTH holds up have changed to a picture of the spear g*n.) FBI AGENT: You want us to find a 10-year-old stolen van and a spear g*n all in the next... BOOTH: 12 hours. Tops. BOOTH: (claps) Go. Perform miracles. (The agents get up to leave. BOOTH walks off the stage to where BRENNAN is waiting along the wall of the room.) BOOTH: This time we need miracles, they gotta help or we can't prove that Galow and Fargood are the same person. What is that? (BRENNAN holds up an evidence bag with a certificate in it.) BRENNAN: Avalon's Harbinger's certificate. (They start walking.) Remember, she said that Fargood applied the seals himself. The saliva on the seal is how we get Fargood's DNA with. How do we get Galow's? BOOTH: Human nature. Human nature Bones. (Cut to interior of the FBI. BOOTH, BRENNAN, and AVALON exit an elevator. The start to walk through the hall.) AVALON: You found Tom Fargood? BRENNAN: Well, that's what we need you to tell us. BOOTH: Only if you're up for it. AVALON: Well why wouldn't I be? BRENNAN: Well, because all these years you thought your sister left you without saying goodbye. (They stop in the doorway to a larger waiting room.) BOOTH: Really, this man m*rder Jenny. BRENNAN: And then buried her in a mass unmarked grave. AVALON: Why are you trying to make this harder for me? BRENNAN: Is that Tom Fargood? (The camera pans to FARGOOD, who is sitting cuffed with his hands behind him. AVALON walks to him and sits down next to him. BOOTH and BRENNAN have followed AVALON into the room.) BOOTH: This the man who m*rder your little sister? (FARGOOD and AVALON stare at each other. FARGOOD lets out a sigh, and suddenly AVALON att*cks him, scratching him on the neck and drawing blood. BOOTH pulls AVALON off FARGOOD and holds her while BRENNAN bags AVALON's right hand.) AVALON: You k*lled my sister! You k*lled my little sister! You did that stuff to... (Cut to the Jeffersonian lab, where CAROLINE, CAM, BOOTH, and BRENNAN are watching video surveillance of what just took place.) CAROLINE: That is sneaky. BRENNAN: Is sneaky good or bad? CAROLINE: Good, if it holds up in court. CAM: Next time, make it look more like you're taking advantage of a situation not scripting it. CAROLINE: Don't keep me hanging people, are Alexander Galow and Tom Fargood the same person? CAM: Yep. Perfect match. BRENNAN: Well, your facial expression suggests that you are dissatisfied. CAROLINE: You proved that Galow is Fargood, fine, but now you gotta prove that Fargood k*lled those people and dumped them under that fountain. BOOTH: Let's charge him with m*rder. Give us time to find the spear g*n and the van. CAROLINE: Sheery, what are the chances of that happening? CAM: A million to one. BRENNAN: Oh, we don't have all the variables, so...you were not being precise you're simply illustrating the difficultly. CAROLINE: Everything maybe always adds up in the lab, but in real life sometimes you lose one. (CAROLINE exits.) BRENNAN: Well, what should we do? k*ll 'im? (BOOTH gives BRENNAN a stony look. The camera pans to CAROLINE.) CAROLINE: Still in earshot Sheery. Still in earshot. (CAM gives BRENNAN a look. BRENNAN looks put out.) (Cut to an exterior street sh*t. Night. A cab drives by. A clown is packing up his van. The camera pans to BRENNAN and BOOTH, walking.) BRENNAN: Fargood is going to get away with mass m*rder. BOOTH: You know, I don't wanna talk about work. BRENNAN: Well what do you want to talk about? (BOOTH stops at the street corner. BRENNAN gives him a concerned look.) BRENNAN: You all right? (pause) BOOTH: Not really. I just, I have something that I wanna say to you from inside my heart. BRENNAN: Oh, blood is in your heart. (They cross the street and keep walking.) The idea that the heart is the seat of love and strength of character is ancient, but metaphoric. I mean, in reality these qualities are based in the amygdala, which is part of the brain. BOOTH: No, I mean, ever since I've woke up from my coma I've been wanting to say something (he stops BRENNAN with one arm) to you, about you. BRENNAN: Well why didn't you say something earlier? BOOTH: 'Cuz I just, I just wanted to finish this case. You know, to make sure that I'm back, that, that you know I'm me again. BRENNAN: Well does the fact that we didn't close the case give you doubts? (BRENNAN turns from him and starts walking again. BOOTH follows.) BOOTH: No, we did the best that we can. Hold on, (he runs in front of her and stops her from walking) you don't, you don't think that I'm fully back? BRENNAN: No, I know you're fully back. BOOTH: You do? BRENNAN: Well, you're wearing your socks. BOOTH: Oh, yeah. (The camera pans to BOOTH's socks, which are now visible as BOOTH has pulled up his suit pants to show them off. A briefcase lands in front of BOOTH's socks. It is the clown.) BRENNAN: Oh no. (The clown sprays BOOTH in the face with water from a plastic flower.) Oh no, (BOOTH is doubled over, covering his eyes) he hates-oh, Booth, do not k*ll the clown. (She holds up an arm to stop BOOTH as he straightens up.) Oh... (BOOTH squeezes the clown's plastic nose and laughs. BRENNAN stares at him.) BOOTH: (still laughing) Come here. (He squeezes the nose again and laughs.) (The clown packs up the last of his van and turns to leave. BRENNAN keeps staring and BOOTH keeps laughing.) BRENNAN: Booth, you hate clowns. You do not think they're funny. (They start walking again.) BOOTH: Right, oh, before my coma I sh*t a clown (stops walking) off an ice cream truck. BRENNAN: Yeah. BRENNAN: Well I'm sure in a few weeks you'll hate clowns again. Be back to normal. BOOTH: Yeah, a few weeks. (BOOTH turns to walk again. BRENNAN stops him.) BRENNAN: What did you want to tell me? (pause) BOOTH: That I love you. (BRENNAN stares at BOOTH.) BOOTH: In a professional you know (hits her arm) atta-girl kinda way. BRENNAN: Atta-girl kinda way? (BOOTH looks at BRENNAN then away.) BRENNAN: Right back at ya Booth. I love you too! (She punches him in the shoulder.) Atta-boy. (BOOTH punches her back and smiles. BRENNAN smiles back. The camera shifts to CAROLINE behind them in her car.) CAROLINE: You two got a moment? (Cut to the exterior of CAROLINE's car traveling down a street.) BOOTH: (voice over) Ok, what's going on? (Cut to the interior of CAROLINE's car. CAROLINE is driving BOOTH and BRENNAN. BOOTH is in the back seat.) CAROLINE: I thought I'd give you the honor of arresting Mr. Fargood, Alexander Galow, whatever you want to call him, hell arrest both of you. BRENNAN: Well, you said we didn't have enough evidence. CAROLINE: For m*rder. You didn't have enough to charge him with m*rder but m*rder isn't the only crime in the world though it seems that way with us. BOOTH: (reading a file CAROLINE has given him) Grand theft auto regarding the rental vehicle? BRENNAN: (reading another file) Fraud by wire? CAROLINE: That man sold people a luxury hotel under the sea, if he can't show it to us, then he defrauded them. BOOTH: Illegal wearing of the uniform? CAROLINE: Those Poopy Suits were Navy issue. These are just the federal crimes mind you I've got the district attorney coming up with his own list. BRENNAN: What does this add up to? CAROLINE: About a hundred years, give or take. BRENNAN: He should be convicted of m*rder. CAROLINE: Luckily you two have me to pick up the slack when you fall short. BRENNAN: Ha! That's right, you should kiss me. What's wrong with you, Seeley Booth? (Cut to exterior sh*t of CAROLINE's car.) (Cut to the interior of the FBI. FARGOOD is being cuffed by BOOTH.) FARGOOD: On what charge? BOOTH: Oh, a whole bunch of them. Let's go. (Cut to BRENNAN and AVALON, who are watching the scene outside of BOOTH's office.) BRENNAN: I'm sorry we couldn't get him for k*lling your sister. AVALON: Sometimes you gotta just settle for the second best situation. BRENNAN: I'm sorry too for how we manipulated you into scratching his face. AVALON: It was rational. BRENNAN: Yes, and yet irrationally I still feel back about it. AVALON: The cards say only your top layer is rational. Underneath you're as crazy as I am. And that's a complement. BRENNAN: Doesn't sound like one. (BOOTH enters.) BOOTH: This is usually when we go and drink. AVALON: You two are going to keep doing things as usual. BOOTH: Sometimes you gotta settle for second best. (AVALON gives the two of them a look. BRENNAN looks a bit confused.) AVALON: By the way, my cards tell me this all works out eventually. (AVALON exits.) BOOTH: Oh. (in disbelief) Really? BRENNAN: What all works out eventually? (BOOTH just stares at her.) BRENNAN: What? (BOOTH walks into his office.) BRENNAN: (following him) What all works out eventually? END.

{"type": "series", "show": "Bones", "episode": "05x01 - Harbingers in the Fountain"}

foreverdreaming

"The Bond in the Boot" Episode 5x02 Written By: Michael Peterson Directed by: Alex Chappie Transcribed by: Jasmine Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (A man waits on the roof of an airport parking structure at night, a briefcase handcuffed to his wrist. An assailant att*cks the man, sh**ting twice. He cuts off his victim's hand and runs off with the briefcase. sh*ts ring out as his car peels away, running over the body) ACT ONE (Cut to daylight at the crime scene where a cat is seen eating off the victim's remains. Booth and Brennan exits FBI vehicle.) BOOTH: (in disbelief) A Rolex? They just gave you a Rolex? BRENNAN: But my book is No.1 on the bestsellers list for 12 weeks and sold 630,000 copies. They're, you know, showing their appreciation. BOOTH: Wow. So that means if you made- BRENNAN: I don't really know how much actually, but (Booth's phone starts to ring) I was told I would never have to work again. BOOTH: (chuckles) Wow. (answers his phone) Booth. What?! No! Slow down pal, that is extortion. What? No, no! Forget it. No. No way I'm paying that. Bye. (shuts his phone) Some plumber, he wants to charge me 800 bucks to fix the plumbing in my walls! Forget it I'll do it myself. BRENNAN: Well, that should be no problem. You've told me numerous times how skillful you are as a repairman. BOOTH: Well, great. Ever since after the coma, I've seen to forgotten a few things. So I'm gonna have to figure out how to do it myself all over again. BRENNAN: I could lend you some money. BOOTH: It's okay, Miss Rolex. I'll be fine. BRENNAN: Well, if you change your mind.. (Purring of cats can be heard in the background) BOOTH: This is exactly why I hate cats. Right there. (A litter of cats can be seen eating off the victim's remains) BRENNAN: Well, they're feral. They're natural scavengers. Hodgins is going to have to sift through the excrements for evidence. BOOTH: Right. Don't want to take his fun away from him, huh? BRENNAN: (yells out) I need all these cats brought back to the Jeffersonian! (attempts to shoo cats away) Shoo! Shoo! BOOTH: Puss! Puss! Here kitty kitty! BRENNAN: (motions to cat on victim's head) Hey, hey! Get outta there! (a hand is seen removing the cat away) The victim is an adult male. Caucasian. b*llet went just above the sternum and the third left rib. Hand is severed just below the radius. BOOTH: Barely anything left of this guy. How long has he been out here? BRENNAN: From the degree of scavenging, I'd say 2 days. BOOTH: Hey you! (shows a guy in a maroon jacket who's talking to the police, he turns to look as Booth approaches him) Parking guy. You're the guy who found him? PARKING LOT ATTENDANT: Yeah. BOOTH: My partner here says that he has been kitty kibble for 2 days. Why didn't you notice him sooner? PARKING LOT ATTENDANT: This structure is long term parking. We really don't use it much, and people don't like their cars baking in the sun. BOOTH: Is there any security cameras around here? PARKING LOT ATTENDANT: Somebody cut the feed. BRENNAN: Booth! BOOTH: (observing the marks on the speed bump) Yeah? BRENNAN: He suffered comminuted fractures to the femur. BOOTH: Right, he broke his leg. I get it. Somebody ran over him after he was sh*t. (To forensic team) Hey you. Do me a favor and pull some paint samples off that speed bump, okay? (Three cats are seen watching them and purring) BOOTH: Why are the cats staring at us? (Brennan stares at Booth and doesn't answer him; as the cats continue to look on) (Cut to: Jeffersonian Lab. Cam & Wendell are at the platform examining the remains) CAM: Michelle's been asking for months if we could get a kitten. I'm thinking 'no'. WENDELL: Actually, it's much more likely that a family dog would att*ck and consume its owner. CAM: Can you pass me the forceps? I think I see something. (picks up fibre using forceps & placed under the magnifier) It appears to be steel wool I found at the exit wound. WENDELL: Steel wool. Commonly use in sil*ncer to muffle the sound of the g*n. CAM: Our results definitely points to a professional h*t. WENDELL: An Ilizarov apparatus was used to lengthen his bone when he was a child, so he's definitely Russian. CAM: Don't people limp in every country? WENDELL: Part in 1981, the Ilizarov apparatus was used exclusively in Soviet Union, ergo, d*ad Russian. CAM: (impressed) Very good, Mr. Bray. WENDELL: Yeah, I don't often get to say 'ergo'. CAM: And for bonus points, any clue why his hand was chopped off? WENDELL: The bone has been chipped and bruised around the triquetral- (Hodgins is seen swapping his ID and entering the platform) Like someone was trying to pull something off his wrist. CAM: And when they couldn't, they cut off his hand. HODGINS: Wendell, my man. Are we still up for lunch? CAM: (looks at the tray Hodgins is carrying) You are discussing lunch while holding a tray of cat excrements. HODGINS: Everybody poops. They even wrote a book about it. I found a piece of plastic in the cat's faeces from a bag or airline peanuts. WENDELL: (uses forceps to pick up plastic & reads label) Aeroflot. HODGINS: Yup. Preferred airline of Mother Russia. CAM: Looks like our Russian friend was a recent arrival. (Cut to: FBI Building, Booth's office. Booth is holding a file with the victim's face on it & speaking to Harold Prescott, a State Department Official) BOOTH: Yuri Antonov. He's a courier for a Ukrainian diamond manufacturer. That's it? Why are you State Department guys all over this? PRESCOTT: Because that's not..it. BOOTH: (annoyed) Then what is it? What else do you have for me? PRESCOTT: I was told to assess whether you'll be the best agent, with him to entrust some sensitive information. BOOTH: This is my case. PRESCOTT: (stuttering) The State is supervising, Agent Booth. We...(pauses for a moment; Booth awating for him to speak again) I, approve the investigator. BOOTH: Oh, you. I- Okay, ex Army Ranger with multiple commendations and a pristine record at the FBI isn't good enough for you or them? PRESCOTT: You sh*t a clown. BOOTH: It's a mechanical clown. (smugs) Hmm. You tell me you never wanted to do that? PRESCOTT: (hesitates; then speaks) This one has to be done with digression. And it's not just your career, it's mine too. I mean, you're old, but I'm still- (Booth taking offence to that; slowly stands up. Prescott hands over the file to Booth) BOOTH: Right. Sit down. (Prescott sits down quickly; followed by Booth too) PRESCOTT: Antonov went missing after arriving 3 days ago from Dallas International. (Booth goes through the file photos) These photos were taken as he passed through the diplomatic checkpoint. BOOTH: Well, that doesn't make any sense. Why would a diamond courier have diplomatic clearance? PRESCOTT: That's why this is so sensitive. State didn't authorize his diplomatic visa. BOOTH: What about the briefcase? It wasn't found on the body. You sure we're dealing with diamonds here? PRESCOTT: We're not sure of anything. But we have to assume the worst. That's why this is being treated as a national security thr*at. (Opening credits played) ACT TWO (Cut to: J. Edgar Hoover FBI Buliding. Booth meets with Lena Brodsky, the Ukrainian woman in charge of the diamond firm) LENA: What about the diamonds? Have they been recovered? BOOTH: Alright. Well, what he did to Antonov's hand was severed, in order to steal the briefcase. LENA: Of course. He was getting 2 million dollars worth of gems from our mine in Siberia. BOOTH: How did your courier manage to get cleared to pass through the diplomatic checkpoint? LENA: Diplomatic? No. You must be mistaken. BOOTH: Mistaken? Nah, look at that. (opens up the case file & shows the photographs of Antonov at the checkpoint to Lena) See, here is him on the approach. (holds up a photo) And this is him clearing the diplomatic checkpoint. (holds another photo) Briefcase. LENA: I don't understand. As you can see, all the paperwork wass in order and there should've been no complications at the customs. We have couriers bringing in stones all the time. BOOTH: You work with Antonov a lot? LENA: This is was the first time. BOOTH: Well, we're gonna need all your import and export information from the company and any other information you might have on Mr Antonov. LENA: Of course. Um. Every courier is thoroughly checked out. Their psychological profiles, recommendations from past employers. You can have it all. BOOTH: Right. Any reason Antonov, um, wouldn't want the customs to see the diamonds? LENA: No. Unless he wasn't carrying diamonds. (Cut to: Jeffersonian Lab, Angela's office. Angela is explaining to Hodgins) ANGELA: I loaded the victim's x-ray into the simulation. Now looking at the fracture lines, the computer should be able to determine the weight of the car that ran him over. (Simulation shows the car running over the victim's body) HODGINS: Ooh, ouch. ANGELA: According to this, the car would've weighed approximately 3700 pounds, which gives us, 152 possible vehicles. HODGINS: Paint from the speed bump is called Tungsten Silver. Ooh. Trade name; Casino Royale. That would narrow things down a bit. (Cam walks into Angela's office) CAM: Hey. Have you two seen Dr. Brennan? ANGELA: I think she's with Booth. Why? CAM: It appears Mr. Bray has lost his scholarship. No scholarship means no internship in the Jeffersonian. (Angela and Hodgins looks shocked) ANGELA: What?! How did that happen? CAM: Apparently, the trust that fund his scholarship ran out of financing because of the economic mass. ANGELA: Oh, that stinks. I like Wendell. HODGINS: Yeah, we got drunk together last week. It carries great meaning for men. CAM: He's one of us. Even Booth likes him. ANGELA: Well, how did he react? CAM: I haven't told him yet. I wanna see if there are other funding options. (Computer beeps showing car model; Wendell walks into the room) WENDELL: What's that? (Cam, Angela & Hodgins simultaneously greets him) CAM & ANGELA: Hey! HODGINS: Dude! What's new? WENDELL: (surprised) Um, since you saw me on the forensic platform 5 minutes ago, not much. CAM: Great. WENDELL: (To Hodgins) You? HODGINS: Nothing. CAM: Nothing from here. ANGELA: Zipo. On my end. WENDELL: (still unsure of everyone's strange behavior) Oh, it appears you have a match for the car that ran over our victim. That's new, isn't it? ANGELA: Yess. I do. Yes. You are something, Wendell. You really are. HODGINS: (stares at computer screen) Un-believable. WENDELL: That's crazy! Casino Royale and that car?! HODGINS: (amazed with findings) That's Bond's car! (in deep voice) James Bond. WENDELL: Those wheels and the sil*ncer. You haven't by any chance found any evidence of (in a British accent) a martini? Shaken; not stirred of course. (Hodgins & Wendell continues to exchange words in Bond-like; with Cam interrupting them) CAM: You believe James Bond k*lled our Russian? HODGINS: Well, no. But cmon, there's more than a grain of truth in those Bond films. ANGELA: p*ssy Galore? That's never going to happen. WENDELL: Yeah, we can always hope. ANGELA: Boys and their spy fantasies. CAM: I'll tell Booth to put out a search on the car (turns around and leaves) HODGINS: Trust me, Angela. Nothing is as it seems. WENDELL: Yeah, I know. I thought you guys were a little too psyched to see me when I came in here. ANGELA: We can't be excited to see you, Wendell? HODGINS: Yeah, I think you have some intimacy issues there, man. (walks away) (Cut to: Royal Diner. Booth & Brennan are asking Sweets to profile Antonov) BOOTH: So Sweets, you've done the profile yet? Is Antonov a spy? SWEETS: Nope. Still putting the pieces together. BRENNAN: Well, whatever he says is a guess. SWEETS: No. It's a subjective evaluation based on quantifier psychological markers, okay? Do we have to go through this every time? BRENNAN: He may as well be telling stories around a campfire. (Booth chuckles in agreement with Brennan) SWEETS: Okay. All of Antonov's answers from his psych evaluation- are too perfect. No one is this perfect. Now that, coupled with that fact that he had unexplained diplomatic cover and was k*lled by a professional would leave any reasonable person to conclude that- BOOTH: He's a spy. (Booth's phone starts ringing; Brennan sh**t a glare at Booth showing disapproval of his statement) SWEETS: Spy-ish. BOOTH: (answers his phone) Booth. Oh. Great! I'll pick it up this afternoon. Whoa whoa whoa now. It's not (pauses and whispers into the phone) pilates for dummies. (Brennan & Sweets turns to look at Booth) It's plumbing for dummies. Alright? Get back to me. Thank you. BRENNAN: Why won't you let me help you, Booth? BOOTH: I just want to fix the leak in my wall, that's all. I'm very capable of doing it myself. SWEETS: With a dummies book? (Booth lets out a huff) Is that wise? BRENNAN: Since the coma, Booth can't remember how to take care of his own plumbing. BOOTH: That's great. Now you're making it sound like I gotta wear diapers. BRENNAN: (to Sweets) I offered to lend him money for professional plumber. I just received a very large cheque from my publisher. SWEETS: Ahh. BOOTH: (imitating Sweets) Ahh! Here goes the 'Ahh'. (to Brennan) You had to bring this up. Great. Thanks. SWEETS: Well, very large disparity in income can have a very detrimental effect on relationship. BOOTH: No! It doesn't. I just get more satisfaction by relearning an old skill. Instead of paying a plumber, 800 dollars. SWEETS: (pauses) Okay. (continues to eat) BOOTH: Yeah! (to Sweets) Wait, what's that supposed to mean? (Booth's phone rings again) SWEETS: Nothing. I accept what you're saying. BOOTH: (answers phone) Booth. Okay. Great. We're on our way. (shuts phone) BRENNAN: About the book? BOOTH: Found the k*ller's vehicle. I, will pull the car around. You, can buy us breakfast, okay Miss Rolex? (leaves the diner) SWEETS: (moves to Booth's seat & talks to Brennan) You want my advice? BRENNAN: No. SWEETS: Okay. If you really want to help Booth, you should let him teach you about plumbing. BRENNAN: I'm a wealthy accomplished woman. Why would I want to learn a menial skill? SWEETS: For Booth. So he can regain whatever he feels he lost. I think, for once, it'll be beneficial if you were the student. (Brennan sh**t Sweets a look; not understanding his reasoning) (Cut to: An alley. Booth & Brennan meets up with Officer Lisa Kopek who briefs them about the vehicle found) OFFICER LISA: Car's registered to a high class rental car service. Leased using a corporate credit card, universal exports. We're tracking him down now. BOOTH: (upon seeing the vehicle) Whoa oh! It is Bond's car, Bones! (whistles in amazement) BRENNAN: (approaches the car; examining it) Booth. BOOTH: Yeah? BRENNAN: I see superficial lesions on the lateral anterior surface. BOOTH: No no, Bones. What you see there is scratch marks on the front bumper, okay? People have skeletons. Cars; they have chair seats, gas t*nk, stomach, and here (points at car window) The shattered window proves that there was g*n. OFFICER LISA: The ballistics guy dug out the b*llet out of the dash. Said it was at least fired from 500 feet away. BOOTH: Someone was taking him out, huh? BRENNAN: (at the back of the car) Booth! BOOTH: Yup? BRENNAN: (looks at tiny puddle below the car boot) I think the car's bleeding. BOOTH: No no no, Bones. Car has oil. That's oil. BRENNAN: No. (swabs the puddle with her finger) This is blood. BOOTH: (looks closer) It is blood. (motions for someone & an officer brings a crowbar) Thank you. (breaks open the boot using the crowbar & finds another human corpse) Whoa! Okay. That is going to k*ll the blue book value. BRENNAN: Body is 3-4 days old. The heat in the trunk is causing the skin to liquify. BOOTH: So, cause of death? BRENNAN: There's too much flesh. This is Cam's department. (digs for something in the boot) Look at this. (a g*n is seen) BOOTH: (carries up the g*n) That. Is a Walter PPK. It's Bond's g*n. BRENNAN: Booth. BOOTH: Yeah? BRENNAN: I hate to admit this, but Sweets is right. (reaches out for the victim's ID & picks it up to show Booth) The victim was CIA. ACT THREE (Cut to: Jeffersonian lab. Brennan & Cam are examining the second corpse on the platform along with Angela & Hodgins) BRENNAN: It is unfortunate that Mr Bray is losing his scholarship. He's one of our best interns and is quite deserving of financial assistance. CAM: No g*n wounds. BRENNAN: There seems to be damage at the spine. The cartilage from L1 to L5 is torn. ANGELA: (to Brennan) Hey, have you ever thought of starting a scholarship? You have a lot of money now. BRENNAN: I support many different organizations that provide food, housing and medical care for people in need. Should I withhold funds from them? ANGELA: No! No. But it's Wendell. He grew up with nothing. He worked his whole life for this. BRENNAN: I tried not to get attached to my assistants. I learnt that even the best ones can disappoint. (to Cam) I noticed there was microfracturing on the inside edges of the scapulae as if there were being rubbed together. HODGINS: I found g*n residue on his hands. My bet; that Walter PPK k*lled our Russian. ANGELA: But who k*lled James Bond? HODGINS: Whoever sh*t at his window on the roof. CAM: And where is the briefcase? ANGELA: And what's in the briefcase? HODGINS: We're going down the rabbit hole here, people. The CIA has no problems silencing people that poke around in their business. ANGELA: I hate to break it to you, Jack. But you're the guy who studies bugs, slime and poop. It's hardly assassination worthy. HODGINS: Hey! A lot of people would like to see me d*ad. ANGELA: I'm not going to touch that one. BRENNAN: (to Cam) Hey, aren't you on the board that grant scholarships? CAM: To high school students. (to Hodgins) How about you, Mr Conspiracy Man? Doesn't your foundation give out grants? HODGINS: Yeah. After the crash, our trustees froze all assets until they can reevaluate the portfolio. (Hodgins looks at Angela, followed suit by Cam and Brennan; Angela finally realizes and speaks) ANGELA: I packed my lunch! You guys are gonna have to try- WENDELL: (swaps his ID and enters platform) Excuse me, Dr. Brennan. (All four of them are startled by Wendell's presence and greets him) ANGELA: Heeeyy. HODGINS: Dude! CAM: (smiles widely) What are you doing here? WENDELL: Oh. Uh, Agent Booth is ready to drive Dr Brennan to Langley. (All 4 of them still looking at Wendell) BRENNAN: Thank you. (Wendell being confused by their behavior, turns around and leaves) (Cut to: Booth's car. Brennan & Booth are discussing) BRENNAN: In 500 BC, Sun Tzu devotes attention to intelligence gathering and the art of w*r. He argues that all wars are based on deception. Logically, that would mean if we don't deceive each other, then w*r would be unnecessary. BOOTH: Yeah. But not everyone is logical now, are they? It's frustrating, but that's how the world works. BRENNAN: Not between us two. BOOTH: Huh? BRENNAN: Shouldn't we be honest with each other? BOOTH: We're honest. Aren't you? I mean, I am. BRENNAN: So you have no problem with me making so much more money than you? BOOTH: No. (Brennan doesn't believe in his answer & continues to stare at him) Well yeah, it's- it's a little weird. I mean, you're loaded. I mean, really loaded. And you still don't even have a flat screen. It's just kind of weird, to be honest. It's a little French, if you ask me. BRENNAN: But don't you feel that your life would be different if you were wealthy? BOOTH: Sure. But, better? I mean, yeah. I wouldn't have to fly coach, but what life throws us, that makes us who we are, right? I mean, fighting through stuffs and the good things; they are not any sweeter if you're rich. Parker, okay? He gives me a hug because it's my weekend and me and you; when we solved a case, it's not about money, right? BRENNAN: (thinking about Booth's words) No. No, it's not. (Booth smiles at her) But I'll never have to fly coach. (Booth continues to smile at her despite her lack of modesty) (Cut to: CIA Headquarters, Langley. Booth & Brennan is in a room with Arthur Rutledge, the Assistant Director of Intelligence) RUTLEDGE: I'm Arthur Rutledge, the Assistant Director of Intelligence. We are very sorry about Greg but he wasn't working on anything for us when he was k*lled. BRENNAN: Well, the FBI matched ballistics from Greg Dorit's g*n to the sh*ts that k*lled Yuri Antonov. RUTLEDGE: Greg Dorit wasn't issued a g*n. (Booth looks at him questioningly) I'm afraif that protocol in the intelligence community isn't as simple as someone like you is used to. (Brennan turns to look at Booth) BOOTH: (insulted) Someone like me? Look, Rutledge, the more you tell us about your agent's assignment, the easier it will be for us to track down the guy who m*rder him. BRENNAN: (to Rutledge) That, is what someone like him does. BOOTH: Correct. RUTLEDGE: Greg Dorit wasn't an agent. He was an analyst, and a rather poor one in that. BOOTH: So you mean, it doesn't matter that he's d*ad? RUTLEDGE: As far as what assignments he was working on, that information is classified. (stands up to leave) And far beyond with what I'm able to share with- BOOTH: Someone like me. RUTLEDGE: Yes. BOOTH: FYI, you know I have Level 3 clearance and my SSBI is renewed 2 months ago, which allows me to get this warrant. (presents warrant in his hand) BRENNAN: (impressed) Well played, Booth. BOOTH: (smiles at Brennan) Thanks, Bones. (RUTLEDGE walks back to see the warrant; while Booth smiles in victory) RUTLEDGE: (after studying the warrant) Right. (points to Brennan) She doesn't have clearance. You can wait in the lobby, Dr Brennan. (Brennan in disbelief and looks at Booth; Booth persuades her to leave) BOOTH: Bones, it's okay. I'll see you later. (Brennan stands up to leave) BRENNAN: (approaches the door to leave) You know, I can keep a secret. BOOTH: Right, Bones. We know. (Door is heard closing) RUTLEDGE: Greg worked at his desk. Analyzing websites, searching for communications hidden in images and intechs. BOOTH: So you got an analyst to assassinate a Russian courier? RUTLEDGE: I already told you, we didn't. Whatever motive that Greg had to k*ll Antonov, I'd like to know just as much as you would. BOOTH: The problem seems to be about the briefcase. (approaches Rutledge closer) So, you know anything about that? RUTLEDGE: Nothing than the fact it has gone missing. BOOTH: You know what would might be in the briefcase, Mr Rutledge? RUTLEDGE: Just diamonds. Right? (Booth looks at him suspiciously) (Cut to: Jeffersonian lab, autopsy room. Cam is examining Greg's body with Wendell as she uses forceps to remove the eyeballs) WENDELL: Wooh. Those eyes are New Year's Eve bloodshot. You think Dorit was hammered when he died? CAM: There's no alcohol in toxscreen. WENDELL: I found this marks on his right arm. Wooh, must've hurt. (screen shows Dorit's arm under magnifier) They're holes; uniform in diameter but the pattern is random. CAM: Looks like they were made with a drill press. WENDELL: He might have been tortured. I'll get the x-ray in high-res photos for Dr Brennan. (takes photos of the corpse) CAM: Wendell. Let me ask you, you mentioned the neighborhood that you grew up (Wendell stops & looks at Cam) and I don't mean to pry, you said it was kinda poor? WENDELL: (jokingly) Like a bar band rather than the opera. Trust me, there are more people on my side than that one. CAM: No! Uh. I- was just asking because of your scholarship. WENDELL: Oh, you mean the miracle. CAM: Miracle? WENDELL: Yeah, that's what me and my mom call it. CAM: Really? WENDELL: Yeah, she's in church everyday giving thanks. (jokingly) I think she's there more than the priest. (Cam smiles at him) You know, when I make cash someday, I'm starting one myself. For the other guys like me. (pauses) Oh um, sorry. You have a question about the scholarship? CAM: (stutters) No. That- just answers about everything. (Cam & Wendell exchange glances; with Cam looking away after that, feeling a little heartbroken for Wendell) (Cut to: CIA Headquarters. A lady, Mandy Summers is showing Booth the office Greg works at) MANDY: (leading the way for Booth) This is Greg Dorit's office. Mr.Rutledge wanted me to make sure that you have everything you need. (opens the door to Greg's office & enters) Can't believe Greg is d*ad. BOOTH: (inspects the office) There's nothing here. There's no computer, there's no files, there's nothing. MANDY: Any employee who dies have his files and equipments secured. BOOTH: Were you friends with Mr Dorit? (Mandy nods her head) You know, they said he wasn't a good analyst. Maybe that's what got him k*lled. MANDY: No no! He was exceptional at his job! He was always finding thr*at the other analysts missed. BOOTH: Then why would they say he wasn't good? MANDY: Because Greg would push, makes sure his leads were followed or he'd file a report. (pauses for a moment & turns around; making sure she was discrete) They want him to look a little nuts, so his reports wouldn't be taken seriously. BOOTH: You know what he was working on before he disappeared? MANDY: No. But he was working late. We were supposed to have lunch over the weekend, but- (hesitates to continue) BOOTH: But? MANDY: But I never heard from him. BOOTH: Is there anything else you wanna tell me? MANDY: (quickly replies) No. BOOTH: (coyly) Mr Rutledge did say, whatever I need. MANDY: He did say that. BOOTH: Yeah. MANDY: (quickly shuts the door behind her) Greg was told to testify against someone and he wasn't sure if the guy was really guilty, but it was part of his job as an analyst and he wanted to be a team player. BOOTH: So who did he testify against? MANDY: His name is Pedro Marquez. Agency thought he was t*rror1st. He was detained in prison for almost a year before he was cleared of all charges. BOOTH: So it was Greg's testimony that put him behind bars. So did Greg think that this Marquez guy was seeking revenge? MANDY: (whispers) Well, I did. Marquez was just released from prison last week. ACT FOUR (Cut to: FBI interrogation room. Booth & Brennan questions Pedro Marquez about Greg) BOOTH: So Pedro, (shows him a photo of Greg) you recognize this man? PEDRO: Yeah. That's the spook who accused me of being a t*rror1st. I mean, cmon, look at this face. BOOTH: They thought you were the retread for SUV's, huh? But really, you're just a poor little misunderstood car thief who owns a chop shop. PEDRO: Yeah. BOOTH: So. Greg Dorit, Pedro. PEDRO: My mom says I should write him a 'thank you' note. BRENNAN: What, for sending you to jail? PEDRO: CIA just cut me a cheque of a hundred grand for a wrongful something, and uh, defamation something. (Booth gives him a blank look) I got it yesterday. Hey, I don't have to steal cars anymore. BOOTH: Alright, so where were you last Friday night? PEDRO: Working. Like I said, I only just got the cheque. BRENNAN: At your chop shop, do you have a 70 gauge drill bit? PEDRO: Yeah, I got every size. BOOTH: We have evidence that Dorit here, was tortured before he was k*lled. PEDRO: (surprised) Wait, the dude's d*ad?! BOOTH: Yeah, and they drilled holes into his arms. BRENNAN: And a 70 gauge bit would be a perfect fit. PEDRO: Oh, come on. BRENNAN: That was before the CIA gave you the cheque. BOOTH: I'm thinking that he's looking to take out some revenge. PEDRO: Hell no! You can ask my mother, I would never k*ll no one. BOOTH: So I'm saying that you followed Dorit, saw him take out the courier, so you probably figured that the briefcase was very valuable, so you k*lled Dorit and take off with the case. PEDRO: (pauses) Is there any way possible you can accuse me of all these charges in a public courtroom? Cause I would really like to buy my mama a new condo. (Booth and Brennan exchange glances) (Cut to: Jeffersonian lab. Wendell is with Dr. Brennan on the platform and examining the x-rays) WENDELL: According to his files, Dorit fractured his ankle twice, trying to complete an entry level obstacle course during CIA training. BRENNAN: This makes no logical sense. He dressed like a fictional British spy and pursued a shadow career as a CIA field agent eventhough he clearly do not possess the physical aptitude necessary for success. WENDELL: He doesn't want to be stuck behind a desk. He saw an opportunity to live out his dreams and he took it. BRENNAN: (scoffs) It's ridiculous. WENDELL: I don't know, but it's always been my dream to work with you. (Brennan looks awed) Sometimes, dreaming is the way to go. No, not in the case of course. (chuckles) I, uh, cross reference the x-rays, and enlarge the holes made into the radius. Most drill bits leave striations, these have none. BRENNAN: So, not a drill. Find out what other objects can make cavities this smooth. WENDELL: Already on it (smiles and walks off) BRENNAN: Excellent work, Mr Bray. I'll be sorry to see you go. WENDELL: (turns around in confusion) Oh. Where am I going? BRENNAN: Cam didn't tell you? WENDELL: I guess not. BRENNAN: She can be occasionally, quite sentimental. Uh, the fundings were cut back and you lost your scholarship, which means your internship is cancelled. WENDELL: (in disbelief) But aren't there any other funding resources? BRENNAN: We have explored all of these alternatives. WENDELL: (still shocked) I know. I can take the autumn work. But if I'm uh, placed here, there's no guarantee I can come back, right? BRENNAN: We can't hold a place. No, I'm sorry. (inhales deeply) WENDELL: (disappointed) Sure. I understand. BRENNAN: You are one of the best interns I've ever had the pleasure to work with. You will be missed. (Hodgins enters the platform; unaware of what just happened) HODGINS: (enthusiastically) Okay, so I was inspecting Dorit's watch and I see the battery case is loose, so I opened it. And what do I find? A bug. BRENNAN: Why such an excitement over this particular insect? HODGINS: Cause this bug, is not an insect. It's a bug, bug. (holds up a surveillance bug) (Brennan looks unimpressed, instead she glances at Wendell who also looks unimpressed; still devastated over the news) HODGINS: Someone was spying on our spy, who was spying on another spy. (silence) Come on! A little enthusiasm here? (Brennan still silent, Wendell speaks up) WENDELL: I lost my scholarship. HODGINS: (to Brennan) Oh man! You told him?! BRENNAN: I thought he knew! Wha- (looks over at Wendell again & noticed his devastation) I'll- I should tell Booth about this surveillance device (walks away) (Hodgins and Wendell exchange looks) (Cut to: FBI Builiding, Booth's office. Booth is seen putting a band-aid on his arm as Brennan enters) BRENNAN: You okay, Booth? BOOTH: (gets up from his chair) Yeah, what's up? BRENNAN: Did Mandy fight back when you brought her in? (approaches Booth) BOOTH: I'm fine! I just cut myself while trying to fix the pipes. (avoiding Brennan & seems to leave in a rush) BRENNAN: Let me see (reaching out for Booth's arm) BOOTH: No, Bones! I'm fine. Let's get to Mandy, she's waiting in the interrogation room. (Brennan still insisting on grabbing Booth's arm to check) BRENNAN: Well, she can continue to wait! Didn't your book for imbeciles teach you how to avoid injuries? (Booth still avoiding Brennan from checking his arm) BOOTH: No, the book sorta ran out of copies. And it's book for dummies, not book for imbeciles. And I thought I would remember how to fix the pipe, but I can't. BRENNAN: I'm sure it's very difficult. I mean, I can't imagine being capable to fix my own plumbing. BOOTH: Cause you don't want to! You'd rather buy a plumber. BRENNAN: Well, I'd rather have someone teach me. BOOTH: Look, I can teach you. Well, I could've taught you. I just- let's get inside. (enters the interrogation room with Brennan) (Cut to: Interrogation room. Booth & Brennan interrogates Mandy Summers about the bug found in Greg's watch) BRENNAN: Rutledge said that the bug was checked out in your name. MANDY: I got the bug because I was afraid that Greg was cheating on me. BOOTH: So, why didn't you mention this before? MANDY: We weren't supposed to date! But I guess it's not like the FBI. We're not allowed to sleep with someone else we're working with. BRENNAN: (to Booth) What? Is she talking about us? BOOTH: We're not- BRENNAN: No! MANDY: Oh, it's okay. I'm CIA. My lips are sealed. (Brennan & Booth still speechless) Greg and I were under the radar. Weeks before he went missing, Greg broke up with me. I guess I got a little too jealous. (digs her pocket, takes out her phone & shows something on it to Booth) BOOTH: Let me see this (Brennan looks over at it too & in the phone was shown a photo of Greg holding up his hand as if he was waving goodbye) Wait a second, this is how he broke up with you? He sent a picture to you, waving goodbye to you, in an email? MANDY: Well, we had our problems. But we love each other! Greg was about to propose to me. BRENNAN: And why did you think that? MANDY: Because the last conversation I overheard, it was Greg and Mr Rutledge. They were talking about diamonds. (Booth & Brennan became suspicious) And I felt so guilty for not trusting Greg, so I disconnected the bug and I never heard anything else. I swear! (Cut to: Jeffersonian lab, Angela's office. Hodgins and Angela are examining the photo in Mandy's phone) HODGINS: What kind of creep breaks up with someone over an email? ANGELA: (chuckles) Yeah, well like there's an acceptable protocol for crushing someone's soul. (notices something odd about the picture) Hey, wait a second. This is weird. (approaches the screen) This image file is way bigger than it should be. Which either means there is some sort of compression in there or- HODGINS: Or a stenographer hidden data within the file. (Screen emits a lot of beeping sound as Angela tries to separate the components of the photo) ANGELA: Look at all that code. Maybe he wasn't breaking up with her at all. (looks at Hodgins) HODGINS: (moves closer to the screen & impressed with the hidden code) She was the only person he could trust. (looks at Angela) He's sending her a message. ACT FIVE (Cut to: Jeffersonian lab. Wendell & Cam are still examining Greg Dorit's skeleton) WENDELL: Still no cause of death, but the damage to the cartilage and the lumbar vertebrae definitely indicate t*rture. He was placed in a very painful way for a long period of time. I'm analyzing the injuries to get the exact position. CAM: The strange is, I've found no contraction band necrosis in the myocardium in the heart. WENDELL: That means he showed no signs of distress even after hours of t*rture, isn't that impossible? CAM: Unless the CIA underestimated this guy. Anyone who can take that kind of abuse makes James Bond looks like a weeny. WENDELL: (chuckles) Weeny? CAM: (smiles) I'm sorry, I have no idea where that came from. WENDELL: (smiles back sadly) I'm gonna miss you. (Cut to: FBI Building. Brennan enters to see Booth who is eating a cup of noodles) BRENNAN: Hey, Angela is still trying to decode the picture. She says it's very complex. BOOTH: (chewing on his food) We're dealing with the CIA here, Bones.(Brennan hands over a plastic bag with something inside to Booth) What's that? BRENNAN: (excited) The book you wanted! To fix your plumbing. I found it at a used bookstore! BOOTH: (surprised and impressed) Look at that! Thanks, Bones! That, is the sweetest thing! (takes out the book) BRENNAN: Sure! (grabs the book) Uh, the book was um, $6.42. You can pay me later. BOOTH: (eating his noodles) Mmhm, excuse me? It's a gift! BRENNAN: No, wait no! If it's a gift, you might think of it as an insult to your virility. I can take a cheque if that's easier. BOOTH: (sarcastically) How about a credit card? BRENNAN: (unaware of the sarcasm) No, I don't take credit card. BOOTH: Right. I was just joking. Well you know, now, once I flipped through this...Uh y'know, if you wanna learn.. BRENNAN: Sure. I always wanted to learn how to wheel the wrench. BOOTH: Okay. Just don't get all defensive if I know something more than you do. BRENNAN: There is something I don't understand. How come we can't bring Rutledge in for questioning? Mandy said he was dicussing with Dorit about diamonds. Clearly, he was lying. BOOTH: Bones, he's the Assistant Director of the CIA. We just can't accuse him of m*rder without something more definitive than an overheard conversation. BRENNAN: But perhaps, Mr Bray found something more on the remains. Cam says he's staying remarkably focused despite losing his scholarship. (Cut to: Jeffersonian lab. Wendell enters the room along with Cam explaining something about the remains) WENDELL: I found in addition to the perimortem discompaction, there's also significant hemorrhaging on C3. CAM: Truma-confined in a limited space. WENDELL: If a precision Kn*fe-hand strike was delivered at C3 (does hand motion), it could be used to render a victim unconscious. CAM: A blow to that region could cause a severe nerve damage. WENDELL: Which is why the maneuver is also known by trained combatants, special forces, navy seals- CAM: And perhaps, the Assistant Director of the CIA. WENDELL: If he'd been a field agent first, it seems likely. (his phone starts ringing) Oh. (reaches for his phone & looks at caller ID) Uh, that's my mom. I haven't told her yet, you mind if I take this? CAM: (shakes head in approval) I'll let Booth know. (walks away, still feeling upset over Wendell's loss) WENDELL: (in the background) Hi mom. (Cut to FBI building. Booth, Brennan and Sweets talks to PRESCOTT Prescott from the State Department) PRESCOTT: Prior to becoming Assistant Director, Rutledge was a field agent in Russia. BRENNAN: Where he could have met Antonov. PRESCOTT: In 2004, he headed a detention center in Afghanistan. SWEETS: Yeah, where he earned a reputation for very effective interrogation technique. BOOTH: t*rture? SWEETS: Yeah, one of the techniques was temporary nerve damage to the spine. BRENNAN: Why would he t*rture Greg Dorit? They're on the same side. SWEETS: Perhaps he's a double agent. I mean, Rutledge certainly fits that profile. They're usually intelligent male officers who had poor father figures, resulting in oppressed anger and revenge fantasies. PRESCOTT: Double agent? SWEETS: By betraying his country, Rutledge is in a sense choosing a new father, one which might treat him better than the last. BRENNAN: Yes, but that would fit Booth and he's not a double agent. (to Booth) Are you? BOOTH: (disbelief) What? Stop! Watch it, Sweets. SWEETS: Elephants are gray, Agent Booth. But not all gray things are elephants. BOOTH: (confused & asks Brennan) That's good for me, right? BRENNAN: (looks at Booth) Yeah. PRESCOTT: You're really going to trust something this important to a kid? (points at Sweets) SWEETS: Oh, me? At least I tuck myself in at night. PRESCOTT: Okay, there's a briefcase out there and only God knows what is inside and apparently you people don't seem to have a clue. BOOTH: (looking at a case file) Oh. BRENNAN: (looks over) What is it? BOOTH: Maybe we just found our smoking g*n (hands over case file to Brennan to read & stands to leave) (Cut to: Interrogation room. Booth & Brennan interrogates Rutledge) BOOTH: You put in a request to ICE to pull a baggage inspector off the diplomatic line and replace him with one of your own men. BRENNAN: You created a security hole so that the briefcase could enter the country. BOOTH: See that right there? (holds up a signed form) That's your signature. You're going down. (All 3 of them exchange glances for a while before Rutledge decides to speak again) RUTLEDGE: Okay. Whatever recording equipment you have in this room, turn it off. (Brennan looks hesitatingly at Booth, then Booth signals to someone behind the mirror to turn it off) RUTLEDGE: I created the hole, so that an additional of 20 million in diamonds can be brought into the country. The diamonds were then to be shipped to Pakistan in exchange for political prisoners. BOOTH: You keep congress in the dark. Iran-contra all over again. BRENNAN: So you k*lled your own analyst because he got in your way? RUTLEDGE: No. Dorit read some online chatter about the exchange. I told him to mind his own business. I tried to save him. Dorit got k*lled because he didn't listen to me. BOOTH: Maybe he got k*lled because there was something more dangerous in that briefcase instead of diamonds. ACT SIX (Cut to: Jeffersonian Lab, Angela's office. She's examining Dorit's photo when Cam walks in) CAM: (sense of urgency) Hey, have you seen Booth and Brennan? ANGELA: Uh, they're in the bone room. Is everything okay? CAM: (in a rush to leave) No. The CIA is taking over the investigation and they're collecting both sets of remains in 10 minutes. ANGELA: (taken aback) Wai-wait, so we only have- CAM: 10 minutes. How are things going in here? ANGELA: Um. I'm still trying to decode the image. It seems that most of the date is centered in his hand. It could be a map of some kind. CAM: (rushes to leave) Well, do it fast. (Cut to: Bone room. Cam just informed Booth, Brennan and Wendell about the CIA) BOOTH: (pissed off) Rutledge is claiming National Security? BRENNAN: He can't do that. BOOTH: No, he can't! He can just bury the evidence and we won't be able to touch him! CAM: Nine minutes left. WENDELL: Nine minutes, you're joking right? BOOTH: It's not a joke. (to Wendell) Let's pretend this is the Stanley Cup finals, alright? You're down by 2 goals and you have 9 minutes left. WENDELL: But there's so much data here- BOOTH: The puck is about to drop. How do you wanna go down? How do you want to be remembered? WENDELL: (chuckles) Alright. I found erosion fractures along the proximal humerus. Also, the heads of each femur were dislocated from the acetabula. Mr. Dorit's body was bent back so far that the tendons snapped the bone. BRENNAN: That would happened if his hands and feet were tied behind his back. WENDELL: Right. Then he was hung by his hands. I did a computer simulation (grabs remote to show simulation) CAM: (sees simulation) Okay, if he was left upside down long enough, congestion of the head and brain can lead to asphyxiation. Particular hemorrhaging would explain the bloodshot eyes. BRENNAN: We have cause of death. BOOTH: Great! That's one goal. But we still can't tie Rutledge to the m*rder! BRENNAN: When I was in Schastia identifying bodies, there was one victim who suffered an Ukranian t*rture called the Swallow. He was suspended upside down, very similar to this. BOOTH: No, that's not enough. (to Wendell) Okay, look. You got one sh*t. One sh*t on goal. Whatcha gonna do? WENDELL: (thinks for a moment before figuring it out) The holes on the radius! I've been trying to figure out what caused them. It wasn't drill. But it was strong enough to bore through bone but leave no trace. BRENNAN: A laser. WENDELL: Diamonds are cut by laser. BRENNAN: Lena Brodsky is the head of a diamond firm, she would have easy access to a laser. BOOTH: She's Ukranian! Dorit got to the case before she did, she's the one who tortured and k*lled Dorit. (Rutledge walks in) RUTLEDGE: (to his agents) Take the body. BRENNAN: No! Wait, you can't take him. WENDELL: Yeah! We're still in regulation and we have 4 minutes left on the clock! BOOTH: (to Rutledge) Look, we know you didn't k*ll him. But Dorit knew Antonov was working for Lena Bordsky. He came to you guys but you didn't listen, so he takes care of it himself. BRENNAN: And then Lena finds out, kills him. She must know where the briefcase is. (Cut to: FBI building, interrogation room. Lena Bordsky is seen in handcuffs) BRENNAN: We have the neodymium laser you used to burn holes in Greg Dorit's arm. BOOTH: And the g*n you fired at Dorit's car after you saw him take off with your case. BRENNAN: What was in that case that is so much more valuable than millions in diamonds? RUTLEDGE: Where is the briefcase, Lena? BOOTH: (Lena still silent) Okay, great. Whoever who hired you, they can't be too happy. So when we send you back to Ukraine, I'm sure you'll live a long life. (turns to leave) LENA: I don't know where the case is. Dorit never talked. After what I've put him through, he should've talked. Anyone would've talked. (pauses) I've never seen a man so brave. BOOTH: (phone starts ringing & picks up) Booth. (Cut to Angela's room and transition to Booth's room in FBI building with Brennan & Rutledge) ANGELA: I was right, it's a map. (referring to Greg's photo) Keep your eye on his hand. He wasn't waving goodbye. He was telling Mandy where he hid his briefcase. (Screen zooms in on Dorit's photo and reveals a location in coordinates) BOOTH: We don't know what's in that case. (to Rutledge) Call in your calvary RUTLEDGE: I know how to do my job. BRENNAN: Then, how come we found the k*ller and the case? (Cut to: A scene shows a FBI vehicle with the sirens turn on, then transitions to a man gearing up a protection suit. He enters the locker room where the briefcase is hidden. Booth, Brennan and Rutledge observes the situation from outside through a webcam. The locker is broke open and the briefcase is seen. After examining the contents of the briefcase, a signal of clearance is given. Booth, Brennan and Rutledge enters the locker room to view inside of the briefcase and a USB computer drive is seen.) BRENNAN: A USB computer drive. That's what this was all about? BOOTH: Information. Today, it can be more dangerous than one b*mb. (Cut to: Greg Dorit's memorial) BOOTH: Stars on the wall represents agents who died courageously while serving the country. BRENNAN: The memorial wall was reserved for agents. Mr. Dorit is not an agent. RUTLEDGE: Mr Dorit's case, I asked to make an exception. (Cut to: Jeffersonian Lab. The team bids goodbye to Wendell) ANGELA: (hugs Wendell) I'm gonna miss you, Wendell. Stay safe, okay? WENDELL: Yeah. You too. HODGINS: (handshakes and pulls Wendell into a guy hug) Won't be the same without you, man. BRENNAN: (Wendell looks at Brennan) We are all, grateful for your exceptional work, Mr. Bray. (offers a handshake) WENDELL: Thank you. CAM: (walks in) Hold on a second. WENDELL: Oh, don't worry. I wouldn't have left without saying goodbye. CAM: (smiles) That's nice, but you don't have to leave. WENDELL: (confused) Excuse me? CAM: I was just notified that they found new funding for your scholarship. You are covered in full for the next 2 years. Apparently, a donation was made anonymously. WENDELL: (surprised) Anonymously. (looks at Brennan, then at Hodgins but none of them said anything) Please allow me to say thank you to anonymous. (smiles) BRENNAN: We still need all the evidence photographed and catalogued before we send it to the federal prosecutor's office, Mr Bray. WENDELL: Yes, Dr. Brennan. Right away. (looks at everyone) Thank you. (walks off) CAM: (to the rest of them) Actually, they received enough anonymous donations for 3 scholarships (smugs) BRENNAN: (smugs) Hmm. HODGINS: (smirks) That is, quite a coincidence. (walks out) CAM: Mmhmm, it really is. (walks out too) (Brennan and Angela smiles at each other) (Cut to: Booth's apartment. Booth and Brennan is seen huddle on the kitchen sink) BOOTH: For the next step, you need to attach the elbow using a PVC cement there. (Brennan tries to fix the pipes) Stick that little fuzzy ball in there and swish it around. Got it? BRENNAN: (applying PVC on pipe) It stinks. BOOTH: Yeah. Well you smell d*ad bodies and this stinks? Okay. BRENNAN: There's a beautiful logic to this. It's like reconstructing the circulatory system. The water is the blood. The pipes are the veins. BOOTH: Right right. So what you need to do is apply some pressure and hold it there for a minute (places his hand over hers to hold the pipe in place; both of them looked at each other) Right. You know, just making sure that it's in place. Student-teacher, student-teacher. (Brennan laughs; followed by Booth laughing along) BOOTH: You know, Bones, I'm.. I'm glad that, uh, we don't have any secrets between each other. BRENNAN: Yeah, I like that. BOOTH: I mean if we have something on our mind we just, we just share it. BRENNAN: Sure. (pauses) Even with all of the financial and intellectual contradictions I, still feel close to you BOOTH: Right, because you know, none of that really matters anyway. BRENNAN: Sometimes looking at it through your eyes, I believe that. (They both look into each other eyes for a while before Booth speaks again) BOOTH: Alright, pipe seems tight and secure. (removes his hand from the pipe) Hold on there, let me just open up the water (reaches for the taphead and turns it on) There. You can take your hands off now, Bones. BRENNAN: (hesitating) You sure? BOOTH: Bones- (Brennan lets go her hand quickly) BOOTH: Look at that, huh. Nice and secure. BRENNAN: No drip. BOOTH: No drip. (Brennan chuckles) You're a ...you're a good student. BRENNAN: Oh. Only as good as my teacher (smiles) (Pipe suddenly burst out with water) BRENNAN: Ahhh! (covers herself from the water) Turn it off! BOOTH: (covering his eyes from the water) Huh? Ahhhh. Ahahahah! BRENNAN: (already out from under the sink) My watch is ruined! BOOTH: What do you mean your watch is ruined? It's a Rolex! (Screen fades to black. The End.)

{"type": "series", "show": "Bones", "episode": "05x02 - The Bond in the Boot"}

foreverdreaming

"The Plain in the Prodigy" Episode 5x03 Written By: Karine Rosenthal Directed by: Allan Kroeker Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: Crime Scene - Train tracks in Virginia. Brennan is examing parts of the skeleton when Booth approaches) BOOTH: Okay, so the guy here says he was out doing routine track maintenance and saw the bones, he thought it was a deer. BRENNAN: Human dentition is completely different; another example of our country's deplorable educational system. BOOTH: All right, until every kid becomes a dentist, we have some psycho throwing a hacked-up body out of a speeding train. BRENNAN: No. These bones were under the train. If body parts had been thrown out a window, they'd be scattered in nearby foliage. Level of decomp suggests the remains have been exposed to the elements for at least two months. BOOTH: Drunk? su1c1de? BRENNAN: Conjecture. There's evidence of sharp-force trauma on the sternum. BOOTH: s*ab. BRENNAN: More conjecture. BOOTH: Beaten. BRENNAN: Would you please stop that? BOOTH: Come on. It's a beautiful day, Bones. We must enjoy conjecture. BRENNAN: There's a distinct lack of hemorrhage. This victim was d*ad before being h*t by the train. BOOTH: All right, so, someone k*lled him, dumped him on the tracks in hopes of trying to make it look like a su1c1de. BRENNAN: Well, I can't determine motive, but I can say the train dragged the victim, and his body broke up as it smashed against the rails and ties. BOOTH: Whoa. Wow. We're saying the bones and the body g*n were scattered along the track here? BRENNAN: Yeah. For miles. Yes. All trains should be diverted from this track until we locate the rest of the remains. BOOTH: But do you know how much chaos that's going to cause Amtrak? BRENNAN: Well, I told you, Booth. I'm not interested in conjecture. (garbled radio transmission fade into scene change to designate time lapse) BOOTH: You know, when I was a kid, Bones, I always wanted to be a hobo. I wanted to ride the rails, play the guitar... BRENNAN: Be malnourished, riddled with preventable disease. BOOTH: Tell you what. You know what? You could make Santa Claus cry. You really could. BRENNAN: Hey, you're wearing your belt buckle again. Cocky. BOOTH: Yeah. Ever since the whole coma thing, I just kept staring at it, thinking to myself, "Why would I wear something like this?" BRENNAN: 'Cause you love it. You always have. BOOTH: Yeah, that's what I landed on, Bones. BRENNAN: Well, I'm glad you did. I like it. It's... it's Boothy. BOOTH: Boothy? BRENNAN: There's a bone cyst on this femur. The result of the parasite Echinococcus granulosus. It's extremely uncommon in the U.S. BOOTH: Immigrant, illegal. Sorry. No conjecting. I'm just being Boothy. So, what do you got there? BRENNAN: (she picks up the pelvis) Pelvis is male. Partial epiphyseal fusion indicates the victim to be in his teens. BOOTH: He was just a kid. BRENNAN: The markers on these bones are anomalous; even for an immigrant. I'd like to get them back to the lab to run some tests. BOOTH: Well, hold on, Bones. BRENNAN: FBI Forensics can continue the search. I'll send Clark to supervise. BOOTH: Bones, time-out. Hold on. You might want to take the skull back there that my people are holding. (A FBI tech holds up the skull) (Cut to: Royal Diner. Cam and Michelle are leaving. ) CAM: So, you and Perry going to get something to eat after the library? MICHELLE: Probably. CAM: Okay. But promise me you're going to... MICHELLE: Call if I'm going to be late, I know. CAM: Sorry. New mom. MICHELLE: It's okay. Oh, um, I wanted to ask you, you know that dance this weekend? CAM: The... formal? MICHELLE: Yeah. Perry and I thought it might be fun to, you know, make a whole night of it. Like, we'd rent a limo and go to breakfast in the morning and... CAM: The whole night? Well, Where would you sleep? MICHELLE: We wouldn't. That's the point. CAM: So, you and Perry would be spending the night together, not sleeping? MICHELLE: Why do you say it like that? CAM: Just thinking it through. That's all. (horn honking) MICHELLE: Oh, Here's Perry. I thought you liked Perry. CAM: Well, I do, but... MICHELLE: You'll think about it? CAM: Yeah. (Michelle gets into Perry's car) PERRRY: Hey, 'Chelle. MICHELLE: Hey. PERRY: Dr. Saroyan. CAM: Cam, Perry. Call me Cam. MICHELLE: Bye. CAM: Bye, guys. (She walks away but looks back and sees Perry kissing Michelle so she runs behind a tree to spy.) (Cut to: Medico Legal Lab - Forensics Platform. Clark & Hodgins are unpacking boxes of evidence.) HODGINS: Flora! Oh, Clark, you shouldn't have. I presume that is for me. CLARK EDISON: Yeah, knock yourself out. (Angela enters the platform) ANGELA: Hey. Brennan said she found a skull, so...I can give you a face. CLARK: Yeah. It's right here; complete with perimortem fractures on the parietal. Looks like the victim was badly beaten. ANGELA: Brennan said this was a teenager, right? CLARK: Mm-hmm. Yeah. ANGELA: These clothing scraps look hand-stitched. Like his mom made them. That makes it sadder somehow. (Cam enters the platform) CAM: Where's Dr. Brennan? HODGINS: She's doing an isotope analysis. She thinks the victim might be from another country. CLARK: Oh, that makes sense. His cavities suggest that his drinking water wasn't fluoridated. CAM: When do teenagers start having sex? ANGELA: Hello! HODGINS: If they could, they'd start in the morning and go until they drop. CLARK: Please tell me this is about the case. ANGELA: This is about Michelle, isn't it? Is she having sex? CLARK: Working here is like being on The View. CAM: No. I meant "what age?" CLARK: Dr. Saroyan, um, may I be excused to attend to something more case-related? CAM: Oh, Dr. Brennan already requested that you suit up to supervise the FBI techs' retrieval of the remains at the train tracks. CLARK: Wait. Dr. Brennan wants me to put on a jumpsuit and walk along a railroad track? Mm-mmm. That is not a good look on a brother. ANGELA: I bet you were an early starter, weren't you, Clark? A prodigy, maybe? CLARK: Um, in case you haven't heard, um, Miss Montenegro, I have, uh, work to do. So, excuse me. (As he leaves, he runs into a table. Everyone is amused.) ANGELA: Yeah. (Cut to: Medico Legal Lab - Bone Room.) BRENNAN: No pesticides. No evidence of processed foods. BOOTH: The kid's from the boonies. BRENNAN: No, it's more significant than that, Booth. Our victim grew up with no bone markers that indicate modern life. No evidence of contact with electricity or petrochemicals. BOOTH: Fine. Then we're back to an immigrant. Maybe a developing nation. BRENNAN: No. Isotopic analysis of his bone matches the geology of the Mid-Atlantic states. BOOTH: I don't get it. BRENNAN: Well, neither do I. Our victim was a teenage boy who died about two months ago, but according to the data, he grew up in the early 1800s. [Opening Credits] (Cut to: Medico Legal Lab - Autopsy Room/Cam's Office. Cam is sitting at her desk reading "Talking to Your Teen About Sex" when Brennan enters. Cam tries to cover up the book.) BRENNAN: I...discovered the origins of our victim's markers. CAM: What? Discovered what? BRENNAN: Markers. CAM: Great. BRENNAN: He wasn't from the 19th century. I took dual X-ray absorpitometry scans of the pelvic bone and then computed... CAM: I trust your methods, Dr. Brennan. You can just skip to the conclusion. BRENNAN: Our d*ad teenager was Amish. CAM: Amish, like buggies and hats Amish? BRENNAN: Yes. CAM: Then let's call Booth. Maybe something will turn up on Missing Persons. BRENNAN: He's already checking. I'm going to meet him. (noticing Cam's book) Is that a cartoon rendering of a penis? CAM: Uh...Why, I guess it is. Look at that. BRENNAN: Why is it talking? CAM: Isn't Booth expecting you? BRENNAN: It's cute. (She leaves.) (Cut to: Booth's Car - Day.) BOOTH: So, Levi Yoder's parents filed a missing persons report about two months ago. Kid's a ringer for Angela's sketch. BRENNAN: He was probably on his rumspringa. That would explain the DMV photo. BOOTH: Well, what do you mean? BRENNAN: Amish don't drive while living in their community. BOOTH: No, I mean, uh, rum... rum what? BRENNAN: Rumspringa. It's the period when Amish youth are encouraged to explore the outside world. It translates to "running around." BOOTH: That's crazy. BRENNAN: No more crazy than your religion. BOOTH: Hey, look, we reject Satan, and they reject buttons. BRENNAN: Rumspringa is a quite rational way to help teens make an informed decision as to whether or not to be baptized into the Amish faith as adults. BOOTH: Right. Take a bunch of sheltered kids and set them loose-- recipe for disaster, if you ask me. BRENNAN: Well, actually, over 85% of Amish teens return and become full members of their church community. BOOTH: Really? Huh. BRENNAN: How many baptized Catholics are still practicing their faith in adulthood? BOOTH: Here we go with the Catholics again. You know what? I don't want to hear about the Pope's hat-again. Okay? He's got to wear it just like, you know, the guys in front of Buckingham Palace have to. BRENNAN: Well, it's quite ornate for a vow of poverty. Don't you think? (Cut to: Yoder Residence - Outside. Booth and Brennan are with Daniel and Rebecca Yoder) BOOTH: We're very sorry for your loss. Mr. Yoder: I tried to protect him. I told him the English world was dangerous and seductive. BOOTH: Well, where did he go? MR. YODER: Washington. He went with another boy, Josef Beachy. BRENNAN: So, then, he wasn't really missing. MRS. YODER: Not at first. He promised to call us once a week to check in. There's an English famy down the road that let us use their phone. Mr. YODER: Then the phone calls stopped. MRS. YODER: I spoke to Josef's parents. Josef told them that he and Levi hadn't been living together for quite some time. MR. YODER: We contacted the police and filed a missing persons report. BOOTH: The last time you spoke to your son, did he seem disappointed or sad about anything? MRS. YODER: No. He sounded alive. Happy. (she breaks down, sobbing) BRENNAN: Would it be all right if we took a look in his room? (They nod and lead Booth and Brennan into the house) (Cut to: Medico Legal Lab - Angela's Office. A picture of the area around the train tracks is on the screen) ANGELA: Okay, the good news is that this span of track only uses southbound trains, which means the body most likely came from the north. CAM: And the bad news? ANGELA: Well, we're still missing a lot of body parts. And north of this section, there are multiple switch points where the tracks branch out into dozens of other lines. Clark's looking at a lot of hot hours under the sun. CAM: Okay. Send him the routes he has to search. ANGELA: Hey. What's goin' on with Michelle? CAM: Michelle has this boyfriend, Perry... ANGELA: Oh, I met him. He's a hottie. (Hodgins enters carrying a tray) HODGINS: Who's a hottie? ANGELA: Perry. Michelle's boyfriend. HODGINS: Yeah, sure. If you like athletic, confident, young... ANGELA: Studly. SAROYAN: Okay. Let's not say "studly", please. (to Hodgins) Do you have something for me? HODGINS: Yeah, that vine on the bones? It's kudzu. The growth rate suggests the body parts had been undisturbed for approximately two months. CAM: So, the victim must have died shortly after the last time he spoke to his parents. HODGINS: Perry's a senior, isn't he? You know, that might be why he's pressuring Michelle to have sex. ANGELA: Why do you think he ispressuring her? Women want sex just as much as men. CAM: Yeah, well, she's a child. She still has stuffed animals. ANGELA: Well, I did, too, at 16 and I also had Brian. All you can do is tell her to respect herself and use protection. HODGINS: During the Crusades, knights used to lock up their wives and daughters. CAM: How helpful. Anything else, Hodgins? And let's try something case-related this time. HODGINS: Right. Yes. May I? (he takes the remote) So, the victim's bones, they were covered in a sedimentary rock dust comprised of carbon, nitrogen, oxygen and sulfur, so as indicated, he was most likely hooked beneath a coal car. ANGELA: Hmm. Well, that eliminates the need for me to search for passenger-only trains. Which means I can focus on which lines used coal cars. Hey, listen, Cam, every teenager goes through this. Think about what you went through. CAM: (nods - then realizes...) Me? Oh, God! Wh-What am I gonna do? (Cut to: Yoder Residence - Levi's Room.) BOOTH: Well, there's no posters, there's no video games. Tell you what, if I was a teenager, I'd want out of this place, too. (he sits on the bed) Nice quilt, though, huh? (he reaches under the bed) Oh, ooh! What do we have here, huh? What is this, some kind of an Amish thing, Bones? BRENNAN: Rock collection. I don't, I don't think so. (Mrs. Yoder appears in the doorway) BOOTH: Mrs. Yoder, do you have any idea why your son would keep these under his bed? MRS. YODER: No. I've never seen those before. BOOTH: Right. We should get these to Sweets to take a look at. BRENNAN: Why? Hodgins would be the one to know if stones would have any evidentiary value. BOOTH: A kid hides rocks underneath his bed. They're gonna mean something. Not to Hodgins. Here. MRS. YODER: That photograph of Levi, is it possible for me to keep it? BRENNAN: (to Booth) The Amish don't use cameras; she probably doesn't have any other pictures of her son. BOOTH: (to Brennan)Yeah. (to Mrs. Yoder) Of course. Here you go. (Booth hands the picture to Mrs. Yoder. She takes it, traces his face and starts to sob) (Cut to: Yoder Residence. Booth and Brennan are walking out the door. Booth is on his phone finishing up a call) BOOTH: (into phone) Okay, that's great. Thanks. (he hangs up, then to Brennan) So, listen, the FBI is tracking down the address for this Josef kid. We'll have it in a few - (Booth spots a girl walking behind the clothing lines) BOOTH: Hello there. SARAH: Are you here about Levi? BOOTH: Were you two friends? AMOS: Sarah. You're needed at home. BOOTH: (raising his badge) Clearly she's busy right now. SARAH: No, please, it's okay. It's my brother. I have to go. AMOS: Sarah! BOOTH (whispering): Excuse me. Listen. If you need anything, here's my card. You can call me any time. AMOS: Sarah, now! (She walks over to her brother and they get in the buggy and drive away) BRENNAN: The males are clearly dominant. BOOTH: Yeah, clearly. Look. So we got the address for Josef Beachy. Here we go. (Cut to: Apartment Complex - Night. Booth and Brennan are outside 1B looking for Josef Beachy.) BOOTH: Josef Beachy! FBI! Open up! (A kid opens the door holding a bong. Loud music is playing and everyone is drinking) BOOTH: Seriously, I yelled "FBI," and you opened up the door holding that? JOSEF BEACHY: There's nothing going on here, Officer. BOOTH: You're holding a bong! Josef Beachy? JOSEF: Yeah, that's me. BOOTH: Come on. You're coming with us. Come on. (They leave, but Brennan goes back and opens the door.) BRENNAN: (yelling) This is not in the proper spirit of rumspringa! BOOTH: Bones! (Cut to: FBI Headquarters - Interrogation Room. Booth and Brennan are talking with Josef) JOSEF: Levi moved out a few months ago. I haven't seen him since. BRENNAN: Well, we were told you were going through your rumspringa together. Why would he leave? JOSEF: Parties weren't his thing. That's kind of what rumspringa's for, right? Cut loose, go a little crazy. BOOTH: Getting busted for smoking weed. BRENNAN: It's supposed to be a time to contemplate your future faith. JOSEF: Well, yeah. I was seeing how in the future I wouldn't want to smoke weed. BOOTH: Maybe Levi thr*at to tell your parents that you were a stoner and you had to stop him. JOSEF: Look, man, Levi had his own secrets. No way he'd risk telling on me. BRENNAN: What kind of secrets? JOSEF: I don't know, but he used to disappear for hours, never tell anyone where he was going. Even back home, there were times he'd tell his folks he was at work, but I knew that that wasn't true. BOOTH: Do you know where Levi went after he moved out? JOSEF: Uh, like I said, we didn't really keep in touch. (laughs) You know, I know I will end up going back to the church. I just got to get all the wild out, but Levi - (he gets serious) He always seemed like he had other plans. (Cut to: Medico Legal Lab - Ookey Room. Hodgins is examining something under a microscope) HODGINS: Ah. CAM: Are those the rocks from the victim's room? HODGINS: Yup. Just finishing up now. (to Sweets, who is putting on gloves) What are you doing? SWEETS: Oh, Booth asked me to take a look. HODGINS: At rocks? That is so my domain. CAM: Meaning you found something? HODGINS: Depends how you define "something". I mean, all rocks are a tangible representation of the awe-inspiring passage of time on this tiny planet that we call... CAM: Hodgins. HODGINS: They're your basic Paleozoic-era metamorphic rocks. (Sweets notices somethng and starts putting the rocks in place) HODGINS: They're the kind of rocks that you clear awaywhen you're plowing a field, so there's nothing distinguishing about them whatsoever, except for the awe-inspiring passage of time thing. CAM: What about the feathers? HODGINS: Uh, eastern bluebird. They're a pretty common songbird. SWEETS: Guys, I think I know what these are. There are 88 of these. 52 relatively light in color. 36 dark. CAM: Okay. SWEETS: Piano. CAM: You think this is a piano? HODGINS: For Fred Flinstone, maybe. SWEETS: No. Like a practice keyboard. You've seen them; I used to use one when I took lessons. Plus, the songbird feathers are further signifiers of music. He kept it hidden under his bed because Levi was ashamed. The Amish aren't supposed to play musical instruments. HODGINS: So then, where does a kid like Levi learn about pianos? SWEETS: Well, Booth said that he had a job in town, right? Every small town has at least one piano teacher. CAM: I'll tell Booth. (Sweet's starts 'playing' the 'keyboard') HODGINS: What are you doing? SWEETS: Playing the theme to Titanic. HODGINS: Even not hearing it, I hate that song. SWEETS: Not the way I play it. (Cut to: Medico Legal Lab - Platform. Brennan is examining remains as Clark returns with boxes of evidence from the tracks.) BRENNAN: Were you able to get some photos of brake rigging? CLARK: Yeah, I got them. I got the photos, I got the bones, I got bit by God knows what kind of bugs out there. BRENNAN: Oh, perhaps Hodgins can identify them for you. Trauma is consistent with his body lying face up as an exposed gear lever hooked him in the sternum. CLARK: Have you found the cause of death yet? BRENNAN: No, not yet. There's evidence of perimortem fractures, but until I get more bones, I won't be able to see a pattern. CLARK: Dr. Bernard covered all the tracks between the bridge and the, uh, switch point. BRENNAN: Well, we're still missing over 60% of the vertebrae. Not to mention a number of extremities. CLARK: Animal scavengers must have made off with the rest of the bones. BRENNAN: You have to regroup the tech team and start another search, this time focusing on secluded brush areas within 50 yards on either side of the tracks, where animal feeding sites would likely appear. CLARK: Actually, I'm more of a lab rat, Dr. Brennan. Perhaps somebody more outdoorsy would be better. BRENNAN: Clark, if there's spinal damage that corresponds to the compression fractures on the lung bones, we could have cause of death. I need those bones. You're the most qualified. (Clarks scratches his neck) Don't scratch your neck with the gloves. CLARK: (using a southern accent) Well, is it all right if I get a drink of water, boss? You know, uh, it's awful hot out there, and them tools is mighty heavy. BRENNAN: Of course you can get water. Why are you talking like that? CLARK: Never mind. I'm going. (Cut to: Medico Legal Lab - Cam's Office. Michelle shows up.) CAM: Michelle! What are you doing here? MICHELLE: We got out early for an assembly, so... CAM: Come in. Sit down. MICHELLE: Oh, thanks. (she sits) I was wondering. Have you had a chance to think about the dance? CAM: Michelle, are you having sex? MICHELLE: Excuse me? CAM: It's no big deal. I just...Well, no, it is a big deal. It's a really, really big deal. MICHELLE: This is none of your business. CAM: It is. I'm your legal guardian, Michelle. MICHELLE: Oh, so you can just boss me around any way you want? CAM: No. I think I'm understanding, but sex... sex is...Well, when two people have sex, when the body is secreting hormones...When men and women and sex are...Some people believe that God will smite you. Just a thought. MICHELLE: You're not my mother. CAM: I know, Michelle. I love you, and I don't want to see you get hurt. MICHELLE: Your only job was keeping me out of foster care after my father died and you did that. So don't pretend there's anything more. CAM: Michelle... MICHELLE: I've got homework. (She grabs her backpack and walks out) CAM: Michelle... (Cut to: FBI Headquarters - Booth's Office. A video of Levi playing the piano is playing on the screen. Booth is talking with his piano teacher, Eleanor Turner.) ELEANOR TURNER: That was only his third lesson. He was playing Handel by ear. I had to record it. I was so flabbergasted. (The song finishes and Booth takes the CD out of the computer) BOOTH: So, Mrs. Tuner, you said that, uh, Levi worked for your husband? ELEANOR: In construction, yes. Uh, Levi brought some receipts to our home - a couple years ago - and I was with a student, and she was practicing Fur Elise. BOOTH: Ah. Beethoven. I took a few piano lessons, but, you know, all thumbs, so couldn't quite work it out. (They both laugh) ELEANOR: Levi was fascinated, so I invited him to watch. And after my student left, I suggested Levi touch a few keys. Well, he was shy. But once he sat down, the boy was a natural. BOOTH: You started giving him lessons? ELEANOR: Mm-hmm. I never charged him. He was a prodigy. BOOTH: Mrs. Turner, during these secret lessons, did you notice if he was conflicted at all? ELEANOR: Oh, my, yes. I encouraged him to use his rumspringa to decide whether his love of music was strong enough for him to consider leaving his faith. BOOTH: Did you keep in contact with him? ELEANOR: For a while. Then I never heard from him anymore. (She reaches into her bag and pulls out another CD and hands it to Booth.) ELEANOR: This was the last thing Levi sent me. He wanted me to know that he had made friends. They were helping him to audition for the National Conservatory, and he seemed so excited. (Booth plays the video. Levi is sitting at a piano, at an apartment, playing Scott Joplin's "Maple Leaf Rag") ELEANOR: (voice shaking) It's just not fair that he's gone. (On the video, a girl is playing the piano with him) Such a gift. (Cut to: Medico Legal Lab - Angela's Office. The video that Eleanor showed Booth and Brennan is playing.) BRENNAN: Okay, we know he was in D.C., but it would be helpful to have an area of town to focus on. ANGELA: Okay, I'll see if I can locate any distinctive architectural markers outside the windows. (On video) TONY: Okay, Karen, let's switch. (On video) KAREN: Hey, Tony, do the Mozart. (On video) TONY: Mozart? (On video) KAREN: Yeah. CAM: You can hear them call each other Karen and Tony. ANGELA: These are some talented kids. (On the video, Levi plays "Mozart Violin Piano Sonata No. 21 in E Minor, K. 304 - 1st Movement" while Tony plays violin.) ANGELA: These buildings have Queen Anne detail like a corbeled cornice. Most of the older neighborhoods have these. I'm going to need more. (song ends on video) (On video) TONY: Okay, Levi, do your audition piece. (On video) LEVI: Okay. ANGELA: : He's adorable. (Levi plays a song by Chopin. There's a distant sound of a train whistle bl*wing.) ANGELA: Did you hear that? That noise in the background? Maybe we don't need architectural markers. (Angela analyzes the audio on the screen) BRENNAN: The train. ANGELA: Architecturally, these buildings could be in one of six neighborhoods. But this building here is the only one that's right next to the train track. I'll triangulate the structures outside the windows and bingo, there's the apartment building. (Angela, Cam & Brennan continue to watch the video of Levi playing.) ANGELA: It's so sad. (Cut to: FBI Headquarters - Conference Room. Booth and Brennan play the video for them Karen Lin and Tony Salina, the people who were in the video with Levi.) BOOTH: So, that's, uh, your apartment in the video, isn't it? KAREN LIN: Levi lived in some party place. I had room. My building's not the greatest but it was better than where he was living. BOOTH: So, how did you two know Levi? TONY SALINA: It was about six months ago. Karen and I were walking by one of the practice rooms of the conservatory. We heard this piano; it was so beautiful. Levi, he'd snuck in to play. One thing just led to another, and we sort of adopted him. KAREN: I had this gold medal, not real gold, just something I'd won at a music competition when I was a kid. But to Levi, it was the most beautiful thing ever. So, I gave it to him for good luck. I guess it didn't work very well. BRENNAN: How come you didn't file a missing person's report when he disappeared? TONY: We just figured he'd changed his mind about the conservatory and gone back to his family. BOOTH: Why would you think that? KAREN: His dad had come to see him and probably convinced him to come home. Amish don't approve of playing music. BOOTH: Hold on. His dad was there? KAREN: A few days before Levi was supposed to audition, I went to the apartment and when I left, I saw a full-on Amish guy heading towards the building. And I tried to introduce myself, but he just ignored me. He seemed pretty pissed to be honest. (Cut to: The Yoder Residence - Outside in the barn.) MR. YODER: How dare you accuse me of harming my own son?! BOOTH: Mr. Yoder... MR. YODER: I would never raise a hand to my boy! BOOTH: Not even if your livelihood was at stake? BRENNAN: Levi was your only child. I-I can see the arthritis in your metacarpals and phalanges. You needed a son's help to keep this farm going. BOOTH: You found out about the audition, you and Levi fought, there was an accident. BRENNAN: You took his body to the tracks... MR. YODER: How can you say those things to me?! You think this farm is more important to me than my own son? He was my son! MRS. YODER: My husband hasn't left this farm in over two years. What are you talking about? What audition? BRENNAN: For the National Conservatory. MRS. YODER: A conservatory? BRENNAN: Your son was an extraordinarily gifted classical musician. MRS. YODER: No. There are no instruments here. BOOTH: I know, that's why your son had to sneak into town for lessons. MR. YODER: We would've known something like that. BRENNAN: Not if he knew you'd disapprove. MRS. YODER: So he ran away because he couldn't trust us? (Cut to: Booth's Car - Day. Booth and Brennan are driving back to FBI Headquarters) BOOTH: I don't believe he had anything to do with it. BRENNAN: What, your gut again? BOOTH: I'm a father; he's a father. Okay, it's something you just wouldn't understand. BRENNAN: Would you advise Parker that sexual intercourse at age 16 is a wise decision? BOOTH: What? How did you know that? Wait, what are we talking about? BRENNAN: Michelle. Cam is afraid Michelle is having sex. BOOTH: Oh, no, that's not good. BRENNAN: Well, you just said that you were having sex when you were 16! BOOTH: Mm-mmm, that's different. BRENNAN: Oh, so there's a double standard? BOOTH: Of course. You know what? Cam needs to shut that down. Finished. BRENNAN: I said that Michelle should wait until she's at least 17-and-a-half. BOOTH: Is that how old you were? BRENNAN: No, I was 22. BOOTH: Twenty-two?! BRENNAN: Well, don't..why do you sound shocked? BOOTH: No, it's just...That's a good age. Twenty-two? BRENNAN: It was an important decision. I gave it a lot of thought. I finally found a man who could provide a skillful introduction.. BOOTH: Okay, you make it t sound ke it was a class that you took. All right, you know, the first time you should be in love. You know, totally "goo-goo" for the other person. BRENNAN: Were you when you were 16? BOOTH: Well, part of me was. BRENNAN: (she laughs) And if Michelle feels this way, do you think she should be having sex? BOOTH: No, Michelle should not be having sex until she's 22. (Booth's phone rings) BOOTH: Yeah? SWEETS: (on phone) Yeah, there's someone here to see you. She just spent hours on a bus by herself. Says she only wants to talk to you. (Cut to: FBI Headquarters - Conference Room. Booth and Brennan are talking with Sarah.) SARAH: Levi and I, we were in love. A few months before he left Lancaster, we started courting. BOOTH: Did you know why he was going to D.C.? SARAH: Music.I thought it was important he get it out of his system before we married. BOOTH: Did you stay in touch with him while he was in the city? SARAH: He wrote me letters. He talked about going to the conservatory. I began to worry I'd lost him. I shared my fears with my brother, Amos. I'm afraid now that was a mistake. BOOTH: Your brother, Amos, has a temper, doesn't he? SARAH: It's been a struggle for him. BOOTH: Did he get upset with you when you talked to him about Levi? SARAH: Yes. I told him how close we'd been. BRENNAN: Sexually? SARAH: No! Levi and I, we didn't do that. But I don't think Amos believed me. About two months ago, he left for the day. Said he had some business to do. BOOTH: Do you think he was going after Levi? SARAH: I'm not sure but shortly after that, Amos told me that I should try to forget about Levi. That he might never come back. And then when I didn't hear from Levi again, I just... (BRENNAN puts her hand on Sarah's wrist to comfort her.) BRENNAN: It's okay. SARAH: I love my brother. I hate to suspect him of something so awful but I had to tell someone. (Cut to: Medico Legal Lab - Bone Room. Clark, Hodgins and Angela are in there when Cam enters.) CAM: Why are there two massive train wheels blocking the loading dock? CLARK: They're filled with dried, mangled body bits and bones. Dr. Brennan wants me to examine them for defensive wounds. CAM: Only she didn't ask you to bring in the whole train. ANGELA: We may have cause of death. Karen Lin's apartment is on the fourth floor of the building. Underneath the balcony in the alley is a Dumpster. HODGINS: Now, I swabbed the perimortem fractures on the victim's skull. I found a powder coating similar to the type used on industrial-strength Dumpsters. CLARK: I identified the perimortem ring fracture on the base of the skull as well as the corresponding damage on the top of the spinal column. Those injuries indicate that the victim fell from Karen Lin's balcony and then landed headfirst into the lid of the Dumpster, thereby severing his spine. HODGINS: FBI techs confirm that the Dumpster has a dent consistent with our scenario, as well as residue of dried blood on the steel, which matches Levi Yoder. CAM: Anything linking the as*ault to Karen Lin or her boyfriend? CAM: No. That's why I should start digging the remains out of the train wheels. (Cut to: FBI Headquarters - Interrogation Room. Booth is talking to Sarah's brother, Amos.) AMOS: Levi abandoned my sister after courting her. What kind of brother would I be if I didn't try to intercede? I told him his rumspringa was over. That it was time to do the right thing and come home to Sarah. BOOTH: That's it? AMOS: He said that there was something pulling him away. He felt possessed. BOOTH: Music? AMOS: How could he leave my sister for something so frivolous? BOOTH: And you wanted to h*t him. AMOS: I shook him. I grabbed him and I shook him and it was shameful. I apologized. Then he tried to explain. He played something for me. I never heard anything like it. It was called "Clair de Lune" and it sounded like a sunrise. Something that beautiful, I have to believe that it came from God. BOOTH: Hmm, and that's not what your religion says. AMOS: I cannot pretend to know what the Lord has planned for any of us. That's the greatest sin, you know? Speaking for God. I told Levi that I would make sure that Sarah was looked after. BOOTH: And that's it? AMOS: No. He was going to be my brother. I hugged him and then I left. (Cut to: Royal Diner - Day. Cam is sitting at the counter, eating, when Michelle enters.) MICHELLE: I didn't mean what I said. I know you care. CAM: Oh, it's okay. I... I handled things badly, I guess. MICHELLE: Can I sit? CAM: I think so. (she sits) Look, Michelle, I...This is all new to me, too. So, I'm sorry if we got off on the wrong foot. MICHELLE: My dad always wanted me to be independent. To think for myself, you know? CAM: And you talked to him about boys? MICHELLE: (laughing) Are you kidding? How weird would that be? Did you talk to your dad about boys? CAM: Oh, God, no. No, my mom told him to go bowling. She knew he'd have a meltdown. My dad still thinks I'm a...His little girl. MICHELLE: I didn't know. I never had a mom. CAM: So, you and Perry... ? MICHELLE: No. He wants to, but he's not pressuring me or anything...but I'm scared. Is that weird? I mean, it's just sex, right? It's a a over the TV and everywhere. CAM: Whoa, there's no such thing as "just sex", Michelle. Every time, you give a bit of yourself to the person you're with. So, it's okay to wait. As long as you want. MICHELLE: But I don't want to lose Perry. CAM: If Perry doesn't understand how you feel, he doesn't deserve you. MICHELLE: I wanted to talk to you. I really did. But I just didn't want you to be disappointed in me. CAM: Oh, Michelle. That's what I was afraid of, too. (Cut to: Medico Legal Lab - Platform. Clark and Angela are on platform; Brennan joins them.) BRENNAN: Have you found anything pertinent on the bones you found in the wheels? CLARK: I'm still reassembling the fragments from the right foot, but the left arm and hand are all there. BRENNAN: (examines the bones) The fractures on these phalanges, there's barely discernible rounding along the edges. The fractures occurred before Levi was k*lled. CLARK: Whatever injured him was most likely a flat object with a straight edge. ANGELA: Wait, how much force would it take to do something like that? BRENNAN: Hmm, about 120 pounds per square inch. ANGELA: Hey, the keyboard lid could've exerted that much force. It could've happened when he was practicing at the conservatory. CLARK: So, someone breaks a piano player's hand a few days before his big audition. BRENNAN: There was only one place available at the conservatory. Tony was already in, but Levi was competing with Karen for the spot. ANGELA: Which means that she had motive to try to sabotage his audition. She accidentally injures him, hoping that he'll slink back to Amish Country. BRENNAN: And when that doesn't work, she kills him. Inference, not conjecture. (Cut to: Medico Legal Lab - Booth and Brennan are coming down the stairs by Brennan's office.) BRENNAN: Agents have picked up Karen Lin and are bringing her to the FBI. I'll pack everything up. BOOTH: All right, I'll go get the car. (She heads into her office, Booth heads down the hall and smirks when he sees Perry waiting down the hall) BOOTH: Perry, right? Michelle's boyfriend? PERRY: Yes, sir, Perry Wilson. Michelle's with Cam. She told me to wait here. BOOTH: FBI Special Agent Seeley Booth PERRY: FBI? BOOTH: Michelle's, uh, family to me. I'm her number one uncle. PERRY: Really, sh-she didn't mention you... BOOTH: I'm also a trained sn*per. PERRY: Okay, wow. BOOTH: Uh, Listen, Perry, all right. You're a red-blooded, young man and Michelle is, uh, an attractive young girl. So, I assume that you... PERRY: What? No! No, no. BOOTH: Because Michelle deserves your respect. You understand? PERRRY: I do. I do respect her. We were just gonna go to a movie tonight. BOOTH: Right, and if you behave any way less than a gentleman towards her, I'll find you. I think we understand each other, right? PERRY: Yes, sir. BOOTH: Michelle, hi! We were just talking about what you were doing tonight. MICHELLE: Yeah, we're going to the movies. PERRY: Just a movie. That's all, mo-vie. (Brennan joins them) BOOTH: Hey, Bones, um, you've met Perry, Michelle's boyfriend. BRENNAN: Yes. Nice to see you again. I heard about Princeton; you have a very bright future ahead of you. PERRY: I hope so. BOOTH: Me, too. You have fun tonight, okay? (Booth and Brennan leave.) PERRY: A sn*per. Good man. (Cut to: FBI Headquarters - Interrogation Room. Booth, Brennan and Karen are watching the video of Levi playing the Mozart Violin Piano Sonata No. 21 in E Minor, K. 304 - 1st Movement) BOOTH: So, you were competing with Levi for a spot at the conservatory. KAREN: No, I wasn't. My grandfather used to be a dean, and I've been taking private lessons there since I was six. So, my admission had nothing to do with the audition process. BOOTH: Yet you were the only pianist in your class. KAREN: Yeah, because none of the other applicants were good enough to get in this year. Sure Levi would've gotten in. I mean, he was better than everyone. He was better than me. BRENNAN: Did you see Levi at the conservatory the day before he disappeared when his hand got smashed? KAREN: His hand? I-I have no idea wh... BOOTH: Someone crushed his hand, Karen. Didn't want him to audition. He died at your apartment. You were the last person to see him alive. KAREN: This is crazy! He wasn't even there the last time that I went. His stuff was there, but his money was gone. BOOTH: How do you know his money was gone? KAREN: Levi didn't trust banks, and I had this old rolltop desk with a secret drawer in it and that's where he kept his money and it was gone. BRENNAN: But his stuff was still there? KAREN: Yeah, I just, I figured that if his father made him come home, then he wanted to leave everything from this life behind. BOOTH: Guaranteeing you a place at the conservatory. KAREN: I was trying to help him get in! I picked his audition piece. I could never hurt Levi. I loved him. BOOTH: Loved him? Did your boyfriend know that? Right, maybe he just liked him out of the way. KAREN: Tony wasn't even around the weekend that Levi disappeared. You can ask his parents. He was at his grandma's funeral. I'm not gonna say anything else. I don't have to; I'm not saying anything. (Cut to: Medico Legal Lab - Forensics Platform - Cam cut with FBI Headquarters - Booth's Office. Booth & Brennan are on the phone with Cam.) CAM: FBI techs found a grand piano at the conservatory with bits of dried flesh and blood inside the keyboard lid. BOOTH: What about the fingerprints? CAM: There were some partials on the lid directly above the spot where Levi's left hand was broken. BRENNAN: We still have Karen Lin in custody. We can get her prints for comparison. CAM: Don't need to, we already have a match. The prints are Levi's. BRENNAN: Levi broke his own hand? CAM: That's what the evidence says. BOOTH: Thanks, Cam. (He hangs up) BRENNAN: Levi broke his own hand? It's not logical. BOOTH: If Levi decided to move back to his family, he wanted to remove all temptations, so he wouldn't change his mind. BRENNAN: You-you seriously think that he was choosing his religion over his music? BOOTH: Or maybe it was just over this girl, Sarah. I mean, either way it makes sense. BRENNAN: No, it doesn't! To destroy a gift like that for a girl or religion, it's awful and it-it still doesn't give us a k*ller. BOOTH: Wait a minute. Money, what about the money? What if this was all about the money? BRENNAN: What money? BOOTH: The money. Levi's cash; we never found. The cash and that fake gold medal that Karen supposedly gave him. Did that ever show up? BRENNAN: Not yet, no. BOOTH: The cash. What if this was all about the money? Come on, Bones. (Cut to: FBI Headquarters - Voiceover over montage of Booth bringing the thief to the interrogation room) BOOTH; He was a petty thief. We arrested him in Baltimore. Seven other residents in Karen Lin's building reported missing items right around the time that Levi died. Jewelry, silverware, cash. (Fade into: Medico Legal Lab - Booth and Brennan are seated in the lounge area) BRENNAN: So, it was just a robbery. BOOTH: Well, the thief was some stupid kid who hocked a bunch of stolen items about a month ago. (Flashback to Booth talking to the thief in the interrogation room at FBI Headquarters. He signs a confession.) BOOTH: He also tried pawning the gold medal. He didn't know it was fake. The kid said that's what Levi was fighting for when he fell over the railing. BRENNAN: Levi was just in the wrong place at the wrong time. (Fade back to lounge) Guess that will certainly justify his parents removing themselves from the world. BOOTH: Can't blame them now. BRENNAN: But what Levi discovered; the gift he had. Would their God really want them to deny their son that? (Cut to: Yoder Residence. Booth, Brennan, Daniel and Rebecca are seated around a table inside the house.) BOOTH: Levi planned to return. We thought it was important that you knew that. BRENNAN: He considered life outside the community, but he wanted to come home. BOOTH: We brought you something. (Brennan pulls out a portable DVD player) MR. YODER: I'm sorry, but we can't accept that. BRENNAN: In this case, I think God will understand. (Brennan plays the video for Levi's parents) (On video) KAREN: Levi, if you want to get into the conservatory, you have to learn to perform. You're amazing! MR. YODER: Our son. (On the video, Levi is playing a song by Chopin.) MRS. YODER: It's so beautiful. (The end montage cuts between Mr & Mrs. Yoder watching the video in amazement and sadness, Levi, happy and alive, playing in real time and Booth and Brennan outside the house on the porch knowing that even though they solved the case, the conclusion is bittersweet.) END.

{"type": "series", "show": "Bones", "episode": "05x03 - The Plain in the Prodigy"}

foreverdreaming

"The Beautiful Day in the Neighborhood" Episode 5x04 Written By: Janet Lin Directed by: Gordon C. Lonsdale Transcribed by: Jingeljangel Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open on: Ext. Verbena Court a suburban cul-de-sac. A luau street party is underway, tables are laid out in the street, banners and streamer are hung up. People dressed up in Hawaiian clothes and flower garlands are carrying plates of food and drinking cocktails. Children are playing.). Woman's voice (off screen): Everybody, I've got fresh pineapples! (The SAYLES family BOB, PAIGE and MARY KAY stand with neighbor NATE GRUNENFELDER. BOB grabs one of NATE's coconut boobs) NATE: Aargh, back off, sailor. PAIGE: Grabbing the gay guy's coconut boob - real cool, Dad. (She walks away) BOB: Your old man is cool. Right, Nate? NATE: Massively cool, Bob. You're a glacier. MARY KAY: Aren't any of these nonalcoholic? BOB: You know, it would do you some good to have a couple drinks, loosen up a little. (We follow NATE as he moves to a new group: his boyfriend JAMES PERRY, and neighbors ELLIOT and PAULA LINDBERGH. NATE hands PAULA a drink.) ELLIOT: All due respect, James, I don't even understand why gays even want to get married. PAULA: Elliot! For the same reason we do, family, kids, the American Dream. JAMES: Exactly. (Puts his arm around Nate) Thank you Paula. ELLIOT: Our house has been on the market for ten months. Nobody wants the American Dream anymore. PAULA: Elliot, you're gonna love the 'burbs once we have a couple kids. (Popping sounds like firecrackers are heard.) Voice (off screen): Ooooh, what's goin' on? JAMES: That's coming from the luau pit. BOB: Hey, Trey, what's that noise? MARY KAY: For God's sake, Bob, he's a gardener, not a servant. (Everyone gathers round the luau pit). BOB: He works for the Homeowner's Association, which means he works for us. Am I wrong? ELLIOT: Maybe the, uh, pig's eyeballs explode when it's done. NATE: It shouldn't be done for a couple more hours. JAMES: We should check and make sure it's not burning. NATE: Yeah, all right... stand back. (TREY removes the sacking covering the pig. JAMES and NATE lift the pig from the pit). BOB: Hey piggy piggy, look out, get back. This is kosher, right? Aw, yeah. PAULA: Elliot, will you get the meat thermometer? ELLIOT: (looking into the pit) Oh my god. PAULA: What, hon? (The group moves away from the pig to look in the pit, a b*rned skull is visible among the embers, shocked gasps are heard). BOB: Is that a person? That's a person! Voice (off screen): He's been cooked! (Cut to: The Jeffersonian, Int. Medical-Legal Lab. The foyer. CAM and BRENNAN dressed in fieldwork overalls walk into foyer to see BOOTH stood waiting for them). CAM: Why are you standing there like a security guard? (PARKER steps out from behind BOOTH). Parker, hey! PARKER: Hi! BRENNAN: (To PARKER). The remains we've been called to examine were apparently barbecued. Would you like to see? PARKER: Totally! BOOTH: No, no, no. A person did not get barbecued. Did they, Dr. Brennan? BRENNAN: Yes. In a luau pit, which is why I'm surprised you'd bring Parker along. BOOTH: No, I-Rebecca and her boyfriend won a night at the Greenbrier, so little kid's with me. I got him. PARKER: Let's go see the cooked person! BOOTH: Geez, you know our deal. BRENNAN: Well, what's your deal? PARKER: We're not allowed to talk about the bad parts of Dad's work until I have armpit hair. BOOTH: You don't have any armpit hair last time I checked. Not for a long time, kid. (ANGELA appears in the background.) CAM: Angela, would you mind...? ANGELA: Oh, no, sure. I get the situation here. You're with me, Parker. PARKER: I want to see the barbecued body. ANGELA: Well, I agree that does sound awesome, but I have face paints that your dad will never be able to get off, no matter how hard he scrubs. They're basically tattoos. PARKER: Okay, I'm with you. BOOTH: You have a good time, all right? (BOOTH hugs PARKER). I'll come pick you up in a little bit, all right? (CAM and BRENNAN walk to the exit). Have fun--fun with the face paints, kid. (To ANGELA) Hey, that's not true about the face paint, is it? ANGELA: You're with me, Baby Booth. (Cut to: Ext. Verbena Court. FBI crime scene tape is set up around the cul-de-sac. An FBI technician is taking photos. BOOTHS car arrives at Verbena Court; BRENNAN, BOOTH and CAM exit the car and walk to the crime scene. We see the party goers are still at the scene). BRENNAN: Ethnographic studies of the suburbs indicate a cultural impulsion toward overt displays of status. Of course, this competitive paradigm can often result in aggression and v*olence. (They duck under the FBI tape and approach the luau pit). CAM: There was this guy on my street who cut his lawn on the diagonal. The neighbors got angry. Someone set his garage on f*re. BOOTH: Oh, I mean, yards, sidewalks, you know, clean streets, birds flying by. (CAM and BRENNAN put on gloves). CAM: A d*ad body in the barbecue pit. BOOTH: Oh. Okay, you know what, I'm gonna go talk to the neighbors, to see if anyone who cut their lawn diagonally is missing. BRENNAN: I think those are reflective lenses that have fused into the supra-orbital margin. (She climbs down into the pit). (Cut to: BOOTH interviewing NATE and JAMES in the street) JAMES: Nate and I moved to Verbena Court about six months ago. NATE: The luau pit came with the house. JAMES: We installed a lockable cover. We don't want kids falling in. We're good neighbors. BOOTH: Who has a key? NATE: Uh, just us. And there's one with the Neighborhood Watch. BOOTH: Okay, uh, who put the pig in the pit? JAMES: Me, Nate and Trey at 9 o'clock this morning. BOOTH: Trey? NATE: Uh, Trey Jordan. (He indicates towards TREY JORDAN who is standing across the street). He's the gardener slash handyman for the Homeowner's Association. (JAMES stares over at where TREY is standing) Stop staring at him, James. JAMES: You were just talking about him... BOOTH: Guys, guys. When you put the pig in... JAMES: We didn't notice anything down there but hot coals. (Cut to: CAM and BRENNAN in the luau pit.) CAM: (Holding electronic thermometer). 48 degrees Celsius. That's, what, an hour after they drenched everything with a garden hose? BRENNAN: Wish they hadn't done that. CAM: Well, it's human nature, Dr. Brennan. You see someone on f*re, you put 'em out. BRENNAN: Prominent brow points to a male. Wear on his mandibular teeth puts his age at about 30 to 35. We should remove the remains and then let Hodgins get down here. (BRENNAN removes sunglasses from the skull and places them in an evidence bag CAM is holding.) (Cut to: BOOTH interviewing TREY, PAIGE, BOB and MARY KAY. They are stood in a line against a car facing BOOTH who is pacing.) BOB: We have the luau every year. MARY KAY: The pit was dug maybe... Four years ago. July. Same time we planted our hydrangeas. That reminds me, we should spray. BOB: Yeah, we all helped with the pit. It's, uh, four feet deep and lined with brick; you burn the wood to embers. PAIGE: You cheat with charcoal. MARY KAY: Don't call your dad a cheater, Paige. BOB: Anyway, tons of embers going, then you throw down a layer of wet burlap, then wet leaves, then wet burlap, chicken wire, then you lower the pig in and voila. BOOTH: Yeah, you're forgetting one thing there. BOB: I don't think so. Burlap, leaves... PAIGE: He means the d*ad guy under the pig, Dad. BOOTH: Smart one in the family there. So, what made you crack open the pit early? MARY KAY: We heard little expl*si*n, like fireworks going off. BRENNAN: (Approaching the group). We found these in the pit. (She holds up the evidence bag containing the sunglasses). BOOTH: Reflective aviators. TREY: Those look like Mr. Bessette's glasses. PAIGE: Oh, my God. MARY KAY: That's Kurt? PAIGE: You must be mistaken. BOB: (Raises his voice) Hey, everybody, looks like it was Kurt. (There are gasps of shock and surprise from the neighbors) BOOTH: Who's Kurt? PAIGE: He and his wife live over there. (She indicates a house across the street) (BOOTH and BRENNAN turn to look at the house, they see a woman - KELLY BESSETTE - through the window, she sees them looking and abruptly closes the blinds.) BOOTH: That was creepy. BRENNAN: I warned you about the suburbs. (Titles) (Cut to: Int. The Hoover Building - The conference room. SWEETS sits with KELLY BESSETTE at the table) KELLY BESSETTE: And you're certain it's Kurt? SWEETS: I'm afraid so, Ms. Bessette. His teeth match the X-rays your dentist provided. KELLY BESSETTE: Well, I already told the FBI guy and the scary lady everything I know, so I don't know what... SWEETS: You mentioned that you and your husband didn't really fit in with the neighborhood. KELLY BESSETTE: Uh, yeah. Uh, Kurt put up a solar panel and a wind turbine, and it made everybody mad. They thought they were pretty ugly. They said they ruined the neighborhood, you know. But he just wanted to save the planet. There's nothing wrong with that, right? SWEETS: No, it's quite a noble cause. KELLY BESSETTE: But it can kind of rub people the wrong way sometimes. When the gay couple's dog peed on the wind turbine, Kurt gave the dog a laxative that nearly k*lled him. (She laughs). SWEETS: Oh. Well, that... that's not quite so noble. KELLY BESSETTE: (She becomes serious). Neighbors don't forget a thing like that. We got shunned. (Cut to: The Jeffersonian Int. Medical-Legal Lab - The autopsy room. CAM and ARASTOO work on the remains. HODGINS is visible on a large screen; he is at the crime scene) HODGINS: Found out what caused the mini expl*si*n. CAM: Would it have anything to do with the pebbles embedded in the remains? HODGINS: If by pebbles, you mean the rudaceous sedimentary stratified clast fragments, then yes. (Cut to: HODGINS at the crime scene). Now, based on the amount of pyrites, I'd estimate the porosity at approximately 25%. (Cut to: The lab. HODGINS continues via screen). That's ideal for moisture saturation. ARASTOO: Meaning the pebbles exploded when they got hot. HODGINS: The pebbles, as you so quaintly call them, were all found on the same strata as the human remains. Most likely dragged from the m*rder site. CAM: Which explains why they were embedded in the remains. (Cut to: The crime scene) HODGINS: Yeah. All consistent in size and color. (Cut to: The lab) ARASTOO: Decorative, perhaps? (Cut to: The crime scene. HODGINS spots decorative gravel around the base of KURT BESSETTE's wind turbine.) HODGINS: I'll call you back. (Cut to: The lab. HODGINS disappears from the screen). ARASTOO: These bones are not human. CAM: I assume they're pig. ARASTOO: (An alarm on his watch sounds).Yes. (He checks his watch). CAM: Time for prayers? ARASTOO: Yes, but I have a couple of minutes. CAM: Oh, I'm sorry. ARASTOO: Why? CAM: As a Muslim, I imagine you consider this work unclean. ARASTOO: Yes, well, as a Christian, I imagine you feel the same way. Four femurs, twelve phalanges, dozens of teeth, twelve canines. CAM: Luau custom says throw the pig bones back in the pit. Sorry, sorry. Pig bones. God. ARASTOO: I'm fine, Dr. Saroyan. Perhaps the k*ller assumed his victim's remains would never be noticed amongst the pig bones. CAM: Really, Arastoo, there's no reason for you to... ARASTOO: I appreciate your concern, but I am fine. CAM: No, really, most of us aren't devout here, and I respect your religion. ARASTOO: "He hath forbidden you the flesh of swine," but if one is forced by necessity, "without willful disobedience, nor transgressing due limits, then is he guiltless." CAM: Point is, you shouldn't feel forced... ARASTOO: (Angrily in an American accent) I'm a scientist, okay? Just like the rest of you. I can deal. So please just back off and let me do my job like anyone else. CAM: Wow. ARASTOO: (Reverting to fake foreign accent) I apologize for my outburst. CAM: Oh, you aren't even gonna try to un-ring that bell, are you? (ARASTOOS alarm sounds again). ARASTOO: I have to pray (he exits). (A phone rings, CAM answers on speakerphone). CAM: Saroyan. (Cut to: The crime scene. HODGINS is stood by the wind turbine in the BESSETTE's yard) HODGINS: I found the rudaceous sedimentary stratified clast fragment mother lode. (Cut to: The lab). CAM: Uh, yeah, any signs of a struggle in the pebbles? HODGINS: No... (Cut to: The crime scene. HODGINS crouches by the wind turbine and dislodges some of the stones with his hands. He uncovers blood). Um, I call do-over. They're covered in blood. Lots of blood. (Cut to The Jeffersonian. Int. Medical-Legal Lab - ANGELA's office. ANGELA is painting PARKERS face). PARKER: My friend's dad just got a new girlfriend. He goes with his dad to her place all the time to swim. ANGELA: Oh, so he likes her. Well, that's good. PARKER: Do you have a boyfriend? ANGELA: No, I'm on a celibacy kick. It's been five months and nine days, which in celibacy time is 400 years. PARKER: What does celibacy mean? ANGELA: It's, um... I don't have a boyfriend, no. PARKER: How about my dad? ANGELA: I don't think he has a boyfriend either. PARKER: No, he really, really needs a girlfriend. Really. ANGELA: Why? PARKER: To sex up. ANGELA: That's very succinctly put. PARKER: Could Dad sex you up? ANGELA: Don't think I haven't considered that, but I'm sort of on the sidelines for now. But thank you for thinking of me. Okay. Ready? PARKER: Mm-hmm. (She holds up a mirror). ANGELA: Done. PARKER: Cool. How'd you do that? ANGELA: I'm good. (They high 5). (Cut to: Int. BOOTH's car, BOOTH is driving BRENNAN is in the passenger seat) BRENNAN: (Into speakerphone). How much blood did Hodgins find? (Cut to: Int. Medical-Legal lab. Cam is walking through lab talking on a mobile phone) CAM: Plenty. He estimates a fatal amount. (Cut to: BOOTH's car) BOOTH: Can you compare the blood to the cooked guy and see if it's his? (Cut to: The lab) CAM: He's pretty cooked, but we'll try. Hodgins also ID'd morning glory pollen between the victim's eyeballs and his sunglasses. (Cut to: BOOTH's car) BRENNAN: How is that relevant? CAM: (voice over speakerphone) He said morning glories only bloom after sunup. (Cut to: The lab) Sunrise was 5:47 a.m., so we're close to a time of death. Were you guys aware that Arastoo doesn't really have an accent? (Cut to: BOOTH's car). BOOTH: Yeah, he does. Yeah, it's thicker than Achmed the rug merchant. (Whispering to BRENNAN). Was that r*cist? It sounded r*cist. (Cut to: The lab). BRENNAN: (voice over phone) I knew that despite the fact that Arastoo said he was Iranian, (Cut to: BOOTH's car) his accent was Jordanian. (Cut to: The lab). CAM: (She stops walking). Don't you find it odd that he was faking an Arab accent of any kind? (Cut to: BOOTH's car). BRENNAN: Iranian isn't actually Arab. BOOTH: What? It... Bones, it's weird! BRENNAN: Now how is it any more odd than, say, shaving your face or putting on makeup? (Cut to: The lab) CAM: I'm not hanging up because I don't have an answer to that, I'm just hanging up. (Cut to: BOOTH's car). BRENNAN: But...I had questions about the morning glories. (BOOTH's car arrives at Verbena Court). (Cut to: Ext. Verbena Court. BOOTH and BRENNAN are stood interviewing JAMES and NATE on the street). BOOTH: So, we understand that you and the deceased had an altercation over your dog? NATE: You think that we cooked him because he poisoned our dog? JAMES: Kurt did not poison our dog. NATE: Yes, he did. Rocky peed on his stupid windmill, so then he gave our dog chocolate laxatives. Dogs don't react to that the way people do. BRENNAN: It's very difficult to overdose on laxatives. All that will happen is... JAMES: Rocky died from cancer. NATE: Maybe. We'll never know because someone wouldn't pay for a doggy autopsy. JAMES: Oh, my God. You won't let that go, even though the FBI thinks that we k*lled Kurt for poisoning our dog. We don't think that he poisoned our dog. BRENNAN: W... he does. NATE: Now that I think about it...Rocky totally died of cancer. (Cut to: The Jeffersonian. Int. Medical-Legal lab - The bone room. CAM and ARASTOO look at the victims cleaned bones which are laid out on a light table). CAM: Can you see anything that would explain copious blood loss? ARASTOO: (Using fake accent). Not so far. As you can see, here and here... CAM: Can it, bub. It's just you and me here. ARASTOO: (Using his American accent). This mark here on the scapula suggests a puncture wound. CAM: And it's barely a poke, right? ARASTOO: It would've been painful, but no way it kills the guy. Here we see a bone laceration on the victim's proximal humerus adjacent to the greater tubercle. Staining suggests that the injury occurred before he died. CAM: Is that bone splintering? ARASTOO: Yes, micro-fragments. I believe the laceration's the result of a blow from a reciprocating-type w*apon. CAM: Like? ARASTOO: A saw. I asked Dr. Hodgins to swab for particulates that may have been transferred from the blade. CAM: (She calls up images of the injury sites on a screen) Here... is the s*ab wound. And the laceration from the saw. Neither blow's anywhere near a major vein or artery. ARASTOO: Neither blow explains the amount of blood on the pebbles. (HODGINS enters) HODGINS: I ran a metal detector through all the crap we found at the bottom of the pit. CAM: Crap?! HODGINS: Yeah, technical term. (He holds up an evidence bag). CAM: b*llet. Is that a .44 caliber? HODGINS: Yep. ARASTOO: (Reverting to fake accent). This seems to suggest, rather convincingly, The reason for all the blood. (CAM gives him an incredulous look). (Cut to: The Jeffersonian. Int. Medical-Legal lab - ANGELA's office. PARKER is playing a video game, BOOTH and ANGELA stand talking.) BOOTH: Whoa-whoa-whoa, wait a second. You and Parker discussed my sex life? ANGELA: Well, we discussed your lack of sex life. BOOTH: Angela, neither you nor him, especially him, know anything about my sex life. ANGELA: Well, he knows that daddy ain't getting any, and he's concerned. He thinks you need a girlfriend... to have sex. BOOTH: He said that? ANGELA: Well, his exact words were, "To sex up." I think you need to talk to him honestly about your love life. BOOTH: You kidding me? No offense, but I'm not talking about... (CAM enters). CAM: Hey... BOOTH: What? CAM: Want to run our friendly neighborhood suburbanites through the National g*n Permit Database, see if any of them own a .44? Hodgins found that in the pit. (She hands BOOTH the bagged b*llet). PARKER: Hi, Dr. Saroyan. Do you have a boyfriend? ANGELA: See? This is exactly how it started with me. (CAM looks puzzled and amused). BOOTH: (Walking to PARKER). Come on. Let's go. Come on. I gotta get you back home, or your mom's gonna k*ll me, all right? (They turn to leave - he looks at PARKER's painted face). Let me see this stuff. (To ANGELA). Does this stuff come off? ANGELA: Oh, seriously. That's your big worry right now? (Cut to: The Hoover Building. Int. interrogation room. ELLIOT sits at the table) ELLIOT: I hate Verbena Court. Every last thing about it. It's artificial, (we see BOOTH stood opposite him), soulless... that's why I'm trying to sell out. It's ennui, Agent Booth, do you understand that? BOOTH: Looks kind of nice to me. It's good for kids. ELLIOT: They call it a cul-de-sac, but what it is is a d*ad end. BOOTH: So why'd you move there in the first place? ELLIOT: Wife wants kids; kids want lawns. I got snookered in the math. (We hear a knock at the door. An AGENT enters). AGENT: (To BOOTH). Here you go. (The AGENT hands BOOTH a tagged g*n and lays an evidence bag on the table). BOOTH: (To ELLIOT). Right. (To AGENT). Thanks. (AGENT exits) Snookered enough, uh...to snap? (He lays the g*n down in front of ELLIOT and picks up the evidence bag). ELLIOT: So I own a g*n. So what? I have a license, it's registered. BOOTH: (Showing ELLIOT the bagged b*llet). We found this b*llet in the pit with Bessette's body. We checked out his bank records. You wired $5000, into his account last month? (BOOTH sits). ELLIOT: Verbena Court was built with a limited amount of phone lines. Bessette bought them all. I wanted to put in a second line. BOOTH: Your neighbor charged you $5000, for a phone line? ELLIOT: Yup. Then he spent the five grand on putting up the damn windmill. BOOTH: Okay, so he rips you off for five grand, you snap and you sh**t him. ELLIOT: No. I should've sh*t him. It wasn't Kurt I sh*t, though. I sh*t the pig. The luau pig. BOOTH: Excuse me? ELLIOT: Bob Sayles and I found a farm in North Carolina and paid to hunt our own pig. BOOTH: With a g*n? ELLIOT: I'll give you the name of the farm. Porky walked right up to us. I popped him one between the eyes. I barfed, Bob cried. (He Chuckles). Suburban hunters. That's an oxymoron, my friend. It's an oxymoron. (Cut to: Int. The Hoover Building - SWEETS' office. SWEETS sits reading. CAM enters without knocking). SWEETS: No, no, no, no, you can't just walk in here... (She sits across from him). CAM: Arastoo Vaziri, our Muslim intern - he's been faking his accent. At first I go where everyone else goes, you know - t*rror1st. SWEETS: Wouldn't a t*rror1st fake not having an accent? CAM: Is it crazy or just weird? Weird, I can deal with, but crazy... (She stands and moves to leave). SWEETS: Wait. What do you want me to do? CAM: Oh, crazy is your department. (She exits). (Cut to: Hoover Building Int. BOOTH and BRENNAN enter a corridor and continue walking). BRENNAN: They went to a farm and sh*t an innocent pig in the head? BOOTH: Look, it's not a Federal offense, Bones. There's nothing we can do about it now, okay? So let's just focus on the m*rder human. BRENNAN: Oh, Okay. So far... we have a nick on the scapula, suggesting s*ab and splintering on the humerus, which suggests sawing. But neither explains bleeding out. BOOTH: Well, Sweets says he has something he'd like to share with us in the conference room. BRENNAN: Why does he have to say "share"? Why can't he just say "show"? BOOTH: Shhh, just... (They enter the conference room to see SWEETS resting against a chair. As they enter SWEETS rises). What do you have? SWEETS: Hey. Hey. (He indicates a large pin board covered with pictures of Verbena Court and its residents). Suburbanites tend to put too much emphasis on their outward accomplishments. Now, this creates a sense of detachment. (Booth sits on the table). BOOTH: Ennui. SWEETS: Very insightful. BOOTH: That's right. SWEETS: All right. The inherent uniformity and shared ideals of a planned community suggest that the neighborhood can be psychologically analyzed as a single, dysfunctional personality. BRENNAN: You mean you can look at it anthropologically? SWEETS: Really? You're gonna shanghai my whole discipline? BRENNAN: You're tapping into what anthropologists call "lines of influence, dominance and suasion." BOOTH: Go on, Sweets. (To BRENNAN) Just let him go on. SWEETS: So we can look at the community as a single dysfunctional personality, dealing with sexual infidelity, indebtedness, resentment... BRENNAN: That's what I just said. BOOTH: Both of you-- it's m*rder, okay? We're either dealing with money or sex here. SWEETS: Yeah, that's what I just said. And this is where psychology can provide an insight that anthropology cannot. BRENNAN: I doubt that. SWEETS: Well, suburbanites, uh... will not only lie to outsiders, they'll lie to each other and to themselves. BRENNAN: What Sweets means is that societal norms endemic to the suburban acculturation dichotomize exterior postures and clandestine protocols. (BOOTH looks pained). BOOTH: Just give me one thing that's gonna help me catch the m*rder--just one thing. SWEETS: All right, deal with these people as separate elements of one big collective personality. Identify the thr*at that Kurt Bessette posed to their psychological equanimity, and the k*ller will emerge. BRENNAN: (Surprised). I agree. BOOTH: Doesn't help me one bit. (He gets up and walks out BRENNAN and SWEETS follow). SWEETS: Why? BOOTH: (To BRENNAN). You seriously believe all that hoo-ha? BRENNAN: Well, it's anthropology, so, yes. SWEETS: Wrong "ology." Keep your grubby anthro hands off my psych. BOOTH: Listen, Bones, I'll meet you down in the car in five minutes, okay? (He pulls SWEETS towards his office) SWEETS: What? (BRENNAN exits). BOOTH: Five minutes. SWEETS: What? (They enter BOOTH's office and BOOTH closes the door). BOOTH: Okay, look... Parker has been asking all the women that I work with to be my girlfriend. SWEETS: Well, the women you work with are beautiful. BOOTH: Don't turn this into a conversation about sex, okay? My kid is eight years old here. SWEETS: Parker's pre-adolescent, but he's very concerned with sex. BOOTH: What he's concerned about are shoes with wheels on 'em. SWEETS: There are five stages of psychosexual development: oral, a**l... BOOTH: Whoa! (BOOTH moves around his desk, SWEETS follows). SWEETS: ...phallic latent and genital. Now Parker's transitioning from latent to genital. At the genital stage, he's learning to identify with his gender parent. That's you. He's looking at you to see his sexual future. BOOTH: How do I get him to stop? SWEETS: My advice is to let him see you interact with a woman. BOOTH: Easy! SWEETS: No, not sexually. Socially. Show him you're comfortable with women so he can learn to be the same way. BOOTH: Okay. (He turns to leave). SWEETS: Okay? Just like that? You're taking my advice? BOOTH: No, I just don't want to talk to you about it anymore. (He exits. SWEETS moves to sit in BOOTH's chair). SWEETS: Wait. This isn't my office. (Cut to: Ext. Verbena Court. BOOTH is stood in the street. He is making notes entitled Motives and Alibis. We see him observe PAULA handing TREY a drink in her garden, JAMES and NATE potting a plant and BOB polishing his car while PAIGE sunbathes. BRENNAN approaches BOOTH). BRENNAN: What are you doing? (He hands her a sheet of paper, she reads from it) "Alibis." Hmm, it's very organized. (She continues reading). "At the time of the m*rder, Mary Kay Sayles (BOOTH recites with her) was biking with James Perry and Elliot Lindbergh." BOOTH: I'm thinking gay guy and 'burb hater are out biking with church lady. BRENNAN: Oh, so you're thinking they're a sexual threesome? BOOTH: What? Wow. No. I was just thinking that one of these cyclists was having sex with Kurt Bessette. BRENNAN: Oh. So we should find out where churchy lady's husband and gay guy's boyfriend and 'burb hater's wife were at that time. BOOTH: Hey, if this turns out to be some suburban-key-party-threesome-revenge-slaying, (A car arrives) it's gonna get complicated and I'm gonna get... (HODGINS exits the car and approaches them). HODGINS: Hey, so I finally got through the particulates left behind by the saw. Three different organic remnants on the cut: a hooked thorn from the Bougainvillea glabra, a haw from a hybrid Crataegus monogyna and nectar from a Syringa protolaciniata. (He indicates three front yards). Each plant was from a different yard. BRENNAN: But all on the same reciprocating saw. HODGINS: Yeah. BOOTH: Really, like that one that Casanova gardener boy is using? (They watch as TREY uses a reciprocating saw to prune a bush). (Cut to: The Hoover Building Int. interrogation room. BRENNAN sits across from TREY, BOOTH stands) BOOTH: So, my question is, did you k*ll Kurt Bessette on your own volition or did his wife talk you into it? TREY: What? BRENNAN: Bessette was att*cked with your hedge trimmer. BOOTH: Come on. Young hot suburban gardener, bored suburban housewives. BRENNAN: You're an ethnological trope. TREY: What? BOOTH: Come on, Trey. Iced tea is not the only perk here, is it? TREY: Look, I had nothing going with Kurt Bessette's wife. BOOTH: Let me make this a little easier for you, shall we? Ah...(BOOTH lays pictures of PAULA LINDBERGH, PAIGE SAYLES, MARY KAY SAYLES and KELLY BESSETTE on the table in front of TREY.) Which one of these people did you have something going with? TREY: (Hesitates then touches the picture of PAIGE). Paige Sayles. BRENNAN: Huh. The church lady's daughter. TREY: She's 18, she's legal...and, plus, it was her idea. BOOTH: And? (TREY smiles and turns the picture of PAULA so it faces BOOTH and BRENNAN). BRENNAN: Paula Lindbergh-- I think she was trying to get pregnant so her husband would stay in the suburbs. BOOTH: So, you mind being used as a stud horse? TREY: Would you? BOOTH: Do these women know about each other? TREY: Not from me. BOOTH: Then from who? TREY: Mr. Bessette caught me and Mrs. Lindbergh sloshing up her hot tub. BRENNAN: Where were you between the hours of 5:00 am and 8:00 am the morning of the luau? TREY: I've got a girlfriend. I mean, back in my neighborhood. A real one who I love. I was with her. (Cut to: Int. The Hoover Building. A corridor. BOOTH and BRENNAN enter through a door). BOOTH: Wow. That cul-de-sac is like a sex camp. BRENNAN: What? There's a sex camp? BOOTH: No, no, no - listen, what were your anthropological lines again? BRENNAN: Influence, dominance and suasion. BOOTH: Okay, look, we both know that the m*rder victim wasn't above shaking someone down for a phone line, so maybe he finds out that Paula Lindbergh is trying to make babies with the gardener; he puts the squeeze on her, she kills him and Casanova gardener boy helps out. BRENNAN: That definitely fits the paradigm. (Cut to: Verbena Court Int. the LINDBERGH home. PAULA is sat in her sitting room). PAULA: I was afraid this would come up when I heard you took Trey in for questioning. (We see BOOTH and BRENNAN sitting on the couch opposite). BOOTH: You were right. So start talking. PAULA: I should never have made Elliot move to the suburbs. In a way, I emasculated him. BRENNAN: (To BOOTH). Oh, God. She's a therapist. She talks like a therapist. PAULA: What? You remove a man from an environment where he flourishes to a place where he feels impotent, he actually becomes impotent. BOOTH: Look, if you wanted a baby so bad, why didn't you just move back to the city? PAULA: We owe more on this house than it's worth. And even if Elliot could sell it, we're stuck financially. BRENNAN: What happened when Kurt Bessette found you with the gardener? PAULA: Nothing. He smirked. BOOTH: Did Kurt thr*at to tell your husband or blackmail you? PAULA: Oh, no. He wouldn't dare. BRENNAN: Why not? PAULA: Wait, you think that Kurt told my husband about the gardener, and so Elliot k*lled him? Elliot puked when he sh*t a pig. Please. BRENNAN: Interlocking lines of suasion between members of the collective result in multiple duplicities. PAULA: Oh, my God. She's an anthropologist. She talks like an anthropologist. BOOTH: Just answer the question. BRENNAN: Why wouldn't Kurt Bessette dare tell your husband about the gardener? PAULA: I'm a trained therapist. I looked at Kurt and Paige talking on the street. I knew immediately that their relationship was clandestine. Probably sexual. Kurt Bessette was sleeping with that 18 year old girl. I used that knowledge to ask for our five grand back for the phone. Kurt wouldn't have agreed if it weren't true. If I were you, I'd be looking at Paige's father for this m*rder, not my Elliot. PAIGE: (Voice off screen) Hey, Dad! (Through the window BOOTH and BRENNAN see PAIGE approach BOB outside, he sprays her with his hose, she squeals). I'm going to k*ll you! BOB: That never gets old. (Cut to: Verbena Court Int. the SAYLES home. PAIGE is drying off with a towel). PAIGE: Okay, yeah, Kurt and I hooked up. (We see BOOTH and BRENNAN stood with her). I'm of age. He didn't break any laws sleeping with me. BOOTH: So, what did you see in him? PAIGE: Kurt wasn't like the other guys from here. He wasn't just cute, he was committed to the environment, saving our planet. People hated him because he made them feel ashamed that they weren't doing more. BRENNAN: Well, I think what they hated was the windmill. BOOTH: You know, it's possible having sex with you k*lled him. PAIGE: No, Kurt was in awesome shape. BOOTH: No, I didn't mean that you gave him a heart att*ck. What I meant was, it's possible that someone who cares about you k*lled him. PAIGE: Like my Dad, you mean? BRENNAN: Or Trey the gardener. PAIGE: But they didn't even know about Kurt. BOOTH: Well... what if they did? (Cut to: The Hoover Building Int. SWEETS' office. ARASTOO is sitting opposite SWEETS). ARASTOO: (Using his fake accent). Is this an official FBI investigation? Do I need some kind of representation? SWEETS: Yeah, the whole accent thing - it's kind of out in the world. ARASTOO: (Reverts to American accent). I figured. SWEETS: This place, the Jeffersonian - they see things in very black-and-white terms. ARASTOO: Comes with the gig. We're scientists. SWEETS: Yeah, but unlike any of them, you're religious. ARASTOO: Muslim. SWEETS: Now, this man I see in front of me right now - rational, pragmatic, highly intelligent. That man might have to explain his religion to people like that every single day. Whereas... ARASTOO: Whereas a kid from the sticks of Iran, newly arrived in the West, it's no wonder he clings to his cultural superstitions. SWEETS: There you go. Frustrating enough to drive a guy to fake an accent. Which, in my professional opinion, is not crazy. ARASTOO: You're a pretty smart guy. SWEETS: But I don't need a scientist to tell me who or what I am. And neither should you, Mr. Vaziri. Thanks for coming by. ARASTOO: Thank you. (They stand and shake hands). (Cut to: The Jeffersonian Int. Medical-Legal lab - CAM's office. We see some analysis on a computer screen). CAM: (Voice off screen).Tox screen came back positive for potassium nitrate, (We see CAM sat at the computer, she is talking on her speakerphone) which can be prescribed for high blood pressure... (Cut to BOOTH and BRENNAN in BOOTH's car. CAM's voice is heard over the car phone). ...but Kurt Bessette was in very good shape. (The scene cuts between CAM's office and BOOTH's car throughout the conversation). BRENNAN: Yes, we heard that from his teenage girlfriend. BOOTH: Enough to k*ll the guy? CAM: Nope. He might have experienced some muscle weakness, but otherwise saltpeter is fairly harmless. BOOTH: Saltpeter is not harmless, okay? I went to Catholic school. CAM: That's a total myth, Booth. BRENNAN: No, Booth did actually go to a Catholic school. BOOTH: No, no, no, the nuns-- used to put saltpeter in all the boys' milk at lunch so that we couldn't get... So we could concentrate without... You know! Ping? BRENNAN: But how could you tell that it was in the boys' milk and not the girls'? BOOTH: 'Cause the boys' milk was always frothier. CAM: And did it work? BOOTH: Well, not on me. BRENNAN: Well, it didn't work on anyone, Booth. Why people insist upon believing that old wives' tale in the face of all evidence, I'll never understand. Saltpeter acts as a blood thinner. BOOTH: See? Thin blood could stop a guy from... CAM: We've been saying that the two wounds we found on the victim's body wouldn't be enough for him to bleed out... BRENNAN: But with saltpeter, he could have bled internally from even minor soft tissue damage. CAM: We'd never have seen the evidence of that after he cooked. BOOTH: We got probable cause of death. BRENNAN: Now we just need to find out who fed Kurt Bessette the saltpeter. CAM: I think you'll want to talk to the cheating bastard's wife. (Cut to: Int. The Hoover Building. The interrogation room. KELLY BESSETTE sits at the table). KELLY BESSETTE: I begged Kurt to stop cheating on me. I did everything I could in the bedroom to make him stay. I changed my hair. I went to the gym. But when I went to work every day, it was a "cat's away, mice play" situation. (We see BOOTH and BRENNAN sat opposite her. BOOTH is leaning away from the table). BRENNAN: Where'd you get the saltpeter? KELLY BESSETTE: Oh. Um... Nate and James have stump remover. And that's 98% saltpeter. I figured that might be enough to remove Kurt's stump from her garden. BOOTH: (Leaning forwards). Who else knew he was cheating? KELLY BESSETTE: Nobody. Unless her husband found out. BRENNAN: Husband? (Whispering to BOOTH) Kurt Bessette was sleeping with the church lady, too? BOOTH: Do you think her husband is capable of m*rder? KELLY BESSETTE: Bob? No. He's just a big dumb-ass knob who thinks Verbena Court is Heaven. BRENNAN: (Whispering to BOOTH). That was before he knew the neighbor was having sex with both his wife and his daughter. BOOTH: (BOOTH opens a folder to cover his mouth from KELLY BESSETTE, and whispers to BRENNAN). I don't care how big of a dumb-ass Bob Sayles is. He finds that out, he's going to want to k*ll her husband. (He closes the folder). (Cut to: Int. The Hoover Building. The interrogation room. MARY KAY SAYLES sits at the table). MARY KAY: How did you find out about me and Kurt? (We see BOOTH sat opposite). Only the two of us knew and, and Kurt's d*ad. BOOTH: You were not the only person that Kurt Bessette was sleeping with. MARY KAY: You mean, aside from his wife? So I wasn't his only... Well, who? Who else? BOOTH: He was sleeping with your daughter Paige. (She looks shocked). You can understand why you're a suspect here. MARY KAY: Yes. People k*ll out of jealousy. I guess it won't matter if I deny it. BOOTH: Uh, but you're not our prime suspect. You see, you have an alibi. You were out biking with James Perry and Elliot Lindbergh. MARY KAY: So you think Kelly found out and k*lled her own husband? (BOOTH looks doubtful). Paige? My God, she's only 18... (BOOTH looks doubtful again). You think my Bob found out and k*lled Kurt? (BOOTH nods). (Cut to: The Jeffersonian Int. Medical-Legal lab - The bone room. CAM, ANGELA and HODGINS are stood around the light table where the victim's bones are laid). HODGINS: I found evidence of a h*m* mixture of oily and waxy long-chain, which are non-polar hydrocarbons in, uh, this fracture of the skull. CAM: Can't you just say lubricant? Isn't that much quicker? ANGELA: Arastoo must be finished looking at the mini-fractures in that area, right? Where is he? (ARASTOO enters). ARASTOO: (In his regular American accent) Sorry. Sorry, I just finished morning prayers. (He walks behind the others and moves to stand in front of the big screen with his back to them. ANGELA and HODGINS look at him with shocked expressions). Skull fracture is located high on the frontal bone, right on the midline... HODGINS: Whoa! ANGELA: Who are you? ARASTOO: (He turns to face them). I don't have an accent. I was faking it. But I am devout. I do pray five times a day. Now can we get back to work, please? ANGELA: Oh, no. Definitely not. HODGINS: How do we know you're not faking this accent? ANGELA: Does Brennan know about this? CAM: Yes. (She nods). She doesn't care. (ANGELA looks unbelieving). She doesn't care. ARASTOO: (Turning back to the screen). The midline fracture... HODGINS: N n n n n n n n nooo. CAM: Arastoo, things will go a lot faster if you just explain. ARASTOO: When I speak as though I just got off the boat, people accept my religious convictions. Plus, fewer t*rror1st jokes. I don't know why. HODGINS: 'Cause they're afraid of you. ANGELA: You are so gonna to pay for this. HODGINS: Yeah. ARASTOO: I have no doubt that is true. Now, (He turns back to the screen). This wound has a distinctive curve shape to it. CAM: (CAM moves to join ARASTOO at the screen). It doesn't look very severe. Corresponding micro fractures to the posterior cranium indicate that Kurt was h*t while resting his head on a hard surface. ANGELA: So, a weak blow that was delivered when Kurt was already on the ground? HODGINS: There's a concrete base on the wind turbine. CAM: Bob Sayles is a big, burly man. HODGINS: Yeah, but he's a decent guy. ANGELA: Well, what does that have to do with it? HODGINS: Decent guys, you know. They have a harder time hitting a guy when they're already down on the ground. ARASTOO: So, not a weak blow, a half-hearted one? ANGELA: This mark here could be congruent with a golf club. (She points to the skull on the table). It's curved and metallic. I could run up an image. HODGINS: Most clubs have abrazing composition to secure the titanium alloy that's on the club head. I can check on that. CAM: So a reciprocating saw, a golf-club with some lubricant. That just leaves the puncture w*apon unidentified. (Cut to: Int. The Hoover Building. BOOTH and BRENNAN are walking from the elevator). BOOTH: It takes a village, Bones. BRENNAN: Uh, I, I beg your pardon? BOOTH: A village to raise a kid properly. You know, it takes a village. BRENNAN: But metaphorically; it doesn't mean we all must grow up in hamlets of 800 people or less. (He takes a file handed to him by a coworker as he passes her desk). BOOTH: Thanks, um... Will you be my village? BRENNAN: Huh? BOOTH: I-I need Parker to know that I lead a full and rewarding life. BRENNAN: But you don't. BOOTH: What? Yes, I do. BRENNAN: No, you don't. You work too much, you don't socialize, all of which prevents you from having a full sex life. BOOTH: Okay, please, let's just take a hint from, you know, the suburbs and just make it look good. (They enter the snack room. BOOTH looks at the file he took). BRENNAN: You want to know if I'll help you fool your son into thinking your life is gratifying? BOOTH: Yeah. Will you do it? BRENNAN: Well, uh how? BOOTH: Come to dinner with us. Have fun. Laugh at my jokes. BRENNAN: That might actually turn out to be fun, thus becoming a self-fulfilling desire. (We assume BOOTH has poured himself coffee as he now holds a mug). BOOTH: Right. So, you'll do it? BRENNAN: Yes, I will be your hamlet of 800 people or less. BOOTH: My village. BRENNAN: I was being amusing. You should laugh at my jokes, too. BOOTH: I'm laughing on the inside. (SWEETS enters and stands in the doorway). SWEETS: Hey, so I just told Bob Sayles that both his wife and daughter were having sex with Kurt Bessette. BOOTH: Was he shocked? SWEETS: Yeah, and he wasn't faking it. (BRENNAN and BOOTH exit the snack room). BRENNAN: Well, you shouldn't say that like it's a fact. (SWEETS, BRENNAN and BOOTH walk together along the corridor). SWEETS: In my opinion, his dismay was genuine. However, it's difficult to say whether the shock was due to the sexual revelations or if we discovered information he was keeping secret. BRENNAN: I appreciate the distinction. (They stop outside a door, BRENNAN goes inside). BOOTH: Hold on to that for a second. (He passes SWEETS his mug. BOOTH follows BRENNAN through the door). (Cut to: Int. The Hoover Building - The interrogation room. BOB SAYLES sits at the table). BOB: You do the best you can, you know? You go to work, you bring home the bacon, you raise a daughter. Either of you got daughters? (We see BRENNAN at the table opposite BOB. BOOTH stands). BOOTH: Mm-mm. (BOOTH shakes his head). BOB: Well, that's the trip, man - daughters. I was so worried about Paige and that gardener kid, I didn't see what was happening with Kurt. But, I mean, what do you do, preach abstinence? Doesn't work in Alaska; why would it work on Verbena Court? BOOTH: Did you suspect anything about your wife? BOB: I gotta confess... (BRENNAN and BOOTH share a look). If I'd have known any of that, I'd have k*lled the son of a bitch, bare hands. And there's not a jury in this country that would convict me, either. BRENNAN: That is untrue. They most certainly would have convicted you. BOOTH: You don't have an alibi? BOB: I was home alone, sleeping in, after getting that pig pit all dug and ready and lit. How can Mary Kay do this to me. I've been a good husband, good provider. I took two jobs. BRENNAN: Two jobs? We only have you down as a CPA for an airline. BOB: Yeah, well, me and Kurt started a side business on the Internet. BOOTH: You and Kurt Bessette had a business together? BOB: Yep. It was going good, too. BRENNAN: Can you continue the business without him? BOB: Nah. No way. He was the entrepreneur. I just handled the books. BOOTH: What kind of business was it? BOB: The only kind that's recession-proof. (Cut to: Verbena Court - Int. the SAYLES' garage. The space is full of shelves stacked with boxes and packages. Several life-size blow-up dolls are visible. BOOTH and BRENNAN enter). BRENNAN: Sex toys. BOOTH: Guy goes into the sex toy business with another guy, (He picks up a red riding crop from a display). who commences to nail his wife... (He swishes the crop). and daughter. Probably using some of the merchandise here to double the fun, huh, Bones? (He swishes the crop again. We see a box labeled "Love Lube") Bones, looks like we found the lubricant. (He shows her a bottle). (Cut to: The Jeffersonian. Int. Medical-Legal lab - An examination room. The boxes and packages from the SAYLES' garage are stacked around the room. Two blow-up dolls are laid out on light tables. CAM enters. ANGELA and ARASTOO are looking through the items). CAM: Oh... my God. Please tell me this has something to do with the case. ARASTOO: This comprises the contents of the Sayles' family garage. ANGELA: Brennan asked me and Arastoo to look for possible m*rder w*apon. We did find the lube - it's enough to make the whole neighborhood smile. And there's this. (She holds up a leather and metal harness). CAM: Well, that looks... scary. (HODGINS enters). HODGINS: Wasn't a golf club. No brazing agent or titanium. ANG: Could it have been this? (She shows him an open box, he looks inside) HODGINS: Oh. Ouch. CAM: What about this lubricant? (Indicating the box of lubricant BOOTH found). HODGINS: No, it's not the right lube. (He refers to a file he is carrying). The lubricant in the fracture contains hexane silicone, mineral oil and propellant. Same kind used to lubricate a bicycle chain. (Arastoo looks around the room he spots a pointed w*apon). ARASTOO: I think I found the w*apon. (He holds up a Neighborhood Watch sign attached to a spike) This point matches the puncture wound. CAM: There's one of those signs on every lawn on the cul-de-sac. HODGINS: Bob Sayles was the head of the Neighborhood Watch. He's the one that distributed signs. CAM: Huh. You're gonna need to luminal every sign on Verbena Court. ANGELA: You're gonna tell me to stop looking through all of this stuff now, aren't you? CAM: I'm afraid so. I'll go tell Booth about the lube. (CAM and HODGINS exit via opposite doors). ANGELA: Spoilsport. Finding likely m*rder w*apon way too fast. (She throws him the box she showed HODGINS earlier, he catches it instinctively then sees what it is and drops it quickly looking embarrassed). (Cut to: Ext. Verbena Court. BRENNAN watches the activity in the street. HODGINS has a lawn sign and sprays its spike with what we assume is luminal). BRENNAN: Any blood, Hodgins? (HODGINS shakes his head. HODGINS and an FBI Technician continue lifting signs from lawns and spraying them. PAULA stands watching HODGINS. MARY KAY is on her driveway working on her bicycle. BOOTH appears). BOOTH: (To HODGINS). Nothing? (HODGINS shakes his head. We see JAMES and NATE, JAMES begins cycling. ELLIOT is also setting off on his bicycle. TREY comes to stand with PAIGE who is watching the scene. HODGINS sprays the BESSETTE's sign as KELLY BESSETTE leaves her house). HODGINS: Booth. BOOTH: Yeah? HODGINS: We're testing positive for blood here. Someone s*ab him with his own sign. (KELLY BESSETTE looks shocked, JAMES and ELLIOT stop cycling. BOOTH and BRENNAN - now stood together - see MARY KAY, the metal cleat on the sole of her shoe is visible). BRENNAN: Curved, metallic object I thought might be a golf club, her shoes. (MARY KAY sprays her bicycle chain from a can). BOOTH: Silicone lubricant. BRENNAN: (Approaching MARY KAY).You kicked Kurt Bessette in the head while he was lying in the pebbles. (JAMES - now on foot approaches MARY KAY, ELLIOT, still on his bike watches). BOOTH: You were with James Perry and Elliot Lindbergh that morning. BRENNAN: The three of you each gave him a separate blow. Any one of you could have taken the saw from the gardener's truck. BOOTH: And the sign from his lawn. JAMES: We have alibis. BOOTH: You're each other's alibis. All three of you were together at the time of death. BRENNAN: Your alibi just turned into an anti-alibi. (ELLIOT makes a break for it on his bicycle). BOOTH: Whoa, whoa, whoa, whoa, whoa, whoa. (BOOTH drags ELLIOT off his bike and pushes him onto the hood of a car as he tries to cycle away). Take these three into custody, please. (Two uniformed officers approach MARY KAY and JAMES). OFFICER 1: Yes, sir! OFFICER 2: Got it! OFFICER 1: Hands behind your back now. OFFICER 2: Right now! Let's go! (PAULA, PAIGE, TREY, NATE and KELLY BESSETTE look on as the three are arrested). (Cut to: Ext. Verbena Court. SWEETS stands on the sidewalk facing BOOTH and BRENNAN who lean back against a parked car). BRENNAN: Three separate injuries to the body and... three suspects. BOOTH: Access to the luau pit. BRENNAN: The evidence indicates that we caught the m*rder. SWEETS: Yeah, I believe you did catch the right people. BOOTH: Okay, then what's your problem? SWEETS: Motive. BRENNAN: James Perry was angry that Kurt poisoned the dog. Elliot Lindbergh was ripped off for $5000. SWEETS: Right. My problem is, all these motives were a long time cooking, right? These w*apon - a sign, the hedge trimmers, kicking him - all suggest...heat of the moment, right? Not premeditation. BOOTH: So you want to know why they all snapped at that precise moment. SWEETS: Yeah, yeah. Now, picture it. (He moves to stand in the street, BOOTH and BRENNAN turn to face him). It's dawn; three cyclists are heading out. (He points to where they would have come from). They spot Kurt. (He points to KURT's yard). They approach him for some reason. They argue, and then, with all this pent-up rage, they att*ck. One slice, one jab, one kick. BRENNAN: They didn't know that he was full of the blood thinner, that he would die from the as*ault. Why does this matter? We already have the people responsible. SWEETS: 'Cause it's knowledge, Dr. Brennan. It's insight into humans. It's why I do what I do. BOOTH: It's a good answer, Bones. BRENNAN: It was a good answer. Fine. Okay, Kurt must have violated some ethos of the suburbs. BOOTH: Like cheating on his wife or ripping off his neighbors. SWEETS: Those are all accepted derivations of the suburban ethos. BRENNAN: Cam said that one of her neighbors had his garage b*rned down for cutting his lawn on the diagonal. (We suddenly become aware of a loud squeaking noise coming from the wind turbine. They all stare up at it). BRENNAN: The windmill. SWEETS: It was the last straw. It's ugly, makes a horrible sound, destroys home values... BOOTH: It's the diagonal lawn of Verbena Court. (Cut to: The Jeffersonian. Int. Medical-Legal lab - The mezzanine. HODGINS pours a glass of clear liquid from a conical flask. He moves to offer the drink to ARASTOO who sits with CAM and ANGELA on the sofas). HODGINS: Okay, this is basically vodka with a very, very subtle hint of pepper. ARASTOO: (He waves the glass away). None for me. (HODGINS sits and hands the drink to ANGELA). CAM: Okay, it's technically illegal moonshine, but we are scientists honing our craft. ARASTOO: I don't drink alcohol. ANGELA: Okay, let's have it. ARASTOO: Have what? HODGINS: How do you balance an archaic religious belief with a life devoted to science? ARASTOO: This discussion is exactly what I hoped to avoid. CAM: It's not our fault you let the accent slip. ARASTOO: There's no conflict between Allah and science. Allah created the mystery of the world, and science struggles, and mostly fails, to explain it. But the search for truth is honorable, and I honor Allah through the search for truth. HODGINS: I get that. But what's with the "k*ll the infidel" routine? ARASTOO: It's times like this I wish I drank alcohol. ANGELA: Well, "Fight and slay the unbeliever." ARASTOO: I prefer the other option, which is to enslave the unbeliever. (CAM and ANGELA look shocked). It's a joke. CAM: Ha. HODGINS: That was funny. ARASTOO: Is this part done? CAM: Not quite. I have one more question. (She rises holding an empty glass). If you took the all-time greatest Celtics players and put them against the all-time greatest Lakers, who would win? (She goes to the conical flask and pours herself a drink). ARASTOO: Including the years when the Lakers played in Minneapolis? (CAM nods). Definitely the Celtics. HODGINS: Okay, I got one, I got one. Pit the all-time greatest Christians against the all-time greatest Muslims. (As CAM returns to her seat she slaps HODGINS on the back of the head). ANGELA: (Laughing) Oh, you just got smote. HODGINS: Wow. (They all laugh). (Cut to: Int. Royal Diner. BOOTH and BRENNAN sit at a table opposite PARKER they all have plates of food and drinks). BOOTH: This is fun. Isn't it fun? BRENNAN: Yes. I'm having fun. (Whispering to BOOTH) Is he? BOOTH: (BOOTH holds his drink in front of him to hide his face from PARKER. Whispering to BRENNAN). Bones, you can ask him yourself. (We see PARKER's face has marks where ANGELA's face paints have not washed away). BRENNAN: (To PARKER). Hey. Are you having fun? PARKER: Milk shakes are fun, and I'm having a milk shake. (He holds up his glass). So, yeah, I'm having fun. BRENNAN: That's an excellent syllogism. PARKER: She thinks I'm silly? BRENNAN: What-what's wrong? PARKER: He needs a girlfriend. BRENNAN: Well, why doesn't he have one? PARKER: I don't know. That's another thing we can't talk about until I have hair under my arms. BOOTH: Hey, I got a good idea. What do you say we all go bowling, get out of here, huh? PARKER: Couldn't you be his girlfriend? BOOTH: Buddy, you really gotta quit that. BRENNAN: That would be inappropriate. PARKER: Why? BRENNAN: Because... (She pauses). ...we work together. PARKER: That's a stupid reason. BOOTH: (Hiding his face with his drink and whispering). You know what? Bones, I'm really not comfortable with the questions that you're asking. BRENNAN: (Also hiding her face with her drink and whispering) Booth, could you maybe trust me for a second, trust that I can say the right thing? In the time that I've been with you, I've learned a lot about how to deal with people. (To PARKER). Your father is very, very good with people. PARKER: Then why doesn't he have a girlfriend? BOOTH: And we're off. (BRENNAN glares at him). Okay. All right, all right. BRENNAN: Can I ask you a question? Why do you think your father needs a girlfriend so much? BOOTH: (Hiding his face again). Okay, look, Bones, there's a whole gender-parent dealy-bob thing going on here. You're just going to confuse him. PARKER: So I can have a pool. BRENNAN: He doesn't sound confused. BOOTH: A pool? PARKER: Lasky's dad got a pool with his girlfriend. Oh, you mean Lasky with the, uh, third nostril? PARKER: Lasky's dad got a girlfriend. Then, they got married and moved to a house with a pool. Maybe, if you got married, you'd move to a house with a pool that I could swim in. BRENNAN: Well, he seems extremely clear on why he wants you to get a girlfriend. I don't know why you didn't just ask him. BOOTH: So, the whole reason you wanted me to get a girlfriend was so that you could have a pool? PARKER: Mm-hmm. Why else would I care? BRENNAN: There is a pool in my building... (She starts removing a key from her key chain). ...that the two of you can use as my guests anytime. (She places the key on the table. BOOTH takes it). PARKER: Awesome. That's awesome, right, Dad? BRENNAN: No, not awesome. Simple Socratic method of solving a problem. BOOTH: Nope. Mm-mm, Parker is right. You're awesome, Bones. BRENNAN: Yeah. I'm awesome. (PARKER nods.) Cheers. (BRENNAN raises her glass and PARKER clinks his own against hers). END.

{"type": "series", "show": "Bones", "episode": "05x04 - Beautiful Day in the Neighborhood"}

foreverdreaming

"A Night at the Bones Museum" Episode 5x05 Written By: Carla Kettner & Josh Berman Directed by: Jeannot Szwarc Transcribed by: Tracie Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox. TEASER (Open: A Power Plant - Night. A Security Guard patrols the grounds. Bored, he flings coins at the electric fence. They spark and sizzle in the dark, illuminating a figure. The Security Guard shines his flashlight and gets the shock of his life when he finds a shriveled corpse. He goes to touch the corpse but winds up shocking himself on the electric fence and falls backward to the ground.) (Cut to: FBI - Booth's Office. Booth and Brennan are in the middle of looking at something on Booth's desk when Assistant Director Andrew Hacker enters the room) HACKER: Hey! These are all the approvals that you asked for, Agent Booth. I- I think they're all in order. BOOTH: Right, you, uh, usually just e-mail me these, sir. HACKER: Yeah, well, since I heard Dr. Brennan was here, I thought I would say hello and ask her if there was anything she needed from us suits upstairs. BRENNAN: Oh, no, thank you, but it's nice to see you again, Agent Hacker. BOOTH: It's Assistant Director Hacker, Bones. HACKER: Andrew is fine. BOOTH: Andrew, cool. HACKER: For Dr. Brennan. I'm still your boss, Agent Booth, and since we're at work... BOOTH: Sure. HACKER: (to Brennan) I just want you to know I realize how busy you are being an author and scientist. Loved the last book, by the way. Not everyone can make crushing someone to death charming. BRENNAN: Thank you. HACKER: Well, the Bureau is grateful for all of your help and I hope that you're pleased with Agent Booth; he's the best we've got. BOOTH: Oh, I don't know about that... BRENNAN: I agree that statement is impossible to quantify, since there are no other agents, partnered with forensic anthropologists let alone, one with my abilities. BOOTH: You know what, Bones? You're raining on my parade. HACKER: Agent Booth, would you mind if I had a quick word in private with Dr. Brennan? BOOTH: Sure! No problem. (to Brennan) He probably wants a signed copy of your book. (to Hacker) Happens all time, no need to be embarrassed. (Cut to: Power Plant - Day. Brennan and Booth are getting out of the car, walking towards the crime scene)) BRENNAN: Director Hacker wants to have sex with me. BOOTH: Oh! He said that. Wait! And it's Assistant Director. BRENNAN: Well, he said dinner, but the implication was clear. BOOTH: Okay, well, all you gotta do is just turned him down. You know, be very polite and nobody gets hurt. BRENNAN: But he is charming, good looking. Why would I turn him down? BOOTH: Well, because he's my boss, ok? It'd just be awkward. I'm the guy who's gotta report to him, Bones. (They meet up with Cam) CAM: The victim seems to have fried. Local cops think a radical environmental group did it. Last week, apparently they torched a Hummer. Sign was the same- "Big energy is k*lling the planet." BRENNAN: Seems to be a poor way to get sympathy for your cause. CAM: Ya think? BRENNAN: Yes. BOOTH: So, the plant have security tapes? CAM: Your people are getting them now. First responders said the vic looks like a beef jerky. (Sweets shows up) SWEETS: Dr. Brennan, do you have a moment? BRENNAN: No, I'm at a crime scene. SWEETS: I called, but I guess you didn't get my messages. BOOTH: You know what, Sweets? This'd better be important. SWEETS: Daisy and I have been talking, and she'd like another chance to prove herself as your intern. CAM: And good-bye. I'm going to focus on Mr. Jerky. BRENNAN: I'm aware of your concerns, and I'll be the first to admit that Daisy is very unique. BOOTH: Okay, let me guess, let me guess. No sex until you give her what she wants, right? Am I right? SWEETS: I realize she has impulse control issues... BRENNAN: She can't stop talking. She has no sense of personal space. SWEETS: ...but I've been teaching her some breathing techniques, and I'm confident... BOOTH: Guys, I got a d*ad body over there. BRENNAN: Yes, I have to work, Sweets. CAM: (over by the fence) I've never seen a burn like this before. Small stature, I estimate late teens, early 20s. If anyone's interested. SWEETS: I'd consider it a personal favor, Dr. Brennan. BOOTH: Ouch, personal favors are kind of like penalty sh*ts. You kind of have to take 'em. Unlike dinner requests from your boss, which you are totally open to decline. BRENNAN: I- I will give Ms. Wick a 24-hour probationary period. SWEETS: Thank you. Thank you very much. (He smiles and give the thumbs up to Daisy - who starts bouncing in the car across the way) (Brennan goes over by the corpse and sniffs it.) BRENNAN: This victim wasn't electrocuted. CAM: That's what I thought, but the plant engineer said if there was a power surge... BRENNAN: (to Booth & Cam) Smell. (They all lean in to smell it) BOOTH: Whoa, it smells like Christmas. BRENNAN: It's frankincense and myrrh. This victim died over 3,000 years ago. This is an Egyptian mummy. BOOTH: Like a mummy? Like a real mummy? CAM: Well, a real mummy that appears to be covered in fresh blood, and given the trajectory, it's an arterial spurt, most likely from a s*ab, and this is a lot of blood. I doubt whether whoever it was survived. BRENNAN: Well, if it were a s*ab, the mummy had to be directly in front of the victim. BOOTH: So what are you saying? The mummy k*lled someone? (Opening Credits) (Cut to: Medico Legal Lab. Brennan and Angela are walking in the hallway towards the Forensic Platform.) BRENNAN: Booth hasn't found any victims who were s*ab, no hospital or emergency room admissions. ANGELA: Okay, well, he also checked the National Stolen Art File, and there were no reports on missing mummies, but he's checking with individual museums and curators now. BRENNAN: If this mummy wasn't stolen from a known collection, it means it might be the product of an illegal tomb raid. That makes it a priceless anthropological find. ANGELA: Yeah, but is that worth k*lling for? BRENNAN: Well, it's a motive I can easily understand. (she swipes her card and enters the Platform where Cam, Hodgins and Daisy are examining the mummy's remains.) We have to identity the mummy to determine why someone would k*ll for it. DAISY: (talking excitedly) You are so brilliant, Dr. Brennan. Thank you for giving me - (she pauses, takes a breath, lowers her voice an octave and talks much slower) another chance, and I swear I will speak in a more modulated tone and then only when asked. BRENNAN: That's wise. HODGINS: Cam is running DNA and tox screen on the blood. ANGELA: Booth questioned those eco-t*rror1st freaks. They said they found the mummy when they went dumpster diving. Apparently, they thought it would be a good symbol. He said their story holds. HODGINS: I identified flakes of natron. It's a naturally occurring sodium carbonate decahydrate. It was used as a drying agent during the mummification process (Daisy raises her hand) in the second century B.C. DAISY: Permission to speak? HODGINS: Well, that lasted ten seconds. DAISY: Tissue condition confirms the mummy is a daddy... male. They let the females putrefy prior to mummification to discourage necrophilia. ANGELA: Ew and good. DAISY: Thank you. HODGINS: The weave pattern of the linen suggests this was a top-notch embalming. I mean, we may be talking about a pharaoh or a prince here. BRENNAN: Someone cracked open his chest cavity. DAISY: An area of compaction in the mummified tissue suggests something was stored in here. I forgot to raise my hand. I'm sorry. BRENNAN: And judging by the margins of the fractures, the thoracic area was opened quite recently. DAISY: Perhaps to remove whatever was stored inside. ANGELA: Buried treasure inside the mummy's chest? HODGINS: Pretty good motive to k*ll. BRENNAN: (giddy) I love ancient remains. I really do. (Hodgins & Angela look at her like she's gone crazy. She calms down, clears her throat and continues) There are particulates embedded in the compaction. HODGINS: Yep, I'm on it. (Brennan starts getting giddy again - Daisy joins her) BRENNAN: This could be a groundbreaking find. DAISY: We could be honored by the American Anthropological Association. BRENNAN: Most definitely. Our picture on the front of the journal. DAISY: Oh, I would love to see my mother's face then. (Angela and Hodgins just look at them, dumbfounded. Brennan collects herself, again, and continues) BRENNAN: There seems to be a separation between the C6 and C5 vertebrae. Some kind of wooden shaft is connecting the head to the spine. DAISY: Oh, let me see. (Hodgins and Angela look at each other as if to say: Are Brennan and Daisy seriously bonding?) (Cut to: FBI Headquarters - Booth's Office. Booth on the phone. ) BOOTH: Hi, this is Special Agent Seeley Booth with the FBI, Dr. Malloy. This may sound a little strange, but we recovered a mummy that may be evidence in a homicide investigation, and...Okay, um, and you're sure that one hasn't disappeared? (Hacker enters.) Okay, great, thanks. (Booth hangs up the phone.) HACKER: Agent Booth. BOOTH: Assistant Director Hacker. HACKER: I just got a call from a Nobel Laureate who claims you dragged him out of bed to ask if he's missing a mummy. I assumed it was a crank call. BOOTH: No, no, investigating a potential homicide, sir. HACKER: And there's a mummy involved? BOOTH: Preliminary report. HACKER: Huh. So there is a potential mummy-related victim out there. BOOTH: Yeah, Bones is looking at the old guy for clues. HACKER: A mummy. (Booth nods) Damn, you field agents have all the fun. Good luck. BOOTH: Okay. HACKER: Oh, by the way, did Temperance mention that I asked her out? BOOTH: Uh, y-yeah, I think she may have said something like that. HACKER: I just wanted to make sure there's nothing going on between the two of you. I wouldn't want to get in the middle. BOOTH: No, nothing whatsoever, sir. Strictly professional. HACKER: Are you sure? BOOTH: Yeah, positive. HACKER: All right, then. I'll let you get back to pissing off Nobel Laureates. (Hacker leaves and Booth picks up the phone. He's obviously annoyed that Hacker is going out with Brennan) (Cut to: Medico Legal Lab - Angela's Office. Angela and Sweets are standing in front of a large screen - the movie, The Mummy, is playing.) ANGELA: Okay, so you're spying on Daisy. SWEETS: No, no, n-no, I'm just staying close in case an intervention is required. This screen is so awesome. ANGELA: I know, isn't it? SWEETS: Yeah. ANGELA: I thought you fixed her. SWEETS: I- it's a process. Karloff was a genius. You could feel the mummy's pain, you know. ANGELA: He was d*ad, Sweets. He felt no pain. SWEETS: Emotional pain - that never dies. ANGELA: Cheery thought. Thank you. (Cam enters.) CAM: Database has no match on the blood. Hodgins found some 3,000-year-old bugs, so he's all weepy. I hope Dr. B. can get the mummy to talk. (regarding the movie) Research, I assume. ANGELA: Yes, uh, sure. Imhotep is looking for the reincarnation of his ancient lover. This could be a motive. CAM: What are you doing here, Sweets? ANGELA: He's Daisy's trainer. If she att*cks, he can put her down. (Brennan enters with the mummy's head.) BRENNAN: (clearing her throat) He was decapitated. Can you do a facial reconstruction? (she hands the tray to Angela.) Perhaps we can match his face to an Egyptian coffin painting. (looking at the screen) Oh, The Mummy, 1932. CAM: You don't know who Britney Spears is, but you know this movie. BRENNAN: It's the film that made me want to be an anthropologist. Although I prefer Chaney's Mummy to Karloff's. (Brennan leaves. Sweets, Cam & Angela look after her - amazed.) (Cut to: Medico Legal Lab - Forensics Platform. Brennan and Daisy are examining the remains.) BRENNAN: There's an extra metacarpal on the ulnar side, likely caused by the high incidence of inbreeding among Egyptian royals. DAISY: It could just be a single gene mutation. BRENNAN: Or it could be one feature of a syndrome of congenital anomalies. Bring up the X-rays of the forearm. There, the ulna is bowed. DAISY: Antley-Bixler syndrome - a recessive congenital disorder characterized by malformations of the skeleton and the skull. (Brennan grabs a book and starts thumbing through it - her excitement levels rising as Daisy continues to talk) DAISY: Flat forehead, elongation of the parietal and occipital regions. Oh, my God, he's 18th Dynasty. BRENNAN: Excellent, Ms. Wick, excellent. DAISY: I try, I do. (Brennan stops reading and looks up slowly) Dr. Brennan, are you okay? BRENNAN: (a smile spreads across her face) I know who the mummy is. (Cut to: Medico Legal Lab - Angela's Office. Brennan and Daisy come running in - obviously very excited about something.) BRENNAN: I identified the mummy. DAISY: I helped! (Sweets gives her a look) BRENNAN: It is a find that is certainly valuable enough to k*ll for. (she turns towards the screen) Oh. I love this part. (she starts to act out part of the movie and mimics the voice on screen) "And yet I shall awaken memories of love and crime and death." CAM: Dr. Brennan. BRENNAN: Uh, of course. Sorry. His name is Anok, the Boy with the Bleeding Heart. He was the second son of the Pharaoh, and according to legend, Anok's older brother, Meti, fell off his horse and Anok trampled him to death to ensure that he would ascend to the throne. Anok insisted that his brother's Injuries were the result of the fall, but the Pharaoh didn't believe him and he went into a rage and he cut off Anok's head. He became known as the Boy with the Bleeding Heart because his grief was two-fold. Grief for the death of his brother, and grief for the loss of his father's love. ANGELA: And what does this have to do with the m*rder? DAISY: Anok is supposed to be here at the Jeffersonian, on loan from the Egyptian government. He's going on exhibit Friday. But I should have let Dr. Brennan tell you that. CAM: Why wasn't he reported missing? BRENNAN: I don't know. I - I've called Booth. We have to talk to the curator. (Brennan runs out.) DAISY: (to Sweets) Why are you here? SWEETS: Movie. I was just watching the movie. DAISY: So, I'm like some kind of experiment that you need to supervise? SWEETS: No. I just thought if you needed me... DAISY: Do I look stupid? Because I'm not, Lance. In fact, there's lots of people who think I'm scary smart. (she storms out) (to herself) Not about men, apparently. (Cut to: Jeffersonian - Hallway. Booth and Brennan are being led to Dr. Kaswell's office by her assistant, Leland Frankel) LELAND FRANKEL: Her lab is upstairs on the right. Now, the Anok exhibit opens on Friday, so there's very little chance that Dr. Kaswell just let Anok get up and walk out of her lab. BRENNAN: Well, of course not. Reanimation, while extremely entertaining, is impossible. Cellular death is cellular death. BOOTH: Listen. When was the last time you saw Dr. Kaswell? FRANKEL: I guess a day or so. She's just been behind closed doors with Anok while I've been helping out with the dioramas, which have been a nightmare. In one scene, they painted a group of female musicians, and they have toes. BRENNAN: Toe differentiation in Egyptian art didn't happen until much later, particularly in women. FRANKEL: I know, right? BOOTH: (sarcastically) It's fascinating. FRANKEL: (knocking on a door) Dr. Kaswell? (to Brennan) She hates to be disturbed. (he knocks again) Dr. Kaswell! BOOTH: Just try the...(he tries to open the door) Oh, it's locked. FRANKEL: She's always here at this hour. Always. And she would never lock herself in. BRENNAN: We should get the key. BOOTH: (while kicking open the door) Of course. BRENNAN: (laughing) Ah, ha ha ha ha. BOOTH: Oh, look at that. It's a mummy's coffin. FRANKEL: Yes. Beautiful, isn't it? I can't believe she's not here. BRENNAN: Booth? BOOTH: Yeah? BRENNAN: Look. It's blood. (Blood is dripping out of the coffin) BOOTH: Let me get this thing out. (Booth struggles) I got it. FRANKEL: Oh, please, be careful with that. It's priceless. BOOTH: Oh! FRANKEL: Dr. Kaswell. BOOTH: Yeah, that would have been my guess. (Cut to: Medico Legal Lab - Forensics Platform. Cam, Hodgins and Brennan are examining Dr. Kaswell's body.) CAM: The FBI has locked down the Egyptian wing, looking for evidence. HODGINS: I can't believe Dr. Kaswell is d*ad. I just met her a couple months ago at a party. BRENNAN: She seemed nice. She was pleasant, but an unexceptional anthropologist and obviously quite careless. CAM: Perhaps, but it's sad nonetheless, Dr. Brennan, to lose one of our own here at the Jeffersonian. BRENNAN: Of course. HODGINS: Truth be told, we kind of flirted with each other... CAM: Not appropriate, Dr. Hodgins. Dr. Kaswell's blood's a match for the spray we found on the mummy. HODGINS: There are some metal flakes at the injury site. You say the word, I'll take them. BRENNAN: One moment. The w*apon appears to have penetrated the eye and then entered the frontal lobe. There's damage to the superior orbital fissure and sphenoid. CAM: It must have lacerated the internal carotid artery. That would be consistent with the arterial spurt. BRENNAN: Given the injuries, the k*ller must have used a narrow, blunt-edged instrument. HODGINS: The metal shavings might help us identify the m*rder w*apon. (Daisy come ups behind them, quietly. Raises her hand and clears her throat) BRENNAN: Speak, Ms. Wick. DAISY: I used phenolphthalein and hydrogen peroxide in Anok's open chest cavity. You can see blood traces in the compaction and evidence of a blunt-edged instrument used to gouge out whatever was hidden in his chest. I extracted some metal shavings for Dr. Hodgins. CAM: Perhaps the m*rder used the same w*apon that k*lled Dr. Kaswell to open Anok's chest. DAISY: Dr. Kaswell had been studying this mummy for weeks. She must have known what was inside his chest. BRENNAN: The Egyptian government wouldn't allow any invasive examination of Anok. CAM: And there was nothing in her notes? BRENNAN: Her notes were missing. (Cut to: FBI Headquarters - Booth's Office. Booth and Brennan are talking with Steven Turnbull.) BOOTH: So, you were overseeing the exhibit, Mr. Turnbull? STEVEN TURNBULL: Uh, administrating. I was the, uh, go-between, coordinating things with Dr. Kaswell and, of course, the Egyptian National Museum. BRENNAN: The Egyptians lent Anok to the Jeffersonian. TURNBULL: He survived 3,000 years in the Egyptian desert, but he couldn't make it two weeks in DC. BOOTH: Hmpf. BRENNAN: Dr. Kaswell's notes were missing. I assume she took notes. TURNBULL: Of course. She had to turn them all over to me so that I could give them to the Egyptians. That was part of the deal. BOOTH: Well, we're going to need all the notes that she gave you. TURNBULL: Of course. BRENNAN: Did she mention finding anything in Anok's chest? TURNBULL: Chest? No. Uh, no invasive examinations were approved by the Egyptians. BRENNAN: It's not uncommon for different departments to vie for funds for exhibits, is it, Mr. Turnbull? TURNBULL: Uh, no, but as you can attest, Dr. Brennan, scientists usually don't k*ll for them. BOOTH: Sure. I'm just curious...was anyone angry at Kaswell because she did get the funds? TURNBULL: I know - I know that Dr. Wheaton was upset. BRENNAN: (to Booth) He's head of Ancient Rome Culture and Artifacts. BOOTH: (to Turnbull) Well, why was he upset? TURNBULL: He wanted the funds to exhibit some new finds in Roman portraiture but Alex is a good man, a friend. I mean, he's a Little League coach, for God's sake. BRENNAN: Did he and Dr. Kaswell ever have words? TURNBULL: Everyone has disagreements. BOOTH: Well, not everyone winds up d*ad. (Cut to: Medico Legal Lab - Autopsy Room. Cam is just finishing up the autopsy on Dr. Kaswell. Angela is with her.) CAM: Heart like a marathon runner. She probably would have made it to 90 if this didn't happen. ANGELA: This poor woman. You know, she gave me a lift last month when my car broke down. CAM: Maybe there really is a curse. Messing with mummies...clearly not a good idea. ANGELA: When I was in Rio, some kid graffitied a mummy in the National Museum. The next day, choked on his own tongue. CAM: Seriously? ANGELA: "Death shall come on swift wings to he who disturbs the peace of the mummy." CAM: Well, I guess I'd be angry, too, if someone pulled my brain out through my nose and stuck it in a canopic jar. (Hodgins enters.) HODGINS: The urine of a redheaded boy. CAM: We need so much more than that. HODGINS: From the swab of Dr. Kaswell's eye. ANGELA: A redheaded boy peed on her eye? HODGINS: Well, not exactly. See this? The tool used to s*ab Dr. Kaswell left traces of iron and carbon. And, to a lesser extent, silicon, manganese and phosphorous. ANGELA: Any of those things scream "pee"? CAM: Not that I'm aware. HODGINS: Ancient metal workers turned iron into steel by accident. They accidentally carburized the iron while heating it over charcoal, thus turning it into low-grade steel. But they thought that it was the mode of quenching the molten metal that hardened it. CAM: The redheaded boy pees on the molten metal. HODGINS: The iron turns to steel and our ancient metal worker figured that the little redhead did the trick. It's an instant old wives' tale. ANGELA: Wait. I didn't know they had redheads in Ancient Egypt. HODGINS: They didn't. It was Ancient Rome. Our m*rder w*apon was forged in Ancient Rome. (Cut to: Booth's Car. Brennan is reading over a file while Booth is driving.) BRENNAN: Dr. Wheaton's department has a very extensive collection of Roman tools. Chisels, lathes, planes, files. BOOTH: Eggheads k*lling each other over exhibits no one really wants to see. BRENNAN: The King Tut exhibit was immensely popular. BOOTH: Look, Bones, the only thing that regular people learn from going to a museum is how to sleep standing up. All right? Pretty simple. So, I did a little checking on Hacker, by the way; 42, never been married. Just in case you're interested. BRENNAN: Late marriage is often an indicator of a discerning, goal-oriented individual. Why is this a problem for you, Booth? BOOTH: Ah, because he's my boss. That's all. And if you're going to go out with Hacker, then you guys are going to talk about me. BRENNAN: Why would I talk about you? BOOTH: Because I'm what you've got in common. BRENNAN: If you're concerned that I'd discuss any perceived shortcomings - BOOTH: Shortcomings? What shortcomings? BRENNAN: Honestly, Booth, Andrew and I are attracted to each other. I'm sure neither of us will think of you for a second. (Cut to: Jeffersonian - Eqyptology Department. Brennan and Booth confront Dr. Wheaton.) DR. WHEATON: Trust me, Agent Booth. I had no quarrel with Dr. Kaswell. BOOTH: Really? Because, according to witnesses, you were arguing with her in the middle of the Titan exhibit. BRENNAN: He means Titian. Titian was a 16th century Renaissance painter from the Italian school, Booth. Titans were ancient Greek gods... DR. WHEATON: Okay. I yelled at Dr. Kaswell. Leslie was gloating because she got the funding and I didn't. I'm human. I got angry. BOOTH: Okay, so stealing her beef jerky man was just some way of wrecking her exhibit and seeking revenge, but things, they just got out of hand, and before you know it... BRENNAN: A gouge is missing, Dr. Wheaton. An early steel scalprum. DR. WHEATON: I, uh... I don't know where that went. I've been asking the doctoral candidates. They have access to these tools for research. BRENNAN: 25 centimeters long, blunt end. Two centimeters wide. That could definitely be the m*rder w*apon. BOOTH: Oh. Where were you Monday night? DR. WHEATON: Here, working. I don't have to say any more. If you have evidence, arrest me. I have work to do. (Cut to: Medico Legal Lab - Ookey Room. Angela and Hodgins are talking while he looks at particulates) ANGELA: Isn't it weird that 3,000 years ago, Anok was a real guy, 24 years old - like Sweets - living his life and falling in love? HODGINS: Yep. Bet he didn't know his afterlife was going to consist of being dissected and analyzed, like what he really is... just a mere mass of chemicals. ANGELA: Yeah, that was the romantic notion I was going for. Thank you. DAISY: Dr. Brennan wanted me to check on those particulate swabs from the mummy's chest cavity. Not that I'm trying to rush you or anything. ANGELA: Is everything okay, Daisy? HODGINS: Oh, I can't believe you asked that. DAISY: Lance and I had a little disagreement. He's overbearing and untrusting and I'm evaluating the future of our relationship. You're so good to ask. We're close, aren't we? HODGINS: (interrupting) Hey, look what I found. Three different particulates within the chest cavity. We got crushed mammal bone, kermes insect and woad legume. ANGELA: Animal, vegetable and mineral. DAISY: Actually, that would be two animals and a vegetable because bone is organic, not a mineral. ANGELA: Oh, my God. The three particulates are totally different but they're actually the exact same thing. (Angela leaves. Daisy & Hodgins are confused.) (Cut to: Medico Legal Lab - Forensics Platform.) ANGELA: Woad, kermes insect and bone were all used by the Ancient Egyptians to make paint. I learned this when I was in art school. Bone for white, kermes insect for red and woad for indigo. HODGINS: So we just can't make out the colors anymore because of decomp? ANGELA: Right. DAISY: Dr. Brennan thought perhaps the compaction was left by a canopic jar. ANGELA: No. They didn't paint those. They weren't important. It would have been like painting Tupperware. HODGINS: Yeah, but something was painted. What would have been painted? DAISY: And why did somebody hide it inside his body? ANGELA: Well, it must have been important and it needed to last forever. So, if I can scan the cavity and find out where the paint seeped into the different tissues, I might be able to reconstruct what was in Anok's chest. (Cam and a woman approach the platform) CAM: This is Azita Jabbari from the Egyptian National Museum. AZITA JABBARI: Turn off that light. What? Wait a minute. We just discovered... AZITA JABBARI: We have not authorized any invasive or investigative procedures on Anok. CAM: Ms. Jabbari wants her mummy back. AZITA JABBARI: "The Boy With the Bleeding Heart" goes back to Cairo. Today. Unless you would like to start a feud between our two governments. (Cut to: Medico Legal Lab - Brennan's Office. Azita is arguing with Cam & Brennan.) AZITA JABBARI: Anok is a national treasure on loan to your country. According to our agreement, we can revoke the permit at any time. BRENNAN: I understand your government's concern, but he's safe in our Medico-Legal Lab. The low humidity and temperature in the lab are optimum conditions. AZITA JABBARI: Dr. Brennan, with all due respect, you have no legal grounds to keep him. CAM: Yes, we do. Anok is evidence in a m*rder investigation. Whoever k*lled Dr. Kaswell stole something from inside the mummy. Any idea what was inside that was worth k*lling for? AZITA JABBARI: Have you examined the CAT scans? BRENNAN: What CAT scans? AZITA JABBARI: A few days ago, I granted Dr. Kaswell's request to perform CAT scans on Anok. The films should be in Dr. Kaswell's files. BRENNAN: Dr. Kaswell's lab was searched. The files are missing. AZITA JABBARI: Then ask the young man who worked for Dr. Kaswell. He sent the request. (Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are talking with Leland Frankel) BOOTH: (reading from a paper) "I work for Dr. Kaswell at the Jeffersonian Institution, and I'm writing to request autobiographical information on the man who funded the exhumation of Anok's tomb." I checked with the museum. You never worked with Dr. Kaswell. FRANKEL: That's why I'm here? BOOTH: Well, that and other reasons. She was m*rder, so start talking. FRANKEL: Okay, technically, I did not work for her but Dr. Kaswell did agree to be my doctoral advisor at the antiquities graduate program at Georgetown. BRENNAN: Very impressive. FRANKEL: Thank you. I'm very bright. BOOTH: Okay, Bright Boy, let's just stay on point, shall we? FRANKEL: As soon as I got to D.C., Dr. Kaswell said that she did not have the time for me anymore, that she was too busy prepping the Anok exhibit but I knew all about Anok. I even wrote a paper on him as an undergrad. BOOTH: It pissed you off, didn't it, that she wouldn't let you help? FRANKEL: No. Booth: No? FRANKEL: Okay, yes but not enough to k*ll her. I signed up as a museum intern so I could prove my value to her. BRENNAN: You thought if you helped her with her work, she might change her mind about advising you. FRANKEL: It was my idea to do the CAT scans on Anok. She thought it was an excellent suggestion. BRENNAN: So, you saw the films? FRANKEL: No, I didn't even know if she followed through but I would have k*lled to see those images. BOOTH: Excuse me? FRANKEL: But I didn't. (Cut to: Founding Father's Bar. Brennan and Hacker are on their date. You hear Brennan laughing.) BRENNAN: Usually all you find in a mummy's torso are pounded perfumes. HACKER: Yeah, that's all I've ever found. Once a sandwich, but of course, it was stale. BRENNAN: You found a sand...? Oh. You're joking. (laughing) That's, that's funny. A sandwich, because it's, it's highly unlikely to find one in a mummy. Did I tell you that Anok has six fingers? Also highly unlikely, so perhaps there is a sandwich in him. HACKER: You know, - no joke - I have an uncle with four toes. BRENNAN: Frostbite or lawnmower? HACKER: You are good. Lawn mowing accident. He was watching a playoff game while cutting the lawn. He had no regrets, though. Said it was a great game. BRENNAN: Okay. HACKER: So, uh, what do you want to eat after this appetizing conversation? BRENNAN: Uh, Booth likes to get the meatloaf. He has them take out the hard boiled egg, because his mother used to tell him it was a human eyeball. HACKER: I got to say - you and Booth - it's an unlikely partnership. BRENNAN: I prefer not to talk about Booth, if you don't mind. HACKER: That's fine by me. You're a far more interesting topic. BRENNAN: I'd like to know the story behind your guitar. Not many FBI Directors have a Stratocaster in their office. HACKER: I'm impressed. You know a Stratocaster. BRENNAN: Yes. I had a victim who was beaten to death with one but it still played. It is an excellent instrument. (She receives a text message) Oh. Sorry. (she checks it) I'm so sorry. They need me back at the lab. HACKER: You're investigating a m*rder. That tends to take precedence over meatloaf. (She gets up to leave) BRENNAN: Well, Friday night dinner on me? HACKER: Sure, and I will then reveal the secret of the Stratocaster. BRENNAN: All right. (she leans over and gives him a kiss on the cheek) Bye. HACKER: Bye. (Cut to: Medico Legal Lab - Angela's Office.) ANGELA: Hey. How could you not tell me that you were on a date when I texted you? BRENNAN: It was just drinks. ANGELA: Celibate. Seeking crumbs. Spill. BRENNAN: He's Booth's boss's boss. His name is Andrew. ANGELA: Wait. This is his boss's boss? Was Booth upset? BRENNAN: Yes. I don't know why. ANGELA: Brennan, this could screw up the natural order of things. And Booth wishes that you were going out with him. BRENNAN: Well, I drink with him all the time but with Andrew, there's the potential for sex. ANGELA: And not with Booth? (Brennan avoids the question by changing the subject) BRENNAN: You-you said there was something important you wanted me to see? ANGELA: Yes. BRENNAN: Mm-hmm. ANGELA: The paint residue was found inside the compacted area in Anok's chest. Now, I laid a grid over that area. Next, Hodgins inspected each section of the grid for chemical residue, assigning values based on our color differential. It was kind of like paint by numbers. (Brennan looks at her, she has no idea what she's talking about) Okay. Anyway, bone for white, kermes insect for red, and wode for indigo. Okay, now I reshaped, refined and cropped the edges. And finally, I removed the grid. BRENNAN: Hieroglyphs. ANGELA: Yeah. A negative impression. Because they were left by the object that was hidden inside the chest. BRENNAN: Ange, very good. ANGELA: I know, right? Next, we take the object out and we look on the bottom and we have the positive image of the hieroglyphs. BRENNAN: Amazing, but many of these characters are incomplete. ANGELA: Yeah. Well, some of the paint residue had faded too much and couldn't be retrieved. BRENNAN: But if we can decipher this, it could tell us what was inside. ANGELA: I know. (Angela gives her a look meaning that she wants to continue their prior conversation but Brennan acts oblivious) ANGELA: Sex? BRENNAN: (amused) Print this out and send it to Dr. Babajanian in Ancient Languages. (Brennan starts to head towards the door) ANGELA: Oh, come on, Brennan. Be a pal. I need a vicarious thrill. Please? (Cut to: Medico Legal Lab - Autopsy Room. Cam is taking a slice of Dr. Kaswell's brain to examine it closer. Sweets enters.) CAM: Dr. Sweets. SWEETS: I was looking for Daisy. CAM: Haven't seen her. SWEETS: Looks like you're making carpaccio. CAM: This is Dr. Kaswell's brain. SWEETS: Oh, God, I'm sorry. Oh. Okay, uh, Dr. Saroyan, I'm having some serious problems with Daisy. Can I ask your advice? CAM: No. SWEETS: No? Really? CAM: Really. I have a 16-year-old and believe me, when it comes to dating advice, I am batting a red hot zero. SWEETS: But you've been through this, like, a million times yourself. CAM: Did you just call me old? SWEETS: Is that what it felt like? CAM: Yeah. SWEETS: You see? I can't help it. I alienate every woman I talk to, no matter how pure my motives. CAM: All right, give me a ballpark. No specifics. I don't want specifics. SWEETS: The woman I love won't speak to me. CAM: You are an excellent shrink. You know you can help people, but Daisy's not people. She's the person you love, the person you have to trust. If Daisy's gonna screw up, you have to let her. It'll show her you have faith in her. SWEETS: Yeah. That's superb advice. CAM: It was kind of good, wasn't it? SWEETS: I thought I was taking care of her, but you're absolutely right. I- I was just insulting her. Thank you. CAM: No problem. SWEETS: (he reaches out his arms to hug her) Oh! CAM: And now we're done. (he hugs her tighter) Done. Ooh! Dr. Sweets, you're crushing me and I think you're getting brain on your suit. Brain. SWEETS: Hmm? Hmm. (Daisy enters.) DAISY: Well, this just gets more and more interesting, doesn't it? SWEETS: Oh, no. It was a friendship hug. CAM: And an uncomfortable one. You need something, Ms. Wick? DAISY: Um, a courier just dropped off the memory chip from the CAT scan machine Dr. Kaswell used to image Anok. Angela's looking at it now. CAM: Oh. Thank you. (Cam leaves) DAISY: You don't need to spy. I'm fine. And I don't need those stupid breathing exercises. SWEETS: Okay. I'm sorry. You know, I never meant to... DAISY: I'm - I'm quite busy, Lance. I have a m*rder to solve and I'm sure you have ink blots to show somebody. (She storms out, leaving Sweets feeling even more terrible) (Cut to: Medico Legal Lab - Angela's Office ) ANGELA: There's the embedded object. HODGINS: Based on the density of the image, it's most likely Nile stone. DAISY: What's that in the center? CAM: Can you enhance it? HODGINS: It's crystalline in structure. It's a corundum in the trigonal crystal system and the hexagonal scalenohedral class. DAISY: A mineral of some sort? HODGINS: If the CAT scan were in color, it'd be red and really expensive. CAM: A ruby. ANGELA: Yeah, a giant ruby. CAM: It's right where Anok's heart would be. DAISY: Anok's bleeding heart must refer to the ruby. HODGINS: A stone that size would be worth a fortune. DAISY: Only someone who saw the CAT scan would've known about this. HODGINS: Hey, Dr. Kaswell's grad student... I mean, he's the one that requested the scans. CAM: Booth cleared him. He was working on dioramas at time of death but Azita Jabbari, she knew about them, too. She gave permission to have them done. HODGINS: Yeah, and she tried to get Anok taken away from us before we could finish investigating. (Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are talking with Azita Jabbari) AZITA JABBARI: This is insane. I have devoted my life to preserving my country's antiquities. BRENNAN: You knew about the CAT scan. You had access to the mummy. AZITA JABBARI: I didn't know about the ruby, and if I did, I would have insisted on additional security. That ruby is a national treasure. I am holding you responsible for losing it. BOOTH: Where were you three nights ago when Dr. Kaswell was m*rder? AZITA JABBARI: In Los Angeles. There was a fund-raiser at The Egyptian Theatre. I know it's tacky, but the Ambassador wanted me there. I am sure that counts as an alibi? (they know it does.) You said you found hieroglyphs in his chest. I would like to see them. BRENNAN: An expert from the Jeffersonian is studying them. (She hands her a copy of the hieroglyphs) AZITA JABBARI: I am one of the foremost scholars on ancient hieroglyphs. These are incomplete. BRENNAN: We know. They are remnants from the paintings on the box that contained the ruby. AZITA JABBARI: This is a signature. This is a message from the Pharaoh's wife. BOOTH: Ah, a note from his mom. AZITA JABBARI: Yes, exactly. "My heart bleeds for my guiltless son." BRENNAN: Guiltless. She didn't think that Anok k*lled his brother, Meti? BOOTH: Look, no mother wants to believe her son is guilty of m*rder. That hasn't changed in 3,000 years. BRENNAN: This could change history. We now have the ability to determine Meti's cause of death. (Brennan gets up and starts gathering the file) I can have his remains brought from the Natural History Museum in New York. AZITA JABBARI: (getting up) I would like to assist. BRENNAN: Of course. BOOTH: (Cutting Brennan off) Whoa, whoa, how's that gonna help us catch Kaswell's k*ller? BRENNAN: Well, it won't, but it could exonerate Anok. There can be no time limit for justice, Booth. BOOTH: Bones, Dr. Kaswell's k*ller is out there now. We're running out of suspects. BRENNAN: You'll do it, Booth. You always do. I'll call New York. (Cut to: FBI Headquarters - Booth's Office. Hacker walks into Booth's office, Booth enters a few seconds later - carrying a cup of coffee.) BOOTH: Hey, boss. HACKER: How's the case going? BOOTH: Not solved yet but, uh, you're not here for that, are you? HACKER: I just wanted to say you're doing a great job. Truly exceptional work. BOOTH: Sir, if we would just k*ll the compliments and just say what's on your mind, I'd appreciate that. HACKER: Right. Let's drop the agent/boss thing for a minute. (Hacker sits down) BOOTH: Sure. HACKER: It's been a while since I've met someone, you know, special and, uh, oh, hell, I just don't want to make a fool out of myself if Temperance is only going out with me 'cause I'm the boss. BOOTH: Right. Listen, Sir, Bones doesn't feel the pressure to act or do or say anything that she doesn't want to and no one, no one can make her. That what makes her... Bones. HACKER: (relieved) Okay, thanks, really. BOOTH: No problem. (Hacker starts to walk towards the door.) HACKER: Listen, next time you're at the Founding Fathers, you should try the meatloaf with the egg. You'll like it; tastes nothing like a human eye. (Booth is angry. Brennan did exactly what he didn't want her to do - she talked to Hacker about him.) (Cut to: Medico Legal Lab - Ookey Room. Hodgins is looking for particulates on Anok's linen wrapping while Daisy watches.) HODGINS: Maybe we missed particulates from the k*ller on the mummy's linen wrapping. DAISY: He was found in a dumpster, so he'd be covered in particulates. HODGINS: Yes, but we'd be looking for something non-dumpster related. DAISY: Of course. Never give up. Was I too hard on Lance? HODGINS: Focus, Daisy. DAISY: Okay, but you're a man. Lance is so cute, isn't he? HODGINS: Yeah, that'd be a question for a woman. DAISY: I mean, someone that cute isn't malicious. He can't be. HODGINS: You really don't need me for this conversation, do you? Oh, wait, wait, wait. I think I found something here. DAISY: A probative particulate? HODGINS: No, a grease spot. Most likely a fingerprint. (Cut to: Medico Legal Lab - Brennan's Office. Brennan is seated at her desk when Booth walks in, carrying an egg. He places it on the desk in front of her. He's annoyed.) BRENNAN: Ooh, what's this? BOOTH: What does it look like? BRENNAN: An egg. BOOTH: And when was the last time you recently talked about an egg? BRENNAN: (realizing) Oh. BOOTH: Oh. BRENNAN: (defending her action) Well, he asked me what was good to eat, and I mentioned that you liked the meatloaf. BOOTH: Stop right there. You said you weren't going to talk about me, and you talked about me. BRENNAN: But I - I didn't mean to talk about you. I told him I didn't want to but, you know, I like that story and I guess it just popped out. BOOTH: Popped out? I don't need Hacker knowing about my mother's meatloaf. BRENNAN: Why are you so upset? BOOTH: Because... what goes on between us is ours. BRENNAN: Come on, Booth, you must've told a lot of people the meatloaf story, right? (Booth just stares at her and she realizes that this is something that he's only shared with her. She's betrayed his trust but before she can say anything, Hodgins enters.) HODGINS: So, I got a print off the linen. Had your people run it through the database. BOOTH: You get a name? HODGINS: Yeah, Alexander Wheaton. BRENNAN: The Director of Roman Antiquities. (Cut to: FBI Headquarters - Interrogation Room. Booth is talking with Dr. Alexander Wheaton) BOOTH: You want evidence? (he throws a file down on the table) We found your evidence. DR. WHEATON: This is ridiculous. I didn't k*ll Dr. Kaswell. BOOTH: You were in the building, Doc, your fingerprint was on the priceless mummy. DR. WHEATON: Well, there's been some kind of mistake. I would never have touched something that valuable without being gloved, and Leslie would never have allowed it. Wait a minute, I know what happened. BOOTH: Hmm, okay. So, what happened, Doc? I'm waiting. I'm all ears. DR. WHEATON: I did go to see her that night. Uh, I'd been a jerk, jealous about her getting the grant money. We'd been friends for years; I wanted to apologize. We made up, and she wanted to show me Anok, you know, scientist to scientist. She opened Anok's coffin and the mummy slipped. I- I reached out to stop it. It was just a reflex. BOOTH: Did she show you the CAT scans? DR. WHEATON: Yes. BOOTH: Ha. DR. WHEATON: ..but she swore me to secrecy. It was such an important find, I wasn't going to betray her trust. BOOTH: Right, then after you saw them, the mummy vanishes with your fingerprint, your friend dies, and these scans, they just disappear. DR. WHEATON: No, the scans were in her notes. She showed them to me before she submitted them. BOOTH: The scans that were supposed to be submitted to Dr. Steven Turnbull? DR. WHEATON: He was the administrator, yes. They'd be in the notes he turned over to you. (Cut to: Medico Legal Lab - Parking Garage. Booth and Brennan are walking towards Turnbull's parking spot) BRENNAN: He deliberately withheld the scans. BOOTH: Well, destroyed them is more likely. Okay, Turnbull's spot is number ten. So, if he did it, he probably put the mummy in his car, and he took off with it. BRENNAN: I can't imagine anyone destroying an artifact like that, especially a scholar like Turnbull. I was going to call him to talk to him about my work with Meti. (They see a guy, Rodney, cleaning the interior of the car.) BOOTH: Steven Turnbull's vehicle here? RODNEY: Yeah, that's right. BOOTH: Shut that off there, will you, Bones? (she turns off the vacuum) All right, can you step out of the car? FBI. BRENNAN: You could be destroying evidence. RODNEY: Oh, man! Another drug dealer? It's not my fault. I do a good job, so word of mouth, it gets around and the peop- BOOTH: (cutting him off) Is he a regular customer of yours? (Brennan looks inside the vacuum) RODNEY: No. He saw my ad at the laundromat. BOOTH: At the Laun...No wonder you have nothing but drug dealers coming to you. BRENNAN: Booth? BOOTH: Yeah? Would you just stand over there? Right over there, Rodney. BRENNAN: (pointing to the inside of the vacuum) Take a whiff. BOOTH: (leans in, sniffs.) Smells like Christmas. (Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are interrogating Steven Turnbull) TURNBULL: I saw the CAT scans. I was gonna to sneak in, take the ruby and close him up again but Leslie came back. We argued. You know, I lost my retirement in the market. No one even knew that ruby was in there. She shouldn't have gotten in the way. BOOTH: (sarcastically) Yeah, it was her fault. (Cut to: Medico Legal Lab - Storage Room.) SWEETS: Hey, what you doing? DAISY: My work. Dr. Brennan and I found cause of death for Meti. He's act- SWEETS: (interrupting) Look, Daisy, I should've had more faith in you. I just, I knew how important this was and I always want you to get everything that you want and anytime you don't, it kills me. DAISY: Really? SWEETS: You know, by looking over your shoulder, it only makes people think that you can't do things. And you can. You-You're brilliant. DAISY: Certainly well above average. Okay, brilliant. SWEETS: You know, Dr. Brennan was very impressed by you. DAISY: She said that? SWEETS: Unsolicited. You're so beautiful, Daisy and I promise that if you ever fail in the future, I will do absolutely nothing but just give ya a hug. DAISY: That's the nicest thing you ever said to me and I really do love the breathing exercises. So... do you want to be my Lance-a-lot again? SWEETS: RAWR! DAISY: You know that drives me crazy. SWEETS: RAWR! (Daisy jumps on Sweets, rips his shirt open and kisses him. They fall to the ground and continue to make out) (Cut to: Jeffersonian - Anok and Meti Exhibit. Brennan is leading Booth down the stairs. They're both dressed to the nines.) BOOTH: Bones, we're not supposed to be down here yet. BRENNAN: You're with me, Booth. This is my find. You're not gonna get into trouble. (the approach a circular spot on the floor) Don't, don't step on that! BOOTH: Why? God, this is so cool! (Brennan chuckles) Wow. So, he wasn't trampled by his brother? BRENNAN: No. Meti suffered from osteogenesis imperfecta, otherwise known as brittle bone disease. Meti's fall from his horse k*lled him; Anok was innocent. His mother was right. BOOTH: So it only took 3,000 years for someone to hear her. You know, I'll tell you what. If I was Egypt, I'd throw you a party, too. BRENNAN: (she smiles, then a b*at later.) I have to speak. I hate these things. BOOTH: What are you talking about, Bones? You're great at these things. Listen, you changed history. How many people can say that? (During the next few lines, Booth and Brennan keep moving closer to one another) BRENNAN: You can. Every arrest you make changes history. You make the world safer. BOOTH: With your help. So, Andrew...I thought you were going to take him to this thing. That's what he told me. BRENNAN: I was, yes, but...you and I - this was our case and I guess...what goes on between us, that should just be ours. Isn't that what you said? BOOTH: Yeah. (And then there's a moment where you think that the two of them are finally going to kiss when they hear the murmurings of Angela, Hodgins, Cam, Sweets & Daisy - who then appear at the top of the staircase.) ANGELA: Come on, you two. The Ambassador is about to speak. (The rest of the group heads back up the stair, leaving Booth & Brennan alone again. They have another moment - she adjusts his tie and he pushes a strand of hair behind her shoulder.) BOOTH: Thanks. (They turn and walk back up the stairs to go to the party, together.) END.

{"type": "series", "show": "Bones", "episode": "05x05 - A Night at the Bones Museum"}

foreverdreaming

THE TOUGH MAN IN THE TENDER CHICKEN ACT ONE (At the Jeffersonian lab. Hodgins and Brennan are seen walking in from the lab entrance) HODGINS: Had a feeling that my Melolonta melolonta might hatch this morning, so I came in the crack of dawn, and there they were. Lined up at the door. BRENNAN: What? Your Melolonta melolonta? HODGINS: No. The woodchucks. (A group of girls in scout uniforms are seen standing in front of the lab platform) BRENNAN: They appear to be little girls. HODGINS: Yeah. Woodchucks are like girl scouts, only scientific and administered by the Jeffersonian. They brought in a d*ad body. BRENNAN: A bunch of little girls brought a d*ad body here? HODGINS: Woodchucks are very industrious mire mucks. (to the woodchucks) Okay! Now this is Dr Temperance Brennan. (the woodchucks starts clapping) BRENNAN: (confused) Why are they applauding? CAM: Apparently you're their role model. HODGINS: I wanna know is why aren't they all freaked out or getting trauma counseling. CAM: Because, of the type of children who idolizes Dr Brennan. HODGINS: So they were eco-camping by the banks of the savage river. CAM: These remains are completely saturated. HODGINS: The girls fished the body out of the river and brought it to us. BRENNAN: How? WOODCHUCK GIRL #1: In our woodchuck bus. CAM: Very impressive! BRENNAN: I disagree. Those woodchucks disturbed a federal crime scene. The area should be secured, samples taken- HODGINS: Yeah. They did all that. Water samples from where the body was found. WOODCHUCK GIRL #2: Digital photographs of the entire area. HODGINS: Plants, insects, soil samples; tagged with GPS coordinates. Now I know my soil samples, let me tell you; these ladies, they are pros! CAM: (whispers to Brennan) Perhaps you should throw them a bone. (Brennan seems surprised) Not literally, metaphorically. After all, they were all very professional. BRENNAN: (clears throat) Attention, woodchucks! You were thorough and insidious in your treatment of the body and the crime scene. (woodchucks clap) But next time, please leave the evidence where you found it and let the experienced professionals do their job. (Woodchucks making sounds in protest) WOODCHUCK GIRL #1: But we helped! WOODCHUCK GIRL #2: You're mean! (Woodchucks booing at Brennan) BRENNAN: (to Cam and Hodgins) Their moods are capricious. CAM: You couldn't have just let them have that one just go by. BRENNAN: Then they'll never learn. (Hodgins smile at Brennan while Cam is speechless) (Cut to: Autopsy room. Wendell and Cam are examining the corpse.) WENDELL: Ugh. What causes a corpse to smell like a fart? CAM: Uh. A number of things. Compromised intestinal tract, methane, some mining processes, oiling gas refining, volcanoes? WENDELL: Volcanoes? Awesome! Which of those is it this time? CAM: Probably sulphur. Tissue samples indicate a high concentration of hydrogen sulphide. WENDELL: X-rays indicate this is a middle aged male, between 170 to 190 cm tall. Skeleton is...pretty banged up. CAM: Bouncing around savage river for 2 months can do that. WENDELL: (looking at the x-rays) All the distal phalanges are missing from interphalangeal joints. CAM: He's missing his fingers, what does that tell you? WENDELL: Tells me it was the mobs sweeping off fingerprints. CAM: That, very well may be. But what it tells me that you are going out to look for fingertips, in case the woodchucks missed them. WENDELL: Body was found by woodchucks? CAM: Take Hodgins. He'll explain. (Cut to: Parking lot. Wendell and Hodgins are carrying their forensics kits) HODGINS: Hydrogen sulphide? WENDELL: Yeah. Guy's full of it. HODGINS: So he smells basically like a fart. WENDELL: Pretty strong to cover up the rotting corpse smell, right? Hey. Maybe somebody drenched in sulphur to deal with the d*ad body stench. Or maybe someone tried to put him in suspended animation, that would involve sulphides. HODGINS: Whoa whoa whoa. You're referring to ultra secret military experiments who prolong life by inducing hibernation? WENDELL: Uh. It's not ultra secret. The army is doing field trials. I got a cousin in Iraq, it may be saved his life. HODGINS: It's not ultra secret? WENDELL: The trouble with getting your infill from conspiracy nuts is that they never know when to turn it off. HODGINS: Hey, you wait and see. We're going to find that our victim was tortured a little too enthusiastically when the government tried to bring him back to life. WENDELL: Proving my point there, Hodgins. Totally proving my point. Hey, should we call the military possibility in to Booth? HODGINS: Yeah! (toss phone at Wendell) Ooh, just leave out my t*rture theory. (Cut to: Jeffersonian Lab. Booth enters a room and greets Brennan & Angela) BOOTH: Bones! So you got a face for my victim? BRENNAN: Why are you here? I would've call. BOOTH: (hands Angela a file) Well, uh, I thought Hodgins might have something on this whole suspension animated thing. ANGELA: Hey, you listened to Hodgins? BOOTH: I listen to Wendell. BRENNAN: What is DARPA? ANGELA: It's a department of defense agency. Defense Advanced Research Projects Agency. Hodgins say they're into some pretty weird stuff. Like creating super-soliders who don't need sleep and can k*ll with their laser beam eyes. BOOTH: I don't know about the laser beam eye thing, but they did have a master sergeant missing a few months ago. BRENNAN: Was this sergeant involved in the hydrogen sulphide trials? BOOTH: Well, they wouldn't confirm. But tell you what, they sounded nervous. ANGELA: (flips through the file) There's no photograph in here. BOOTH: DARPA doesn't give out photos. You give me a reconstruction though, I can show them that and tell them if we got their guy. What'd you have? (Brennan in silence while looking at Angela; Angela finally speaks) ANGELA: Okay. Before you freaked out, you should know that I double and triple check the measurements and indicators. BOOTH: (chuckles) Look, I don't freak out. BRENNAN: (looks at Booth) Some- Sometimes. BOOTH: Can we just see the image, please? (face reconstruction shows a chicken-like visage; Booth laughs) Yeah. What's that supposed to be? ANGELA: Half man, half chicken? BOOTH: Come on! BRENNAN: I believe this is fairly accurate. BOOTH: So you want me to go ask the defense department if their experimented super soldier is half man, half chicken? (Brennan smiles at Booth; while the screen cuts to the facial reconstruction image) (Opening credits start playing) ACT TWO (Cut to: Jeffersonian Lab. Autopsy room.) HODGINS: DARPA created a chicken soldier?! WENDELL: I do not see the United States military making chicken soldiers, eagle maybe. HODGINS: Maybe that's why we couldn't find the so-called fingers. Cause they transformed into talons. (Brennan sh**t Hodgins a look) Talons would be much better w*apon. CAM: Human remains in water tend to lose all their fingers and toes due to predation. BRENNAN: But if I were to combine human and animal DNA with an idea to create a super soldier, I would go with a flatworm. WENDELL: Why? BRENNAN: Self-regeneration, obviously. (Wendell is amused) CAM: People, let's break this down as though we're not in a comic book. No water in the sinuses or lungs, no pulmonary edema. HODGINS: He didn't drown. BRENNAN: Well his sinus cavity is abnormally large. CAM: His whole sinus cavity is scarred, the septum's almost gone. Evidence of multiple constrictions of the arterial zypolexics. (Brennan inserts microscopic tube) WENDELL: (on the screen) That is a lot of scar tissues we're talking here. Plastic surgery? BRENNAN: The scarring could explain why he has a beak-like nose. WENDELL: Polyps and tumors in the maxillary sphenoid could enlarge the cavity. CAM: The closest thing I've ever seen to that is a cocaine addict who ran out of drugs and started snorting things like sugar and powder-like detergent. HODGINS: (points on the screen) Does anyone has an explanation for these red stripes extending from the soft pellet down to the oesophagus? CAM: Lacerations? HODGINS: Hmm. (to Cam) May I? (Cam shows sign of approval to Hodgins to examine the body; Hodgins examines the inside of the oesophagus) I don't think these are lacerations. (collects red string-like from inside) BRENNAN: Is that an organism? HODGINS: Syngamus trachea. It's a gapeworm. WENDELL: Where it'd come from? HODGINS: I think you're not gonna like my answer. Uh, it's a parasite found in...chickens. CAM: Do not tell me we're back to super chicken soldier again. (All of them are speechless) (Cut to: FBI Building. Booth's office) BRENNAN: Wendell thinks maybe he was supposed to be an eagle. BOOTH: (says something on the phone; then talks to Brennan) You make a super soldier, you'd think it'd be a robot or something invisible. BRENNAN: Now you're just delving into pure science fiction. BOOTH: (mocking) Like a flatworm, that's not a pure science fiction, or a half chicken; that's not considered science fiction. (over the phone) Yeah. Okay, so we agree he doesn't look like a chicken. No, it's not a joke. Just tell me whoever you're missing at DARPA. (pause) Does your missing sergeant look anything like an animal? Any kind of animal. (pause, then annoyed; ends call) A bulldog. BRENNAN: So the defense department won't be claiming the body. BOOTH: Nope. (Both are in silence; suddenly DMV photo database on Booth's computer shows a h*t) BOOTH: Ooh. We got a h*t off on Angela's chicken man picture. (chuckles) Probably it's from animal shelter. Whoa. God. BRENNAN: What? BOOTH: (takes image and compare) Wow. Is Angela good, or is she good? BRENNAN: Those are the same question. BOOTH: Take a look. (turns monitor to Brennan and comparing it to Angela's image) BRENNAN: (takes a closer look) Nick Rabin. He's head personnel of a Clucksten Farms. A chicken farm? BOOTH: This is getting weirder and weirder. (Cut to: Clucksten Farms entrance. A group of activists are seen standing at the entrance outside; protesting, holding signs going against the activities of the chicken farm.) BOOTH: Wonder what they're protesting. BRENNAN: My first guess, the stench. BOOTH: At least they're not throwing eggs at us, huh? (winds down the car window) GUARD: Are you the FBI folks? BOOTH: Yeap. (shows FBI ID and badge) GUARD: Come on in. We'll find a quieter place to talk. (Cut to: Inside of Clucksten Farms) BOOTH: So what's with the protestors? GUARD: Well, half of them are animal rights nuts. BOOTH: (sees large amount of chickens in storage) Whoa. They might have a point. BRENNAN: The other half must've hate the smell. GUARD: Clucksten Farms has been around since the 1940's. We didn't ask anyone to build a development down here. (walks away; followed by Brennan and Booth) BOOTH: Ugh. What's that smell? (Cut to: Clucksten Farms personnel office where a woman is seen; the wife of Nick Rabin, Gaynor Rabin) GAYNOR: (knock on the door is heard) Yeah. (the guard is seen entering along with Booth and Brennan) Hey John. JOHN: Mrs. Rabin. This is Agent Booth and his associate Dr. Brennan from the FBI. (GAYNOR proceeds to shake hands with them) This is Gaynor Rabin. The accountant here at Clucksten Farms, and she's also Nick's wife. (leaves room) GAYNOR: This is about my husband. He's d*ad, isn't he? BOOTH: I'm afraid so. I'm very sorry for your loss. GAYNOR: What happened to him? BRENNAN: We're still in the process of figuring that out. BOOTH: You don't seem too surprised. GAYNOR: Nick was never the type who just disappear, I knew right away it was something terrible. Where'd you find him? BRENNAN: In a savage river. Approximately 16 kilometers from here. GAYNOR: He drowned? (Brennan doesn't reply) I don't understand. He never swam in that river. BRENNAN: Your husband's nose and sinuses were deformed. He didn't take the proper precautions at work, did he? GAYNOR: No, I told him but he didn't care. BOOTH: (whispers to Brennan) Precautions from turning him into a chicken? BRENNAN: It's the hydrogen sulphide. We smell without breathing apparatus, high concentrations over a period of time would deform the sinuses. GAYNOR: Nick worked here since he was a teenager. He said he was a chicken farmer and he would take the consequences. How did my husband end up in the river? BOOTH: We were hoping maybe you could help us with that. GAYNOR: When I filed the missing persons report, I told the police everything. He just disappeared. BRENNAN: We have reason to believe this wasn't an accidental drowning. GAYNOR: (in disbelief) You think my husband was m*rder? BOOTH: Yes. GAYNOR: Mr Clucksten said Nick was next in line to take over the business. (furious) The first people that you wanna check out are those anti chicken fanatics at the gate. They always thr*at to make an example out of someone. (Cut to Jeffersonian Lab. Hodgins is examining some samples while Angela walks in.) ANGELA: 5 months and 14 days, I have been celibate. HODGINS: Angela, that is very impressive. ANGELA: Thank you. Sweets was right. Taking sex out of that equation made me relate to people in a totally different way. HODGINS: Yeah. You got past that mega horny stage. ANGELA: The point is, that my six months is almost up. So..(smiles at Hodgins) HODGINS: (smiles back) No. ANGELA: No what? HODGINS: I'm not going to be the one who breaks your fast. ANGELA: I-Iwasn't asking! In fact, you should know that I'm considering a year. HODGINS: (laughs) It's definitely a chicken parasite we found in the victim's oesophagus. ANGELA: (in disbelief) I wasn't asking, Jack. I was just-keeping you in the loop. (walks away) HODGINS: Okay. ANGELA: Okay. (Cut to Clucksten Farms. Head of Security JOHN COLLINS takes Brennan and Booth to meet the protesters when they witness a farm worker, GINA MCNAMARA, being confronted by the angry mob.) PROTESTER 1#: Cluck you, cluck you! GINA: Get outta my face, go get a job! PROTESTER 1#: m*rder! GINA: What'd you want me to do?! (Gina and protester continues to argue; John tries to break up the fight by confronting Gina) JOHN: You're just giving them what they want. GINA: Look, damnit. I just wanna do my job, that's all! JOHN: Just go. You don't want to be late for your shift. (Gina walks away; Booth and Brennan looks on) BRENNAN: (to John) These people don't seem to like the way you treat the chickens. JOHN: So how do you treat your chickens? Like delicious birds that people love to eat. BOOTH: Look, anyone here in particular who had a beef with Nick Rabin? JOHN: (points out to a guy) Josh Parsons. He snuck in, he took some unauthorized video, cut it together in a damning manner and put it on the Internet. Nick popped him one too. BOOTH: (approaches Josh) FBI Special Agent Booth. This here is Dr Temperance Brennan. JOSH: You here to protect them while they mistreat and t*rture these chickens on this farm and the people who downwind of this elimination? BOOTH: You practice that speech much, pal? BRENNAN: We found Nick Rabin's body. BOOTH: As of now, you are our No 1 suspect. JOSH: Oh please, I didn't k*ll anyone. I'm an extreme pacifist. BRENNAN: That's an oxymoron. You're either extreme or pacifist. You can't be both. JOSH: You, are working as a tool of the poultry lobbyist. Code Yellow! Code Yellow! (The protesters poured corn syrup and paper feathers onto them) BOOTH: Okay, you do know that you're all under arrest, right? ACT THREE (Cut to: FBI building. Interrogation room. Sweets and Booth are interrogating Josh Parsons after they played the footage edited by Josh) SWEETS: That's your voice, isn't it? JOSH: Yes. And I'm proud of my work. SWEETS: The FBI believes you snuck into the premises to record a second video. You were caught by Nick Rabin and you k*lled him. BOOTH: That's exactly what happened. SWEETS: I don't think it played out that way. BOOTH: Ducky Sweets here says you're not the type who could k*ll except in self defense. JOSH: I never att*cked anyone. BOOTH: Oh really? Because you tar and feathered me. JOSH: It was just corn syrup and paper feathers. And I didn't sneak in and take that video footage. I got back to my bicycle one night and there was an envelope. BOOTH: I'm gonna need the name of your chicken spy inside. JOSH: No. BOOTH: And the original footage, not the stuff you cut out here. JOSH: I will absolutely not turn over to you any information entrusted to me by a courageous individual who risks his or her job to aid innocent creatures who aren't able to defend themselves. BOOTH: Oh, you know what, you don't want to hand in the original footage, I'm gonna charge you for as*ault a federal agent. SWEETS: Hmm, that's what, $200,000 fine and one year in a federal prison. BOOTH: You know, if you're locked up, who's going to speak for the chickens, huh pal? [attempts to leave the room] JOSH: Okay, okay! Just hold on. (takes out a USB drive from his pocket & tosses it to Booth) That's the raw video footage, exactly how I got it. SWEETS: See, it all worked out great. (Cut to: Jeffersonian Lab) CAM: Cause of death, Mr Bray? WENDELL: Most of the fractures are post-mortem. And the bone bruising prior to the dam and getting stuck to the whirlpool at the bottom. CAM: Like going through a giant washing machine. WENDELL: Yeah. But, this cervical vertrabrae damage is not post mortem. This is an on-damage cervical section. Here's our victim. The C2 vertabrae rotated laterally while the ligaments and facets of the transverse process were severed and locked. CAM: A broken neck. WENDELL: Fracture patterns suggest a writhing motion. CAM: You mean wrung? WENDELL: Yeah. CAM: You mean the chicken man was k*lled by having his neck wrung? WENDELL: Yeah. Ironic right? CAM: We are going to have to catalogue all these injuries chronologically. Talk to Angela, see if she has any imaging technique that can help. (Cut to: Angela's room. She watches the chicken footage with Brennan.) ANGELA: Nearly 10 billion chickens are hatched annually. Most in places like this. BRENNAN: It's like a warhouse. ANGELA: Yeah, each chicken is given a less than half foot space. And look at this part, the little baby chicks get their beaks cut off. BRENNAN: Why? ANGELA: Supposedly to keep them from fighting. BRENNAN: Why would they fight if they're penned up? ANGELA: The stress of being jammed together, it gets crazy. BRENNAN: You upset? ANGELA: Yeah. I am. Aren't you? BRENNAN: I'm-- not certain how sension these chickens are. ANGELA: (frustrated) Yeah, but they can feel. I mean you can see that they can. And you know what else? If it turns out there was a chicken revolution and they off this guy, I am with them. BRENNAN: It's our job to figure out who k*lled this human being. ANGELA: Yeah. I guess. BRENNAN: Because it probably wasn't a chicken revolution. It was probably another human being. ANGELA: (smiles) Fine. I was able to extract the metadata that was embedded in the original video file. Time and date the video was taken and aperture make and model of the camera including the serial number. BRENNAN: Could you trace the serial number? ANGELA: Yeah. The owner sent in the manufacturer's warranty which included the serial number. BRENNAN: (squints at the name) Gaynor Rabin. The victim's wife. Thank you, Angela. And I'm sorry that the chickens made you feel bad. (leaves the room) (Angela chases after Brennan; showing her something) ANGELA: Hey. What about pigs? Pigs are sension. BRENNAN: That's a non sequitur. ANGELA: Pigs make bacon. Not only are they sension, they're smarter than dogs. BRENNAN: I don't eat bacon. I'm vegetarian. ANGELA: Yeah, for health reasons. Listen, Brennan. (holds up a photo of a piglet) I wanna save this little piglet. BRENNAN: That particular specific piglet? ANGELA: Yeah. And that would be $1500. Are you in? BRENNAN: (laughs) No. ANGELA: Yeah, but look at his face. How can you resist this face? BRENNAN: Saving one chicken or pig is symbolic at best. ANGELA: This is not a symbol, this is a face. It worries me that you can look into these eyes and be so cold. BRENNAN: I'm sure he's a fine piglet- ANGELA: How are we friends? How is it possible? We have nothing in common. BRENNAN: What, you don't want to be friends anymore, because the pig is cute? (Angela walks away from Brennan) (Cut to: Royal Diner) SWEETS: What if the victim used the wife's camera to strike back at the company that disfigured him? BOOTH: Maybe, he was having an affair. SWEETS: Or maybe she was sick of kissing the guy with a beak. Oh woah! Hey, today's specials; chicken. Ironic. BOOTH: Everything okay there, Bones? I know when there is something wrong with you, something's wrong, alright? What can I do to help you? BRENNAN: Angela and I had a fight. BOOTH: Nothing I can do to help. BRENNAN: You want to hear about it. BOOTH: No. SWEETS: Why not? BOOTH: Because her and Angela are best friends. And Bones is gonna want me to take her side and agree Angela was wrong and those two are gonna make up, and they're both going to be mad at me. No thank you. SWEETS: That's very interesting. BOOTH: You know the way you say 'very interesting' is very irritating. (Sweets didn't reply) Listen, Bones, I would do anything for you. I would die for you, I would k*ll for you, but I am not getting in between two best friends. BRENNAN: Okay. What were you saying, Sweets? SWEETS: Hmm? Oh! Oh uh, I've been considering the symbolism of this m*rder. Tossing him into a dam isn't very chicken-ny. You'd think the victim would show up in a rotisserie or a deep frier. BRENNAN: I remember a month ago, a chicken restaurant chain reported human phalanges in deep fried treats. BOOTH: Kid bit into a thumb. SWEETS: Mom ate a toe. It was uh, Buck Buck Chicken's Hut. BOOTH: Maybe the toes are our victim's. SWEETS: Totally pulled the justice. BRENNAN: If you could get the body parts from the chicken treats to the Jeffersonian, we'll see if it match our victim. BOOTH: Okay. BRENNAN: I'm going back to the lab. Send the fingers over when you find them. (about to leave) BOOTH: (grabs Brennan's hand) Whoa, Bones. Everything is going to be okay between you and Angela. Alright? You two are like sisters. BRENNAN: I'm just not used-to not getting along with people. SWEETS: Seriously? Cause it seems like- (Booth kicks Sweets under the table; Booth smiles at Brennan reassuring her everything will be alright) BRENNAN: Thanks, Booth. Just bring in the human parts tomorrow and (pats his hand; giving him a reassuring smile) I'll take a look. (walks away) SWEETS: You combined your 'don't get between women' rule and 'you're like sisters' observation, I come up with you dated sisters. BOOTH: [laughs] They're identical twins. Yeah, it was all wrong. SWEETS: No, it's all right! (Cut to: Jeffersonian Lab. Cam and Brennan are at the lab platform) CAM: These have been frozen, fried, microwaved, bitten, spat out and preserved as evidence. BRENNAN: Bone density would indicate that all 4 digits came from the same person. CAM: They all came from the same local chain chicken restaurant. BRENNAN: Buck Buck. CAM: Beg your pardon? BRENNAN: Buck Buck Chicken's Hut. Is Clucksten a supplier? CAM: They're one of them. No way in telling where these particular human nuggets came from. BRENNAN: So lack of bruising on the bone at the precision point- CAM: Removed post mortem. So not t*rture obviously. BRENNAN: There are some symmetrical slice marks, pitching from the center of the bone tissue. CAM: Removed with shears? BRENNAN: You should do a DNA test of course. I'm confident all 4 body parts came from Nick Rabin. ACT FOUR (Cut to: Sweets' office. Sweets walks in to see Angela already seated in one of the sofas) ANGELA: Hey. SWEETS: Are you here because of your argument with Dr Brennan? ANGELA: No- no. I'm here for a donation. She told you about our fight? SWEETS: No. Booth figured it out. Donation for what? ANGELA: (holds up a picture of a piglet) It's gonna cost $1500 to save this piglet. (Sweets is speechless) How much are you in for? SWEETS: Are those tears in your eyes? ANGELA: I just can't stop thinking about this little piglet. SWEETS: Okay. I'm gonna suggest perhaps it's time for you to, abandon celibacy a little early. ANGELA: What does that have to do with anything? SWEETS: You're forming an inappropriately strong attachments to photographs of baby animals. Your libido is being rerouted. You need to come back to the world. ANGELA: Wait a minute, inappropriate my ass. (gets up to leave) Can I ask, what is wrong with everyone here? SWEETS: Uh, you had a falling out with your best friend over a pig. Your perspective is skewed. It's time to reconnect with humanity. Gain a little perspective. ANGELA: Okay. Alright, so if I have sex, will you donate to save my pig? SWEET:S It's not really- the point I was gonna- We'll revisit the pig question. ANGELA: (hands over photo to Sweets) You can keep this. I have multiples. (walks out) (Cut to: FBI Building. Interrogation room where Gaynor Rabins is being interrogated by Booth) GAYNOR: You think I k*ll my husband? Cut off his thumbs? Dump him over the savage river dam? BOOTH: Thumbs and toes, yes. Oh, do you recognize this? (plays chicken footage) GAYNOR: It's the video those peg people put on the internet. BOOTH: Right, it was taken with your camera. GAYNOR: You're making that up, you can't possibly know that. BOOTH: We can prove that. Let's start this all over again. Did you, take this footage? GAYNOR: Yes, I took it. BOOTH: Did you give it to Josh Parsons? GAYNOR: Yes, I did. I wanted Clucksten shut down. BOOTH: Why? I mean, your husband is next in line to take over the business. GAYNOR: Because I was tired of getting thr*at phone calls, tired of being hated in my own town, but most of all, Agent Booth, is I wanted my husband to get his real face back. So I gave the footage to the activists. BOOTH: How is it possible that your husband's thumbs ended up on the menu? GAYNOR: Easy. Toss them into the nuggets before they're breaded, fried, and frozen for shipment. BOOTH: Are you suggesting that the k*ller was working in Clucksten Farms? (Gaynor nods) You realized Clucksten is doomed after this. GAYNOR: Yeah. BOOTH: So you got exactly what you wanted. GAYNOR: No Agent Booth, I did not. What I wanted was my husband back. BOOTH: I understand. Is there anyone else who benefits from Clucksten Farms going under? GAYNOR: Probably the anti-smell people. The people who stay downwind. BOOTH: I need a name. That's all. GAYNOR: The main clear-air nut is Roy Meyers. He's a baker with a shop two miles down Clucksten Farms. (Cut to Jeffersonian Lab. Angela's room. Wendell works in to see Angela with a file) WENDELL: Hey, I got some more date on the bone bruising. ANGELA: Hey. So I need $1500. WENDELL: I need about $14000 to repay student loans. What'd you need your money for? ANGELA: (holds up photo of pig) I need to save this pig. WENDELL: Being made into bacon? ANGELA: Yeah. WENDELL: (pauses) I love bacon. I love ribs. I love steak. I love meat- I'm a meater. And I'm not apologetic about it. ANGELA: Look at his face. (holds up the photo higher; waiting for a response from Wendell) WENDELL: Look Angela, I'm sorry. Here's 20- 25- 45 dollars? Take it all. (smiles at her) It'll save your pig. (Touched and thrilled, Angela kisses him, and he passionately kisses her back) (Cut to: Roy Meyer's bakery. Booth and Brennan approaches Roy Meyer) BOOTH: Roy Meyers? MEYERS: Yes. BOOTH: FBI. Agent Booth. This here is Dr Temperance Brennan. We understand you're trying to get the state to shut down Clucksten Farms? MEYERS: Sure. Because no one would come in and make it through the stench. BRENNAN: They were here first? MEYERS: Yeah. Back when it was a free range chicken ranch but it's a beast now. Factory farm; heartless. Reasonable people call it. Uh, you'll excuse me, [takes out a cigar] I took this in a way to get fresh air, as ironic as that sounds. BRENNAN: Considering your malodorous habit, would you say that your dispute with Clucksten Farms is more financially motivated than health related? MEYERS: Sure. You know how a baker sells its wares? BOOTH: Yeah. People smell the bread from outside, they go inside, they spend a dough. MEYERS: Thanks to Clucksten Farms, to smell my cinnamon buns, people have to jam their noses right in that damn thing. BOOTH: Clucksten Farms is trying to put you out of business. BRENNAN: Can I take a look at that? MEYERS: Yeah [gives her the cigar cutter] Me and anybody else who relies on the sense of smell, sense of taste. BRENNAN: [holds the cigar cutter] Will your thumb fir into this hole? BOOTH: Whoa whoa oh. You don't stick that into my thumb. It's like a mini gilatin. MEYERS: You wanna be careful with that. It's sharp as a razor. It'll nip your thumb off in a jippy. [Booth & Brennan looks at him] What? It's a federal crime to own a cigar clipper? ACT FIVE (Cut to Jeffersonian Lab, Bone Room.) ANGELA: The human eye can also receive colors between wavelengths of 400 and 750 nanometers. WENDELL: This full spectrum light source simulate both the visible and UV spectrum. Angela is brilliant. ANGELA: [smiles at Wendell] So we run the image through the spectroscope, then now we can detect the color difference that is not visible to the human eye. WENDELL: [points at screen] I was able to confirm these are post mortem bruises, likely caused my rocks and debris while the victim was travelling down river. ANGELA: Right, then we assigned all post mortem bruising with one distinct color, and peri mortem with another. Injuries sustained before death will appear red and after death, black. WENDELL: Save me hours and hours of work. CAM: This is what happens when two people with different disciplines find each other and work closely. [Wendell & Angela look awkwardly at each other; Cam notices] Can you highlight the peri mortem bruising? WENDELL: Evenly spaced circular impact bruises on the right temporal sphenoid region continuing along the frontal and pivotal bones; all of them have identical directionality. CAM: What the hell would leave marks like that? WENDELL: What kind of machine? CAM: And why they stop there? WENDELL: Something stops the w*apon from striking down into the skull in this area. HODGINS: (walks in) The microscopic metal deposits on the thumb bone does not match the baker's cigar cutter. But fortunately, I'm very thorough and tenacious. (Cut to: Hodgins' lab) HODGINS: There was evidence of streaming nuclei in the bone cells. WENDELL: That was my job to find. HODGINS: It's okay, kid. Around here, we step in for each other when needed. ANGELA: [surprised] What? HODGINS: [turns to look at Angela] Hmm? ANGELA: [Wendell looks at her; she recalls] Oh you mean work. HODGINS: Yeah, what did you mean? ANGELA: Work. I agree, it's work. Can we move on? CAM: So we have electricity? ANGELA: Who? CAM: Streaming nuclei suggest voltage. ANGELA: Oh, oh, I know. WENDELL: Like self cauterizing blade. HODGINS: There's gotta be something like that in a place that kills thousands of chickens everyday. Ahh, here we go. This has narrowed it down. He had beak and feather disease virus. WENDELL: Beak and feather disease in his thumb? CAM: I'm gonna go out on a limb here and guess that what we're looking for is a self cauterizing instrument that cuts beak and feathers. ANGELA: Wait a minute, the video. (Cut to: FBI interrogation room. Video footage of chicken is playing and then is paused at a scene) BOOTH: That's you right, Miss McNamara? McNAMARA: Yeah. BRENNAN: Your occupation is "Beak Clipper"? McNAMARA: Baby chicks are jammed so close together, they get stressed, att*ck each other; it's my job to cut off the tip of their beaks. BOOTH: [disgusted] It isn't a good job to have. McNAMARA: I got demoted from Plucker. Bet you didn't know there was something worse than Plucker. BOOTH: When you were demoted, was that before or after you charged Nick Rabin for sexual harassment? McNAMARA: After. Go figure. Nick was a groper. Never saw the guy coming. It got over, real fast. BRENNAN: How much training do you need to run the "Beak Clipping" machine? McNAMARA: None. It got to be a person who is willing to cut off the beak of the newborn chicks. Why? BRENNAN: Because your machine was used to remove Nick's thumbs and big toes. McNAMARA: Hey! If I was to cut something off Nick Rabin, it would not be his thumb. BOOTH: Okay. Usually what people do right now is they insist they didn't k*ll anyone. McNAMARA: Well, maybe I fantasize about it too many times, I actually did it. BOOTH: Do you know anything about Nick Rabin's death or his mutilation body? McNAMARA: No. But still, if you could arrange it, I wouldn't mind getting away from Clucksten and spending a few days in jail. (Booth and Brennan looks in disbelief) (Cut to: FBI Building, Sweets' room) BRENNAN: I don't need a professional consultation, Sweets. SWEETS: Well, this is not that. This is just a friendly conversation. BRENNAN: Angela will come around. SWEETS: You're certain she will? BRENNAN: Yeah. Eventually, Angela will see the rational nature of my argument. SWEETS: [repeats] She will come around. BRENNAN: I already said that. SWEETS: Hey! Crazy thought. What if, this time you came around? BRENNAN: Saving one pig is an irrational act. Are you suggesting that I should point that out to Angela more clearly? Because that would make this conversation very much like a professional consultation. SWEETS: No, I'm suggesting in a very friendly conversational way, that you help her save that one pig. BRENNAN: But we both agreed that it's a meaningless act. SWEETS: Meaningless by your definition, not Angela's. BRENNAN: My definition is correct. SWEETS: Yes. And if life was simply a debate, you would win, hands down. But we know, this isn't a debate. It's something much tougher. You know our very work shows us that, that those people, that call the world an abattoir -- a slaughterhouse -- they have a point. Now you handle that knowledge by imposing this, gossamer web of rationality, over the ugliness. Angela has a very different way of handling. Sometimes you don't save the world, Dr. Brennan. (pauses) Sometimes you just make your friend happy. BRENNAN: But, even if it's irrational? (Sweets doesn't reply; Brennan slowly smiles in understanding. She picks up the photo of the pig) He is very, very cute. I mean, almost like he's smiling. (Brennan and Sweets smile at each other) (Cut to: Jeffersonian Lab) HODGINS: Wendell and I have been testing chicken factory implements in order to find something that would leave symmetrical marks on the victim. (Brennan walks in) CAM: Searching for the m*rder w*apon. BRENNAN: Did you find it yet? WENDELL: Uh no, but we have the parameters. HODGINS: Mr Bray, please resume in position. (gesturing him to take a seat) WENDELL: The skull was struck repeatedly. HODGINS: We need somebody to actually spin Wendell on the stool. CAM: (hesitant) Yeah, I don't roll the interns. Perhaps Angela would do it. (Wendell snaps the headcap suddenly) BRENNAN: I'll do it. HODGINS: (using paintbrush on Wendell) Okay, it appears as if the victim was turning and, or rolling. CAM: Someone rolling? HODGINS: As it appears. BRENNAN: The directionality indicates that. WENDELL: (still spinning) Can I stop turning while you discuss this? HODGINS: Not yet, dude. Now we haven't determined is what he would've rolled on that would've done this. BRENNAN: Oh! What if! What if, the victim wasn't spinning. What if, the w*apon was spinning. WENDELL: Oh, thank you God. (Brennan pushes him forward) BRENNAN: The bruises had common directionality, it's likely that the victim was faced down (twist Wendell's head slightly) at an angle. If the implement striking the victim's head, was spinning (taking the paintbrush & hitting it on Wendell's head; Cam feels sorry for him) I- I know, which piece of equipment causes these bone bruises and the victim's neck at the same time. ACT SIX (Cut to Jeffersonian Lab, Booth is bringing in the chicken machinery on Brennan's request) BOOTH: Yeaap, here we go. (starts making machine sounds) Hey Bones! Look at this, huh? Serve the warrant for your chicken plucker! CAM: Oh,we got blood (flashes UV light on machinery) BOOTH: From the chickens? BRENNAN: No. The chickens are drained by the time they get here. They'll barely be any blood left. (Brennan picks up a piece of fibre found) BOOTH: Whoa kay, what's that? BRENNAN: If my theory turn out to be correct, it'll turn out to be a fragment of the victim's necktie. (places it in evidence bag) I'm going to need your tie to test the theory. BOOTH: You mean the tie I'm wearing right now? But- BRENNAN: (ignoring him) Uh-huh. (unties Booth's necktie) I'm not certain if the tie will be ruined. (turns out the machine) CAM: The Jeffersonian will reimbursed it if needed. BOOTH: It's just a tie. BRENNAN: The m*rder and victim struggle. Victim's tie enter the chicken plucker (places tie inside) That amount of force would definitely wrung the victim's neck. CAM: Uh-oh. BRENNAN: What? My reasoning is flawless. BOOTH: Shut that off, will ya? Your theory suggest it was an accident. BRENNAN: No. I disagree. CAM: They fight, tie gets caught inevitably. BRENNAN: No. (points at screen) This pattern has a missing component. Here. Suggest something block the strike. Obviously the m*rder's hand. Like this. (places her hand on the side of Booth's face) You should see if an employee of Clucksten Farms was treated for a broken hand. (Cam nods in agreement) (Cut to: FBI interrogation room. John Collins is being brought in.) BRENNAN: (holds up an xray) These fractures to your 2nd and 3rd metacarpals in your left hand, they are caused by being struck. BOOTH: That ain't smart. COLLINS: How did you get my xrays? BOOTH: The judge decided that we have reasonable cause. Pulled a warrant. So why would the Head of Security reaches into a moving chicken plucker? COLLINS: 8 years, I worked in that hell hole. Why? (takes out a photo from his wallet) BRENNAN: (looks at photo) Your wife? COLLINS: We were going to have kids. But she got sick because she worked at Cluckstens. BRENNAN: Did you have evidence of that? COLLINS: That's exactly what Nick asked. When we move into the next county, she got better. That's evidence enough, if you ask me. All I wanted from Nick, was gas allowance. BOOTH: And he said no. COLLINS: We shoved each other a bit, I guess. His tie got stuck into the chicken plucker. I reached in, I tried to save him, and that's how my hand got broke! BOOTH: You didn't intend to k*ll him? COLLINS: No! God, no. BOOTH: (feeling sorry for him) Oh okay, I understand. BRENNAN: (shocked by Booth's reply) Booth. I know you trust your gut, but you're wrong this time. (to Collins) The directionality of these fractures show that your hand was on Nick Rabin's face when it went into the machine. You pushed him, you k*lled him. (Booth & Brennan exchange glances; Collins finally admits) COLLINS: I drive 68 miles to work everyday, and all I wanted was gas allowance. I worked there 8 years! Just a gas allowance, so my wife can stay healthy. (Booth finds it difficult to accept that Collins was lying earlier after he confesses to committing a m*rder) (Cut to: Founding Fathers bar. The entire team is seen having a drink or two) BRENNAN: Would you like one of those fruity drinks? BOOTH: No. (Brennan and Angela exchange glances) BOOTH: You know he fooled me, he fooled me. I actually believed he was trying to save the victim. BRENNAN: He's a very good liar. BOOTH: Bones, I can tell, when people are lying. Or I could tell, before my whole, rectal cerebral - infracture. BRENNAN: (chuckles) That's not a real medical condition. BOOTH: (not amused) You sure? Cause that's not what I'm feeling right now. BRENNAN: If it were real, it would be pretty disgusting. Rectal, cerebral- BOOTH: Bones, I'm losing it. I'm- I'm not up to speed here. I woke up this morning, and I realized I didn't even know if I like brown sugar ion my oatmeal. BRENNAN: Well next time, call me. You like brown sugar on everything. BOOTH: I'm the one, who's supposed to know when people are lying. Who do I call up for that? BRENNAN: (thinks) Sweets. BOOTH: Sweets? BRENNAN: You said he's like a human lie detector test. BOOTH: I don't like things at half speed okay? I'm a full-speed kinda guy. BRENNAN: Well even at half speed, you're still twice as fast as anyone else. BOOTH: (slowly smiles) You wanna see the fastest draw in the west? BRENNAN: Sure. BOOTH: You want to see it again? BRENNAN: (laughs; then recalls something & takes out a photo of Angela's pig) Sweets thinks I should humor Angela. BOOTH: Sweets is a bright kid. BRENNAN: But I want to know what you think. As a full grown man of experience. I need to know what you think. BOOTH: I think you should let her have this one. (Brennan smiles at him; turns to leave) Where you going? (she holds up her chequebook) What, you mean now? I don't mean, this second. (Brennan is seen making her way to Angela, they talk for a while before they both started smiling and hugging each other. Booth smiles while watching them. Brennan passes Angela the cheque. Booth observes the intimacy between Wendell and Angela before Wendell realizes. Brennan returns back to her seat) BRENNAN: Angela seems to be very happy. BOOTH: I can see that. BRENNAN: You certainly said that in a funny way. (realizes that Booth is hiding something) You noticed something! See? You still got it! (smiles widely) BOOTH: You're not gonna ask me what I saw? BRENNAN: Do I wanna know? BOOTH: No. (chuckles) Do you wanna know anyway? BRENNAN: Nope! It can wait. I trust you. (They both share a toast) END.

{"type": "series", "show": "Bones", "episode": "05x06 - Tough Man in the Tender Chicken"}

foreverdreaming

THE DWARF IN THE DIRT (Open: sh**ting range, several people f*ring at targets. Pan across to Booth f*ring sh*ts in quick succession. He pauses. A man nearby spots him and lifts his protective head gear.) CARSON: Hey, Booth, right? BOOTH: Huh? CARSON: You're a legendary sh*t, man! I'm Carson. BOOTH: I'm concentrating. CARSON: Heard you could sh**t a hole through the middle of a dime on the run. (Booth puts his earpiece back in, clearly not in the mood to converse. He fires more sh*ts, and then presses the button to bring the target towards him. The sh*ts are haphazard; inaccurate. Not what he had been hoping for.) CARSON: 'Scuse me. Obviously got the wrong guy. (Booth looks shocked and confused.) (Cut to: Sweets' office. Sweets is packing away his paperwork. Booth enters.) BOOTH: Aw, great, I was worried you'd be gone. SWEETS: Uh, almost gone. BOOTH: Well, almost is almost, so - if I ask you a question, can you answer it in plain language? SWEETS: Yeah, I'll do my best. (They sit down.) BOOTH: Great. So, uh... (Sweets picks up a notepad and pen, preparing to take notes. Booth laughs somewhat frustratedly.)... okay, what's our deal? SWEETS: Our deal? BOOTH: Yeah, yeah, what... what are you? FBI shrink, friend, objective observer? SWEETS: Oh oh oh, you wanna know my primary role, okay. Well, that depends upon a number of factors. BOOTH: Sweets! Plain language. SWEETS: The FBI hires me to evaluate agents - you're an agent. BOOTH: So, FBI first, me second. SWEETS: No! No no no, Agent Booth, that's not what I meant. BOOTH: (his phone rings) It's okay, Sweets, I get it. SWEETS: Please, let me finish! BOOTH: You just called me 'Agent Booth', that says it all, 'Dr Sweets'. Y'know, I learned the importance of vocabulary choices from you, and I gotta go catch a m*rder. (Booth exits.) SWEETS: ...Booth. (He throws his pad down in frustration.) (Cut to: Crime scene, road collapse. Booth and Brennan exit Booth's car, Brennan putting on her gear.) BRENNAN: Why aren't you cracking wise? BOOTH: Why? Because it's not 1945. BRENNAN: Shall I start making jokes? BOOTH: Just let it flow naturally, okay Bones? BRENNAN: Well I've noticed in the past when you're grumpy, your mood tends to elevate when you tell me about it. BOOTH: Just had a bad day on the range. BRENNAN: Is that a cowboy metaphor? BOOTH: No, it's... this week I have to re-certify as a marksmen, and I - I don't know if I'm gonna make the grade! BRENNAN: Well, obviously you need more practice. BOOTH: Maybe this is all because of my brain tumor. BRENNAN: Highly unlikely, given aiming a firearm involves your cerebellum and occipital lobe, while your brain tumor is temporal parietal. Perhaps you should speak to Sweets. BOOTH: Meaning what, that this is psychological? (Brennan tilts her head and her expression indicates that this is a possibility.) BOOTH: No, I-I can't talk to Sweets! BRENNAN: Why not? BOOTH: Why? Because he works for the FBI, he's gonna be along telling the Bureau that I'm all loopy doopy doopy, I can't have that - (They meet Officer Novarro on the street.) - sinkhole? NOVARRO: Oh, no thanks, I already got one. That's it over there, big sucker. (Brennan is amused; Booth, not so much.) BOOTH: Now let's not do that right now, Officer Novarro. NOVARRO: All business FBI, gotcha. Road collapsed about four am, broken water main. Took a car down with it, nobody got hurt. Mostly pumped out now. BRENNAN: Then why are we here? (The road collapse becomes apparent, with a ladder leading down to where the body was found.) NOVARRO: Because you're the bones people, right? We've got bones! BRENNAN: Woah, they're green! That is very interesting. (She begins to climb down the ladder.) BOOTH: Be careful, Bones. NOVARRO: They don't look right, if you ask me. BOOTH: Why, because they look so green? NOVARRO: Get closer. That's not all that's wrong with 'em. (Booth climbs down the ladder, but doesn't join Brennan at the bottom.) BRENNAN: Definitely human. The evidence down here has been totally compromised by water. BOOTH: Is it a kid? BRENNAN: Uh, you mean because of the small stature? No. Dentition indicates late twenties. Male. BOOTH: Why is he green? BRENNAN: Well, that's not really our highest priority. BOOTH: Wait wait - how can being green not be a priority, Bones? BRENNAN: (She finds something.) Ah, gold coin! (She throws it to Booth, who catches it.) BOOTH: Look at that, Bones! Heeey! (The water main breaks, creating a rainbow illusion over Brennan.) BRENNAN: Oh, what happened? BOOTH: Water main break. Alright, you got another water main break down here - but look at that, Bones! You are at the end of a beautiful rainbow! BRENNAN: Where I am is at the bottom of a muddy pit! BOOTH: Okay, think about it. End of a rainbow, little green guy, gold coins, what does that tell you? BRENNAN: That I need an umbrella, and that the remains are horribly compromised. BOOTH: Tells me leprechaun. (He closes his eyes.) BRENNAN: Are you praying? BOOTH: I'm making a wish. BRENNAN: Same thing, really. Rather than counting on superstition to make you sh**t more accurately, you should just practice more. BOOTH: (peeved) Thanks. Okay, why don't we just get Darby O'Gill there out of the pit, and back to the lab, alright? Somebody shut the water off! (Booth walks away. Brennan looks back up to him, smiling affectionately.) (Opening Credits) (Open - Jeffersonian - Medico-Legal Lab - Platform. Vincent is examining the victim's body.) VINCENT: Leprechauns are thought to explode if you touch them with a broom handle. CAM: A: These remains show no signs of being exploded, and B: ... I think you can guess B. VINCENT: There are no such things as leprechauns. CAM: This is good; we're developing a short hand. VINCENT: The large skull and torso, combined with short limbs and evidence of hypotonia points to achondroplasia. CAM: Dwarfism. VINCENT: Indeed. (Hodgins appears on the screen. He is at the crime scene.) HODGINS: Think I know why our victim's bones are green. The soil is lousy with iron oxides. That combined with the acidic ground water turned the calcium in the bones green. CAM: How long would that take? HODGINS: Depends. How far down in the bone does the green color extend? VINCENT: Two to three millimeters. HODGINS: I'm gonna go with two to five months. CAM: So, we have time of death, if not cause. VINCENT: Most of the abrasions to these bones were caused very recently. CAM: Well, a car fell on the remains last night, that's gonna be a factor. VINCENT: The question is how did our leprechaun end up buried twenty feet under the street... wearing only his knickers? CAM: Most likely scenario is that he was m*rder, and tossed in a storm drain, service tunnel, or sewer. VINCENT: A sixty percent subluxation between the scapula and the humerus indicates that his right shoulder was dislocated. CAM: Congruent with having being dragged? VINCENT: As a literal d*ad weight, yes. (Cut to: Chef's kitchen. Gordon Wyatt Wyatt is cooking something on the stove.) GORDON WYATT: f*ring two branzino, one duck, one rib eye rare! (Booth enters.) GORDON WYATT: Oh and one of the branzinos is without potato, well it's the customer's loss, the vile bag of gobslobber. BOOTH: So you prefer this to psychiatry? GORDON WYATT: Agent Booth! Yes, yes I do as a matter of fact, yes. Well, it's the smell, plus let's face it - Chef Gordon Wyatt Wyatt has more of a ring to it than Doctor Gordon Wyatt Wyatt. What do you think? (He offers Booth a pan. Booth takes a sniff.) BOOTH: Wow, that's amazing. GORDON WYATT: Isn't it? Isn't it? What do I owe this pleasure to? BOOTH: Well listen, I - GORDON WYATT: Oh, careful with those morels, Elan, they're sixty dollars a pound! ELAN: Sorry, chef! BOOTH: Chef, I need some advice. GORDON WYATT: Well, I can advise you on how to cook an omelet, or how to sous-vide a pork chop if you want to - yep, go, go with those. BOOTH: No I need um, some... "shrinky" advice. GORDON WYATT: Well, I stopped being a psychiatrist some time ago, as you know. f*ring three out of a two shepherd's pie, one rack of lamb. Is this something to do with the jumbling your poor boggled noggin got last year? BOOTH: That's what I'd like to know. GORDON WYATT: Well, my brain expertise these days is confined to preparing a superb sautéed cervelles au beurre noir, I'm afraid. BOOTH: Um, maybe you could just pretend like I'm a recipe that needs fixing. GORDON WYATT: Tell you what, take that. (He hands Booth a plate with food.) BOOTH: Okay. GORDON WYATT: And that. (He hands Booth a fork.) BOOTH: Yep. GORDON WYATT: Go over to that table. Chef's table, somebody, please! Prepare, thank you! BOOTH: If I eat this, it's gonna cure me? GORDON WYATT: Heavens no, but it'll give you something to do until my break. Right, somebody, service over here, thank you! (Booth picks up an odd looking piece of food, looking slightly bemused.) (Cut to: Jeffersonian - Medico-Legal Lab - Platform. Brennan leans in slightly too close to Vincent as they examine the victim's body.) BRENNAN: The victim was struck, in his face. VINCENT: At the nasal and the zygomatic. BRENNAN: At worst, a blow like this would knock the victim unconscious. Good find, Mr. Nigel Murray, but not cause of death. VINCENT: I've catalogued a large number of remodeled fractures along the ribs, plus bilateral flattening of the proximal radii. BRENNAN: Enhanced muscle attachment here and here indicate the victim was very strong. VINCENT: Well, I'd assume that was to compensate for his condition. BRENNAN: What if his strength wasn't compensation for his condition, but lead to all of these injuries. VINCENT: A super strong dwarf, such as might be found in the Lord of the Rings. BRENNAN: (She frowns at Vincent, not understanding the reference.) The victim has all of the occupational markers of a wrestler. VINCENT: Oh! A midget wrestler. BRENNAN: No, midget is not the proper term, as a scientist you should be aware. VINCENT: It may not be the proper term, Dr Brennan, but I can assure you, correct or not, midget wrestling is an American pastime. As wrong as that may be. (Cut to: Jeffersonian - Angela's office. Brennan and Angela are looking at images on the large screen.) ANGELA: I'm trying to match the physical characteristics of our leprechaun to any professional wrestlers on the wrestling circuit. BRENNAN: Wrestling is popular in many cultures. It was the supreme contest in Ancient Greek games. ANGELA: Well, those were mostly beautiful boys wrestling around, all oiled up and naked. BRENNAN: That could be our victim. The muscle development appears consistent, the distinct curvature of the femur is undeniable. ANGELA: Then it seems our leading contender is the iron leprechaun. So it was a leprechaun after all. BRENNAN: Well, that's him. I'm fairly certain that iron leprechaun is not his actual name, only his wrestling moniker. ANGELA: (smirks) Thank you. Oh no, well this says that he's wrestling tonight. BRENNAN: That would mean that I was wrong about him being the victim. ANGELA: Yeah believe me, I'm as surprised about it as you are. BRENNAN: Well, perhaps this iron leprechaun will be aware of someone else who looked exactly like him disappearing. (Cut to: Jeffersonian - Hodgins' Work Area. Hodgins and Cam enter.) HODGINS: I could spend the rest of my life analyzing the contents of that sinkhole. CAM: Yeah, let's not do that. Start with the coins. HODGINS: Right, well uh, Brennan found a Chinese panda right beside the body. Now within three meters, I found four Krugerrands, a French Rooster franc, a gold Indian Head and a Canadian Maple Leaf. CAM: Worth a lot? (Sandy enters, carrying a clipboard and science equipment.) HODGINS: Oh, the rooster alone - (Sandy gives the clipboard to Hodgins) - hey, thank you Sandy - was worth about four hundred bucks. (He signs it and hands it back to Sandy, before taking the science equipment. Sandy exits.) CAM: Are any of these coins traceable? HODGINS: No, they're all common gold coins. There's a hefty market in it for people who are afraid the economy will crash, but it's not like they carry serial numbers. CAM: What about the g*n? HODGINS: It's a twenty two caliber rougar mark three, rusted beyond all belief. It's loaded, and unfired. It could belong to our victim, or it could've been tossed in the sewer twenty years ago. CAM: Let me know if you find something special. (Cam exits.) (Cut to: Gordon Wyatt's kitchen. Booth and Gordon Wyatt sit at the chef's table.) GORDON WYATT: So you failed to execute a simple plumbing repair, big woo. BOOTH: Had to get one of those dummy books. This is delicious, I mean it was great, you're a good cook. GORDON WYATT: And you say you forgot about your rather distinctive belt buckle. BOOTH: Yeah, Bones had to remind me. GORDON WYATT: Well, none of these adjustments strike me as being particularly earth-shattering. Ah. You haven't got to the juicy bit yet, have you? (Booth pulls out his target sheet, handing it to Gordon Wyatt. He looks confused, unfolding it. Realization hits.) GORDON WYATT: Oh I see, you've suddenly become an indiscriminate homicidal maniac, well that is a cause for concern. BOOTH: No, what it means is that I'm a lousy sh*t, alright, and I have to re-certify next week! GORDON WYATT: Well, I don't know what you expect me to do about it, the only time I've ever fired a w*apon, it reared up and struck me on the forehead. BOOTH: I just need you to help me f*re my g*n. GORDON WYATT: That sounds desperately phallic. Is this maybe a sexual problem? BOOTH: Don't say that. Don't even put that out in the air! GORDON WYATT: It would explain your reticence. Why haven't you gone to see the estimable Dr Sweets for help? BOOTH: 'Cause I can't go to him, he works for the FBI, right. You're Gordon Wyatt, come on, help me out. GORDON WYATT: Alright. I'll tag along, and I'll see what I think. BOOTH: Oh no no, I thought maybe you just, y'know, hypnotize me and give me one of those blue pills. GORDON WYATT: One quibble. It's chef, not cook, chef, alright? May seem rather a picayune detail to you, but it's quite meaningful to me. BOOTH: (smiles) Okay. (Cut to: A noisy venue in which midget wrestling takes place. Brennan, Booth and Gordon Wyatt walk in together.) BRENNAN: So, did Booth tell you about the plumbing? GORDON WYATT: And the socks, and the belt buckle, the sh**ting, anything else you noticed? BOOTH: Why are you asking Bones? GORDON WYATT: Well, she spends more time with you than anyone else. BRENNAN: I think that if Booth wants to be a better sh*t, he should just practice more. (General ugliness ensues in the fighting ring between the iron leprechaun and bumblebee man.) BOOTH: Ooh! BRENNAN: I'm nearly certain that is our victim. GORDON WYATT: What, the bumble fellow or the elf? BOOTH: Leprechaun, it's obviously a leprechaun. Hey Bones, you want to go up and tell the poor guy he's d*ad, or shall I? GORDON WYATT: Well, he does look a bit vigorous for a d*ad leprechaun, doesn't he? BRENNAN: No, that's not him. BOOTH: What do you mean that's not him, you said that was him. BRENNAN: No, that's him, in the poster. (She points.) BOOTH: Oh. BRENNAN: His forehead, the frontal bossing is far too prominent. (suddenly raises her voice above the crowd.) Boo, that man is not the iron leprechaun! Boo, fake, fake. BOOTH: What are you doing? BRENNAN: Well, booing is the appropriate way to show displeasure at a sporting event. (raises her voice again) Fraud, look at his femurs! GORDON WYATT: One cannot deny the femurs! BOOTH: Yeah, you can't. (Suddenly bumblebee man is on top of the iron leprechaun, holding him down.) REFEREE: One, two, three, bumblebee winner! ANNOUNCER: Ladies and gentlemen, ladies and gentlemen, tonight's winner at four foot four, a hundred and twenty two pounds, bumblebee man! (Cheering and boos.) BOOTH: Let me handle this. (He produces his badge.) Excuse me pal, FBI, wanna have a word with you. LEPRECHAUN: Up yours. Oh no! (He runs to the other side of the ring.) BOOTH: Oh, now I gotta get this guy? (He climbs through the rope and into the ring.) There we go. (The iron leprechaun begins building up momentum.) No no no no, whoa, you really don't wanna be doing - (The iron leprechaun launches himself into Booth's chest. He bounces off as if Booth is made of rock.) - that. BRENNAN: (concerned) Booth? BOOTH: What? BRENNAN: Are you okay? BOOTH: Fine, okay, I'll get the guy out of the ring, and I'll talk to him. (The iron leprechaun leaps on his back, covering his eyes.) What are you jo - are you kidding me? BRENNAN: Booth? Are you okay, do you need help? BOOTH: I don't need help, I'm fine, Bones, alright? Will you just get off my back, alright, I'm really starting to lose my patience. (He slams the iron leprechaun onto the floor in a swift move. Nobody seems very impressed.) Sorry, I just - (The iron leprechaun makes one last attempt, but Booth whacks him on the head, leaving him unconscious.) What do you expect me to do? He came at me like a rabid ferret. (Brennan blows a raspberry and gives him a thumbs down.) BOOTH: What was I supposed to do? (Cut to: Jeffersonian - Interrogation room, behind the glass. Gordon Wyatt enters.) GORDON WYATT: Dr Sweets. SWEETS: Dr Gordon Wyatt Wyatt. GORDON WYATT: Well, Chef Gordon Wyatt Wyatt as a matter of fact. So, observing your prey before heading on in to interrogate him, are you? SWEETS: Yeah, Agent Booth has had me conduct more interrogations lately. (He starts to walk away.) GORDON WYATT: That's, uh, quite the vote of confidence. SWEETS: I know why you're here. Agent Booth left my office and immediately went to you, didn't he? No, I'm alright with it. (He's clearly not alright with it. They exit, and begin walking along a corridor.) There have been a few changes in Booth. GORDON WYATT: Since the brain tumor? SWEETS: Yeah, is that why he came to you? He doesn't trust me? Oh right, how could I forget about cook/client privileges. GORDON WYATT: Chef/client privileges. SWEETS: Has he also told you about how now when he climbs stairs he leads with his right foot rather than his left, he holds his phone to a different ear, coffee in his left hand? GORDON WYATT: (surprised) How wretchedly observant of you. SWEETS: Not me, Dr Brennan. Would you like to accompany me? GORDON WYATT: To what end? SWEETS: Double team by psychologist and a chef? It'll be epic. (They exchange a smile, before making their way into the interrogation room.) (Cut to: Jeffersonian - Interrogation room.) TODD: My name's Todd Moore. SWEETS: (He produces a poster.) Then who's this? TODD: The iron leprechaun. GORDON WYATT: How many iron leprechauns are there? TODD: Just one. Well at a time, I mean. I took over when the last round leprechaun took a powder. SWEETS: When was that? TODD: About three months ago. SWEETS: What's this one's name? TODD: That's Bryce DaFonte. GORDON WYATT: Well, I'm sorry to say your predecessor is now deceased. SWEETS: We found his body at the bottom of a sinkhole. TODD: Bryce is d*ad? Oh man! Well, that totally explains why he'd bail on a sweet gig. GORDON WYATT: Being the iron leprechaun is a "sweet gig", is it? TODD: Yeah! It's a very popular character. Ah... you two think I k*lled Bryce, tossed him into a sinkhole, so I could take over the franchise? GORDON WYATT: Well, I was there when Agent Booth identified himself as FBI, and you ran. SWEETS: Running away from the FBI is always suspicious. TODD: (He stands up, leaning forward.) I'm Canadian. My work visa expired a week ago. I thought you were gonna ship me back to Sudbury. Have you ever been to Sudbury? You woulda ran too. SWEETS: Do you know anyone who would benefit from Bryce's death? TODD: Gidget, I guess. She's like the Vince McMahon man of our world. GORDON WYATT: Well, how would this Gidget benefit from losing her biggest star? TODD: Well, when Bryce was the iron leprechaun, she used to have to pay him a piece of the gate. Me? Flat rate. Three hundred bucks a pot. I'll tell you something else, too. They used to bump uglies, and it didn't end so great. (Cut to: Midget wrestling arena.) GIDGET: Somebody m*rder Bryce? BOOTH: Well, y'know, your number one draw disappears; you had to have had a theory? GIDGET: I just figured he couldn't handle what happened between us anymore. m*rder how? BRENNAN: Well, what happened between you two? GIDGET: Come on, we had a thing. Got old, I moved on. Thought at first Bryce did too but it ate at him. Guys are like that, you know. On the outside it looks like they don't care, but on the inside they're chewing themselves up like cancer. I gotta be a suspect, right? BRENNAN: We don't like to come right out and say that. GIDGET: Well I know I am 'cause Bryce was suing me. BOOTH: Oh really, what was he suing you for? GIDGET: Bigger cut of the gate. I didn't take it personal, maybe he did. You know men - something goes wrong in the heart department, it always shows itself in another way. (This means something to Booth and Brennan.) GIDGET: You know Bryce had a criminal past, right? BOOTH: Yeah, he went to prison for as*ault or a robbery. GIDGET: (laughs) What can I say, got a thing for the bad boys. Don't you? BRENNAN: No, I prefer good boys. BOOTH: (ears prick up) Really? BRENNAN: Yes. BOOTH: (flustered) Yeah, so you uh - do you know if Bryce DaFonte owned a g*n? GIDGET: Course not, he was on parole. Tell you something though, I had a sweet little p*stol come up missing right about the same time. (Cut to: The Diner. Someone hands Gordon Wyatt a meal.) GORDON WYATT: Ah, thank you. D'you know, there is something about an American diner griddle that turns out eggs that rival even the greatest boite du dejeuner in all of Paris. SWEETS: So, you've really done it, huh? Turned your back on psychiatry to cook? GORDON WYATT: Well, there's more than one way to feed people, you know? (Sweets says nothing, simply carries on eating.) GORDON WYATT: You're irked, aren't you? SWEETS: Oh no, it's just ... you gotta admit. All that experience, and knowledge, and wisdom, trapped in a kitchen? It's crazy! GORDON WYATT: I would suggest that what really chuffs your eggs is that in his hour of need, Booth turned to me for advice instead of you. But Booth couldn't go to see you, because your first duty is to the FBI. SWEETS: Well, he should trust me. GORDON WYATT: He does trust you, implicitly! SWEETS: (upset) Obviously not, he came to you, right? A chef. GORDON WYATT: But the point is, he would never do anything that would compromise your professional obligations. He's too fond of you for that. SWEETS: (extremely skeptical) Did he say that? Out loud? GORDON WYATT: He came to me knowing that I would consult with you - which is what I'd like to do now, please. In short, he believes that his brain condition has rendered him incapable of hitting the broad side of a barn with his firearm. SWEETS: That must really drive him up the wall. GORDON WYATT: Exactly. So, I looked forward to consulting with you on the strange case of the man hereinafter referred to as Agent B. (Sweets smiles. Gordon Wyatt takes a mouthful.) GORDON WYATT: Yes, you know what I said about the eggs? Doesn't extend to the potatoes. (He spits some back out onto his plate. Sweets groans, slightly disgusted.) Frozen. (Cut to: The Jeffersonian - The Bone Room. Cam enters.) CAM: Positive identification on the victim. Bryce DaFonte. (She presses a button and pictures of the victim appear on the screen.) VINCENT: That's a mug sh*t. CAM: (She signs a clipboard for someone, who then exits.) There you go. Apparently Mr. DaFonte was somewhat violent before channeling his aggression more productively. VINCENT: By pretending to be a vicious head-cracking leprechaun. CAM: Indeed. (Another person enters, with yet another thing for her to sign.) Thanks. What are you doing? VINCENT: In searching for cause of death, I found three small grooves along the margin on three separate ribs. Number two on the right, five and six on the left. CAM: Not caused by being crushed by two million pounds of gravel and asphalt? VINCENT: The nicks are deeper than the extent of the green patina. CAM: Telling us that they pre-existed the green, very good. (Another person enters to have something signed. It is clearly Cam's lucky day.) Okay, what else do these nicks tell us? VINCENT: I haven't the foggiest. Were you aware that Marilyn Monroe had six toes on one foot? CAM: (She closes her eyes, trying to keep her calm.) Keep looking, Mr. Nigel Murray. (Cut to: FBI building. Booth is coming out of a lift, Sweets is waiting for him.) SWEETS: Morning, Agent B. BOOTH: Hiya Sweets. Okay, about the other night when I came to your office. SWEETS: Enough said, enough said - (Booth hands him his coffee) - said the blind man to the deaf man, and in this case I am totally the deaf man. Not just deaf, mute. (Booth gives him an odd look.) SWEETS: You wanted me to talk to the victim's family with you? BOOTH: Yeah, I got the twin brother and the sister in law, they're in the conference room. SWEETS: What are we looking for? BOOTH: Lies and guilt, Sweets, what else is there? (Booth exits. Sweets smiles as he joins him. His mind has been put at ease.) (Cut to: FBI - Conference Room. Booth & Sweets are interrogating Derek DaFonte) DEREK DAFONTE: I was always worried something bad was gonna happen to Bryce, and then I stopped worrying when he started wrestling professionally. BOOTH: Right, so as far as you know your brother put his criminal past behind him? DEREK DAFONTE: Yeah, he um, loved the whole leprechaun wrestling thing. Quit drinking, made a living. SWEETS: You were close? DEREK DAFONTE: We were twins, but no. No, we weren't close. NICOLE DAFONTE: Bryce was always a little jealous of Derek, 'cause Derek was average sized. DEREK DAFONTE: Yeah, I'd have been jealous too if it worked out the other way and I got the short stick. BOOTH: No pun intended. NICOLE DAFONTE: (annoyed) That's not funny, Agent Booth. DEREK DAFONTE: I tried helping Bryce out, you know, got him jobs. BOOTH: When did you last talk? NICOLE DAFONTE: Well, Derek offered to testify his parole hearing. SWEETS: Offered? NICOLE DAFONTE: Bryce said he didn't need the help. DEREK DAFONTE: It wasn't like that at all, the whole parole thing was a lock, with or without me. BOOTH: A lock? DEREK DAFONTE: Bryce testified against his cellmate in return for parole. NICOLE DAFONTE: I think he was brave. DEREK DAFONTE: It was stupid, Nicole. Probably got him k*lled. (Cut to: Interrogation room. Gordon Wyatt and Sweets are interrogating this time.) GEORGE ALANO: If you don't mind me saying, neither one of you guys looks like a cop. Look like a substitute teacher and a fry cook. GORDON WYATT: (instantly on edge) A fry cook? SWEETS: We're not cops, we're professional interrogation. GORDON WYATT: (furious) Nobody's a fry cook! SWEETS: (taken aback) The cops are in there. GORDON WYATT: Yes, in case you annoy us, and we want an arrest made! Any more cracks about fry cooks, I'll have them come in here to rough you up! SWEETS: (trying to continue, and calm Gordon Wyatt down) Okay, uh... so you and Bryce DaFonte were cellmates for what, sixteen months? GEORGE ALANO: I'm sorry for Bryce, I liked him. Made the cell feel roomier. SWEETS: We have information that Bryce ratted you out so he would look good for the parole board. GEORGE ALANO: I never took that personally. Little guy like that, you gotta hold him to a different standard. GORDON WYATT: You were released, what, three months ago? GEORGE ALANO: Paid my debt to society, got a job. SWEETS: Road construction. GEORGE ALANO: Yep. SWEETS: Did you ever work in the Cleveland Park area? GEORGE ALANO: Why? GORDON WYATT: Because that's where your former cellmate was discovered, twenty feet under the roadway. GEORGE ALANO: Well, I didn't put him there! Right, look, Bryce told them where to find my pruno and dope stash, okay, that's small beans. Three days in solitary, I'm gonna k*ll him for that? Alright, alright, me and Bryce cooked that dodge up together, okay? There was no chance I was getting out a day earlier than my full sentence, due to a spitting incident involving the warden. I figured why not do my cellmate a solid and get him out? And believe me, DaFonte wanted out. GORDON WYATT: Well, everyone in prison wants out. GEORGE ALANO: Not like Bryce. He was talking about escape, you know, he was highly motivated. SWEETS: So what was the big rush? GEORGE ALANO: What you think? GORDON WYATT: (speaking in an aside to Sweets) I think perhaps a crisis of the heart and loins. GEORGE ALANO: He got a 'Dear John' letter from his lady love saying that she was thinking about calling it quits on him. The least I could do for my buddy, ain't nobody waiting on me on the outside. (Cut to: The Diner. Gordon Wyatt is attempting to eat a very large sandwich.) ANGELA: So my psychic says that Brennan and Booth are linked in a very profound way. In order to eat that thing you're gonna have to dislocate your jaw, like an articulated python. GORDON WYATT: Yeah. Tell me though, have you noticed any behavioral changes in Booth since he woke up from the coma? ANGELA: He's not as happy-go-lucky as he used to be. It's like he's sort of sad. GORDON WYATT: Hmm. Well, perhaps the brain tumor forced him to confront his own mortality. ANGELA: Booth confronted his mortality plenty of times. I think that that dream he had, about him and Brennan being married, I think that he sort of misses that dream. It's like he's homesick for that place and those people. GORDON WYATT: You think Booth fell in love with Dr Brennan during a dream? ANGELA: So do you, right? GORDON WYATT: (suddenly coy) Well, I'm a psychiatrist, I'm not comfortable with answering. ANGELA: No, you're a chef. GORDON WYATT: I am. As usual, you - you see the truth of things. (noise of frustration) I'm sorry, I'm really sorry, it's the most ill-conceived sapless vomitous gargoyle of gastronimity I've ever encountered, it's preposterous, you can't - ANGELA: (She laughs and begins to put Gordon Wyatt's sandwich back together.) You know, you're really gonna have to learn to enjoy things the way that they are. GORDON WYATT: Mmm, well, perhaps you're right. (Cut to: Crime scene, road collapse. Booth sits above Hodgins.) HODGINS: The remains were covered with one hundred and fifty years worth of rubble. That's a word I love. BOOTH: Half naked dwarf wrestler gets k*lled and his body gets dumped in some old hole in the ground? HODGINS: Well, most of what he was buried in and what I found around the remains was tile. Translucent, ceramic, vitreous, dating back to the 1920s. BOOTH: What was that, some kind of Turkish bath? HODGINS: Nah, it's a pedestrian underpass. Here. It collapsed in the 30's, they just threw some rocks into it and paved it over. BOOTH: Wait a second, so what you're saying is, you think the leprechaun's body was in that pedestrian underpass when the sinkhole happened? HODGINS: Yeah, yeah, I mean the guy his size, there could've been a way through it, especially with some digging. That would've stretched from here underground to approximately the other side of the street, and then maybe another twenty feet east. (Booth looks in the direction Hodgins is describing, and suddenly realization strikes.) BOOTH: Cash for gold. (Cut to: Basement of Republic Gold Exchange. Booth and Brennan are lead down by Novarro.) NOVARRO: Three months ago this place got robbed. No sign of forced entry to the doors or windows, alarm was cut from the inside. Bad guys got off with bags of gold coins. BOOTH: We think the robber may have been the victim in your sinkhole. NOVARRO: Well, I'll be damned. The owners of this place will be glad to hear that. Fraud unit suspected it was an inside job. BOOTH: How much did they lose? NOVARRO: Uh... a hundred and twenty grand worth. BRENNAN: I think I found the point of ingress. (She indicates a small grate in the floor.) NOVARRO: Woah! You gotta be kidding? Just thinking about it, I can't breathe. BOOTH: (He opens a large piece of paper.) Angela's sketch shows the collapsed pedestrian walkway comes five feet from this drain. BRENNAN: The victim was small and strong, he could have dug his way through. NOVARRO: That's gotta be what, sixteen/eighteen inches? Honestly I can't breathe, I got anxiety thinking about a guy down there. BOOTH: Come on Bones, there's no way the victim could get his shoulders through there. BRENNAN: He could've made it! Mostly naked, in his lycra shorts. We may even find a container of lubricant down there. BOOTH: Well, all we found were eight gold coins. NOVARRO: Oh yeah, classic accomplice rip off scenario. No honor between thieves. (Booth and Brennan give him a look.) What, I'm not allowed to chime in? I'm a law enforcement professional. (Cut to: The Jeffersonian - The Bone Room.) BRENNAN: The only markings we know for sure came from before the sinkhole are these three little nicks on his ribs. VINCENT: Could he have been s*ab? BRENNAN: Well, with what? VINCENT: The world's dullest Kn*fe. BRENNAN: Perhaps something along the lines of a very dull hatchet. VINCENT: To a little person, a hatchet would be the equivalent of an axe. Assuming the accomplice was already lying in wait, surely he would have had the aforethought to bring a more suitable w*apon. BRENNAN: Like a g*n. VINCENT: Or a giant sword. Or a g*n. (He walks around to a part of a skeleton nearby.) But the k*ller would have had to have been an incredibly bad sh*t to merely graze his or her victim, three times in such tight quarters. BRENNAN: (She lifts the skeleton up to a different angle.) Mmm. VINCENT: Oh, oh I see! If he was reaching forward. BRENNAN: More wrenched. VINCENT: Or if he was actually hanging from his arm, and the k*ller sh*t down from this angle. BRENNAN: One b*llet fired from above, grazing these three ribs, deflecting, piercing the diaphragm. VINCENT: And of course as an achondroplastic dwarf, his organs would be more tightly jammed together than an average person. BRENNAN: This would be his liver. VINCENT: He'd have bled to death in minutes. BRENNAN: (pleased) We found cause of death. (They both look accomplished.) (Cut to: The Founding Fathers. Gordon Wyatt is looking at brain scans of Booth's brain.) GORDON WYATT: Yeah, there's some collateral damage to Booth's brain here. SWEETS: It would result in the memory lapses, yeah, but it doesn't explain any of his other symptoms. GORDON WYATT: Ah, but I don't think Booth has brain damage. SWEETS: Then what's his problem? GORDON WYATT: May I ask why you didn't publish your book on Booth and Brennan? SWEETS: What, is there a connection between my book and Booth's marksmanship? GORDON WYATT: I believe you didn't publish it because you're afraid of how Brennan and Booth would react to its conclusion. SWEETS: My book concludes that Brennan and Booth are in love with each other. GORDON WYATT: It's a scrummy conundrum, isn't it? SWEETS: I believe that as a reaction to the childhood traumas of abuse and abandonment, Dr Brennan utilizes her intellect to armor herself from intense levels of emotion, like love. GORDON WYATT: And Booth? SWEETS: Well, subconsciously, he's sensitive to her vulnerability. He knows that acting upon his feelings for her would amount to a kind of as*ault. GORDON WYATT: I couldn't agree with you more. SWEETS: So Booth not sh**ting straight is simply, what, a manifestation of his phallic frustration? GORDON WYATT: Yeah, he quite literally can't bring his w*apon to bear. SWEETS: Do I even have the right to publish my book and make public what these two can't even admit to themselves? GORDON WYATT: Good Lord, don't ask me. I'm just a chef. SWEETS: (frustrated) Ah! GORDON WYATT: Not a psychiatrist. I gave up that game precisely so I don't have to face that kind of dilemma. SWEETS: (gives in) Okay. (Cut to: Brennan and Booth entering Booth's car.) BOOTH: Okay look, we do know that Hodgins found a twenty two p*stol near the body, it was fully loaded. BRENNAN: And had been discharged. BOOTH: Yeah I know that Bones, okay, I do work for the FBI. BRENNAN: So has Gordon Wyatt helped you at all with your sh**ting problem? BOOTH: He doesn't see it as a problem. BRENNAN: Then maybe you don't have one. Have you ever considered the possibility that you might simply be getting older? I - men do tend to decline physically past the age of thirty-five. BOOTH: (sarcastically) Remind me again how great I feel after talking to you. BRENNAN: Well, who else would always tell you the truth. BOOTH: Yeah you know, it does make me feel better. It makes no rational sense but, it does. BRENNAN: (smiles) Mmm. Maybe I should start packing heat again? BOOTH: Packing heat? BRENNAN: Yes, it's a colloquialism. I- I'm quite a good sh*t. BOOTH: Hey, if the leprechaun was sh*t, then where would the b*llet be? BRENNAN: Well I assume somewhere in the six tones of crap Hodgins hasn't sifted through yet. BOOTH: Wait a second; did you just call forensic evidence "crap"? BRENNAN: It's colloquial again, what do you think? BOOTH: This is very nice, I like it, it shows that you're adapting. (He starts the engine.) BRENNAN: Well, I'm working on it - and joshing around, too. (She laughs.) BOOTH: (looks awkward) Yeah. (Cut to: Interrogation room.) GIDGET: I already admitted that Bryce and I had a thing. Hey, where's that hot FBI agent guy? If I'm gonna be interrogated, I want it to be from him. SWEETS: That sweet little p*stol you owned that went missing. Was this it? GIDGET: Is that the g*n that was used to k*ll Bryce? SWEETS: Uh, no, but it was nearby. GIDGET: Then yeah, that's my p*stol. SWEETS: He didn't steal the g*n from you, you gave it to him because you were worried about his safety. GIDGET: I'm not exactly the worrying type. Hey, you wanna make out a little bit? People watching from behind that mirror kinda turns me on. (Camera draws back and we see Gordon Wyatt and Brennan behind the glass.) GORDON WYATT: This - this persona she's projecting, this little person cougar, she's either masking emotional pain or overcompensating for guilt. BRENNAN: Maybe you should tell Sweets. GORDON WYATT: Oh believe me, if a chef can figure it out then, a prodigy like Sweets will have got there long before. (He turns the sound of the interrogation room off.) Tell me. What's your theory on why Agent Booth can no longer sh**t straight? BRENNAN: He should practice more. GORDON WYATT: Perhaps in conjunction with his using the wrong foot to climb the stairs and his wrong hand to drink coffee, he's closing the wrong eye when he aims. BRENNAN: Real marksmen keep both eyes open when they sh**t. GORDON WYATT: Oh. Well, that's what I get for using 'Quickly Down Under' as a reference, isn't it? BRENNAN: (uncomfortable) So Sweets told you about the hands and the feet? GORDON WYATT: Mmm, we're consulting. Patient confidentiality is being maintained, and I won't tell Booth that you've been ratting him out to the FBI behind his back. BRENNAN: Ratting out is an accurate phrase, but somehow it doesn't seem true. GORDON WYATT: You've come quite a long distance since we last met, if you can now see a distinction between accuracy and the truth. BRENNAN: I'm trying to help Booth. I can be objective about his brain and he can't. GORDON WYATT: Sometimes you have to help people against their wishes. BRENNAN: I can't think of anything I wouldn't do to help him. (She suddenly seems to realize what she's said.) Can we listen, please? GORDON WYATT: Yes. (He switches the audio back on to the interrogation room. An awkward look is shared between Brennan and him.) SWEETS: Did you give Bryce the g*n because you knew he was planning a robbery? GIDGET: All I knew is Bryce told me he'd found a way to make a ton of money fast. SWEETS: Who was in it with him? GIDGET: I don't know. SWEETS: I think the reason you feel responsible is that if you'd paid Bryce his fair share, he wouldn't have got himself k*lled. GORDON WYATT: Bullseye. Well done. GIDGET: Bryce didn't need money to impress me. And it wasn't me that he was worried about when he was in prison? SWEETS: Who was it? GIDGET: All I know is that Bryce broke it off with me. Said he had to get serious with somebody else. He said I wasn't enough woman for him. (Sweets looks at the glass, suddenly realizing something.) BRENNAN: Why is he looking at us? (Cut to: Outside the interrogation room. Booth jumps up when they emerge.) BOOTH: Jesus, it's about time Sweets, what took you so long? Don't answer that, okay - what did he get out of her? BRENNAN: I have no idea but the two of them are very excited. SWEETS: You wanna - GORDON WYATT: I wouldn't dream of it! Please. SWEETS: Okay. m*rder victim told Gidget that she wasn't enough woman for him. BOOTH: So? GORDON WYATT: Well, so it suggests that while in jail, your victim was pining for an average sized woman. BRENNAN: Vocabulary? That is your evidence? BOOTH: We subpoenaed the victim's cell phone records, the only people he ever talked to were Gidget and his brother. SWEETS: The victim's brother said that they were estranged, right? GORDON WYATT: And the victim's brother's wife is an average sized woman, isn't she? SWEETS: You want us to handle this? BOOTH: Nah nah, I'll handle this one, boys. (He walks away.) (Cut to: The crime scene.) NICOLE DAFONTE: (upset) Why did you bring me here? BOOTH: We found Bryce right there. See, he was crawling all the way over there, lugging his own weight in gold coins through a tunnel probably about, uh, about that wide. He got out on the other end, he was sh*t and k*lled. Now why is it that somebody would do something like that? Greed, bravery? He was doing it for you, wasn't he, Nicole? How long were you and Bryce seeing each other behind your husband's back? NICOLE DAFONTE: (is now in tears) Since always. Since high school. I wrote Bryce in prison, and I told him that we had to stop, but when he got out on parole he begged me to choose him. Got it in his head that to get me to himself he had to be a better provider than his brother. Are you gonna tell Derek about us? BOOTH: No. No, I'm not gonna say anything to him. But I will tell you that if you've been in love with another man for ten years - your husband knows. What I need to know is who was helping Bryce out with his burglary? NICOLE DAFONTE: I don't know. I don't know, probably somebody he met in prison. He said that he would buy me anything that I ever wanted, if I knew Bryce was stealing I would've begged him to stop. BOOTH: You see, Miss DaFonte, when a man can't have the woman that he loves, he gets a bit crazy. One brother, he died for you, right there. The other one, your husband, you put him through hell. (Cut to: Jeffersonian - Hodgins Work Area. Brennan enters.) HODGINS: I still can't find a b*llet. BRENNAN: Well, keep trying. HODGINS: Could've been washed anywhere by the water. The guy's ring was nearly thirty meters away. High school wrestling, that has got to be the victim's, right? Oh I am back! I mean, King of the Lab, right? BRENNAN: No, not King of the Lab. This is not the victim's ring. Achondroplasia causes metaphyseal cupping at the joints, resulting in large knuckles - too big for this ring. (She takes her phone out of her pocket, making a call.) HODGINS: Well then, whose ring is this? BRENNAN: Someone who went to the same high school at the same time, played the same sport, but had average sized fingers. (They exchange a meaningful look.) (Cut to: FBI, corridor.) BRENNAN: We're good at this. BOOTH: Yeah Bones, this is what we do, we're the best. (Mr. and Mrs. DaFonte walk out of lift.) BOOTH: Mr. DaFonte, thank you for coming in. DEREK DAFONTE: Yeah, uh, so you got any news on my brother? BOOTH: Do me a favor and just put your hand out like this, please? NICOLE DAFONTE: What's going on? BOOTH: Mr. DaFonte, please, your hand, just like this. (Mr. DaFonte does so. Brennan grabs his hand, forcing the ring onto it.) BRENNAN: When your brother came out of the tunnel, you reached out, took his hand. BOOTH: He thought the two of you were working together, but you knew why he wanted the money. BRENNAN: When you sh*t your brother, the force partially dislocated his shoulder, while the b*llet travelled to the torso in a fatal trajectory, grazing three ribs. BOOTH: Then you pushed him back into the tunnel, foot to face. BRENNAN: But he pulled off your ring. BOOTH: You're under arrest. (He cuffs Mr. DaFonte.) NICOLE DAFONTE: Derek? Why? DEREK DAFONTE: Come on Nicky, you know why. You know exactly why. (Cut to: Gordon Wyatt's kitchen.) BOOTH: (He spins an object.) So we found most of the gold coins in the victim's brother's crawl space, I mean most of them, not all of them. GORDON WYATT: Ah, so the oldest m*rder of them all, eh? Brother slays brother, Cain and Abel. BOOTH: Doc, tomorrow morning I gotta be on the f*ring line at seven am sharp, so you have to fix my brain damage. GORDON WYATT: You haven't got brain damage! BOOTH: Ah, Gordon Wyatt okay, they took out a brain tumor the size of a melon ball out of my head; I can't sh**t straight; I can't tell if people are lying; I have to get dummy books just to do things. I'm at a complete loss with stuff. GORDON WYATT: (He uncorks a bottle.) But not as a result of brain damage. When you were in a coma, you got a glimpse of another world. BOOTH: Right, and how does that help me aim my g*n? (They sit down.) GORDON WYATT: Temperance Brennan. You're in love with her. (Booth looks up in surprise.) You're building a world around her, a family. BOOTH: (He pauses, looking torn.) We're not compatible. She sees the world one way, I see it the other way. GORDON WYATT: No of course, it's absolutely ludicrous the idea of you together, but the heart chooses what it chooses, doesn't it? We don't really have any say in the matter. BOOTH: (insistently) She doesn't love me. I would know if she loved me. GORDON WYATT: May I counsel patience on this front. Hope and patience. BOOTH: (He smiles slightly.) Right so, about my marksmanship certification - any advice? GORDON WYATT: Grow a set! Be a man, step up! She's your partner, for heaven's sake. The job you do together is highly dangerous, she counts on you for protection. So you'd damn well better protect her! BOOTH: So that's your big psychiatric advice, just "grow a set"? GORDON WYATT: Indeed. When it comes to a man and his g*n, a woman is the natural cure. Take Dr Brennan to this um, this sh**ting event of yours. (Brennan enters.) GORDON WYATT: You won't fail in front of her, trust me. Dr Brennan! (He stands to greet her.) BRENNAN: Hello. (They exchange kisses on the cheek.) GORDON WYATT: Please, take a seat. BRENNAN: Oh, well, why can't we sit out in the restaurant? BOOTH: Oh no, Bones, this is a great honor to sit at the chef's table. Huge. BRENNAN: (She sits regardless.) But it's in the kitchen, it's hot and noisy. BOOTH: It's a thing, alright, we just go with it. (Gordon Wyatt looks at him and indicates that he should ask that favor. Booth becomes nervous.) So! Bones um, would you do me a favor? BRENNAN: Yes, as long as it does not involve me shaving my head. (She looks extremely proud of herself.) BOOTH: (laughs after a moment) You are making a joke. BRENNAN: I'm becoming quite amusing. BOOTH: You are, it's very funny. Honestly, will you do me a favor? BRENNAN: Yes, as long as I don't have to shave my head. BOOTH: (snorts) Little advice on the humor; once the joke happens, don't dog pile on it, just let it go. GORDON WYATT: (He hands Booth and Brennan food.) Do try these amuse bouche, they may look like sperm on corn smut, but I assure you they are magically scrumptious. (Brennan looks at her food, trying to hide her displeasure.) Be brave my children, make a foray, cast off your shackles etcetera etcetera, abide by my exhortations to joie de vivre - (Booth looks at Brennan, who is smiling back) - that you may be born aloft on the trembling wings of giggling angels. (He exits. Booth and Brennan exchange a look of amusement.) (Music: My Ghost by Glass Pear.) (Cut to: FBI sh**ting range. Booth is back again, with Brennan in the background. Booth fires two rounds of sh*ts. The targets are brought closer, and we see that they are bang on target. RANGE MASTER: Excellent, Agent Booth. (Booth turns to Brennan, who gives him a thumbs up. He turns back to examine his targets, a small content smile upon his face.) END.

{"type": "series", "show": "Bones", "episode": "05x07 - The Dwarf in the Dirt"}

foreverdreaming

THE FOOT IN THE FORECLOSURE TEASER (A quiet neighborhood) (The camera focuses on all the "For Sale" signs in front of each house. It pans over to a house. We go inside and the realtor is showing a couple around) KATIE SELNICK: It's a buyer's market so this place is a steel. The owner's wife died so he's motivated. I'd be surprised if another agent doesn't already have an offer. WOMAN: Mmm, what's that smell? (Katie leads the couple through a hallway and up the stairs) KATIE: It's probably the neighbors. I hear they love to barbeque. It's a very friendly neighborhood. (After reaching the upstairs hallway) Now the master bedroom has been beautifully redone with coffered ceilings and all new carpeting. If you ask me, it's to die for. (Katie leads the couple into the bedroom. They're smiles drop immediately and the camera pans over to the bed. On it is a pile of ash with a foot still in tact and ash in the shape of a hand.) KATIE: I'm sorry, he was supposed to clean up. MAN: That's a foot. WOMAN: Oh my god! (She runs from the room screaming and hitting the door. The vibrations from the smack make the ash attached to the foot fall apart. Her husband follows) KATIE: (sighing in anger) Crap! (She stares at the bed for a moment, then shakes her head and leaves the room) (The Royal Diner) (Sweets, Bones and Booth are all eating breakfast at a table) SWEETS: (to Booth) I thought your grandfather lived in a nursing home. BOOTH: It's a retirement community. It's not a prison. He can leave anytime that he wants. BRENNAN: I think it's nice that he wants to stay with you for awhile. SWEETS: Did something happen...in the nursing home? BOOTH: You know what? If I tell you, you're just going to read into it and all sorts of stuff. BRENNAN: I won't BOOTH: He slugged a nurse. (Brennan raises her eyebrows) A male nurse. SWEETS: Okay...Well actually that's pretty straightforward. Hostel, aggressive, anti-social behavior is... BOOTH: (Interrupting) Sweets, he wanted to smoke a cigar in his room. SWEETS: Cigar? That's interesting. BOOTH: No it's not. He's a tough guy, that's all. MAN'S VOICE: Hey Shrimp! (We see it's an older gentleman who has entered the diner with a suitcase. He calls out again.) Shrimp! BOOTH: Hey, Pops. (It's Booth's grandfather.) How you doing? (Booth stands to greet his grandfather as his grandfather wheels his suitcase towards Booth) SWEETS: Shrimp? BRENNAN: I imagine Booth used to be shorter. SWEETS: Oh. BOOTH: Ahah, Pops. Bring it over. (They hug) How you doing? (They do a special handshake) Come on over. HANK: Nice place! The tour come with the food or do you have to order it on the side? BOOTH: (laughing) This here's Dr. Temperance Brennan. BRENNAN: (Shaking his grandfather's hand) Very nice to meet you, Mr. Booth. HANK: Wow...you weren't kidding. (He kisses Brennan's hand and Booth looks uncomfortable) BRENNAN: What did you tell him? BOOTH: Nothing. You can give her hand back now. HANK: Right. You can call me Hank, sweetheart. BRENNAN: Okay, Hank. SWEETS: Hi HANK: And who's this, a friend of Parker's? (Brennan laughs, Sweets smiles, embarrassed) BOOTH: No, this here's Dr. Sweets. HANK: A doctor? (shaking his head) I don't think so. BOOTH: No. It is. BRENNAN: It's true. HANK: Where'd you get your M.D.? In a CrackerJack box? (They all laugh a little awkwardly, then sit down.) HANK: So...what do you got in store? I'm ready for some action. BOOTH: You know, I'd figure we play some dominoes and after that maybe go (Booth's phone rings, interrupting him. He reaches inside is jacket pocket for it) I'm sorry. Excuse me. Sorry, Pops. (He answers it) Booth. Yeah, okay. On our way. (he hangs up and looks to Brennan) Got a case. (He stands) HANK: (standing as well) Good! I can help. I was an M.P. you know. BOOTH: No you can't come, Pops. And tell you what, why don't you meet me back at the apartment? HANK: (disappointed) Alright. I'll call a cab. BOOTH: No. Uh Sweets here. He'll give you a ride. Ok, Pops? BRENNAN (leaning over to shake Hank's hand once more) It was nice to meet you, Hank. SWEETS: Sure. BOOTH: I'll see you, Pops. (Booth and Hank do a fist bump and then Booth turns to leave with Brennan) SWEETS: Uh...so shall we go? HANK: You got room on your bicycle for my bag? SWEETS: Ha. (The quiet neighborhood) (FBI people are canvassing the area. Booth and Brennan step out of Booth's car) BRENNAN: Are you sure you can handle him? You know he must have been in a nursing home for a reason. BOOTH: Oh Pops, he had triple bypass surgery about, oh I'd say, three months ago. You know, he didn't want to be on his own. You know, hey, if he wants to be with me now that's cool. BRENNAN: But what if he wants to make it permanent? BOOTH: He's family, Bones. Okay. Nothing trumps family. Just remember that, okay? (They approach the house and Booth flashes his badge) BOOTH: (to the cop) Alright, let's go. Open up. After you Bones. BRENNAN: Thank you. (They both enter the house, Brennan first) (The home's entryway) (Katie Selnick and a the homeowner, Howard Fileman, approach Booth and Brennan) HOWARD This wouldn't have happened if I'd been here. She told me to move out. Said the place would look better. KATIE: Let me handle this. (turning to Booth and Brennan) Hi, I'm Katie Selnick. I'm the real estate agent. This is Howard Fileman, he's the owner of the house. (She hands Booth and Brennan her business card) I know this is a really bad time, but it is a buyer's market so... BOOTH: (interrupting) Woah. Show a little compassion, alright? (He follows Brennan who's already left to go look at the body) (Upstairs) (Brennan and Booth enter from the stairs and walk into the master bedroom where the body was found) BOOTH: I need a list of everyone who had access to the house. That means real estate agents, that means clients. KATIE: Well that's an awfully long list. BOOTH: Well you better start getting to work there, Katie. Here you go. (He hands her his card and then motions for her and Howard to not enter the room) Please stay there, thank you. (seeing the body) Woah. BRENNAN: Whoever this was b*rned to ash overnight. BOOTH: (pushing back Katie and Howard who are leering in the doorway) Can we have some space, please? Back up. So...nothing else b*rned? BRENNAN: (shaking her head) Nothing else. (Brennan stares hard at the body, specifivally the ash hand and the pile of what looks like blood at the base of the bed. Booth sees a partly eaten chocolate cake with a single candle and moves towards it.) BOOTH: Maybe it was the candle (His movement causes the ash pinky to disintegrate) here in the cake. BRENNAN: (yelling) STOP! (Booth stops, and Katie and Howard have leaned in the door also stop) Everyone freeze! This hand is very fragile, especially the phalanges. Any motion may cause the rest of it to just fall apart. BOOTH: (still frozen and speaking without moving his lips) Okay. We're frozen now, Bones. What can I do? BRENNAN: I need some kind of spray adhesive. Like hairspray. (Brennan looks at Katie) She must have some) BOOTH: (turning towards the door) I'll go get some. (Before he can take a step, Brennan interrupts) BRENNAN: Uh...It would be best if you didn't lift your feet when you moved. BOOTH: Yes. (He then begins to shuffle towards Katie in the doorway. She hands him her hairspray) BRENNAN: Careful. BOOTH: (turning and shuffling towards Brennan and the bed) Yeah. (He hands her the bottle) BRENNAN: (opening the can) There appear to be wounds on this hand but we won't know what w*apon caused them if I don't s*ab the ash. (She sprays the hand) BOOTH: Okay, can I move now? BRENNAN: Gently. BOOTH: Right. So what are we talking about here? Spontaneous combustion? BRENNAN: There's no such thing. BOOTH: Come on, Bones. Electrical currents in your body. They start sparking and then before you know it, WOOSH! Flame on. BRENNAN: Well that's absurd, Booth BOOTH: Oh really? Then what happened? BRENNAN: (looking at the body, completely puzzled) I have...absolutely no idea. BOOTH: (knowing he's won) Exactly. Spontaneous combustion. OPENING CREDITS (Medico-Legal Lab: Platform) (The bed with the body has been transported, including frame, to the Jeffersonian. Clark and Brennan are inspecting it. Hodgins enters) HODGINS: I think Booth was on to something. BRENNAN: What? Spontaneous combustion? HODGINS: (pulling up pictures on the computer) Well, the so-called instances of spontaneous combustion can actually be explained by a phenomenon known as the wick effect. (Clark looks up) Okay, here's the classic example. Heavyset guy, passes out from booze holding a lit cigarette. He drops the cigarette onto his pajamas. PWHOO! The f*re melts his belly fat. BRENNAN: The fat soaks into the bedding creating what is essentially a slow burning human candle. The pajamas being the wick. HODGINS: Fat burns in, not out which explains why nothing else caught on f*re. BRENNAN: Based on the position of the body, the victim was either unconscious or d*ad when the f*re started. CLARK: People who die in a f*re show signs of motion, you know, trying to get away from the flames. This person never moved. (Brennan nods) CAM: (entering the platform with a folder) Tox screen from the tissue on the foot showed no signs of drugs or alcohol. HODGINS: So then the victim was k*lled before the f*re even started. (Cam nods) So you, uh, met Booth's grandad? BRENNAN: Yes, I think Booth wants him to move in. HODGINS: Wow, that's a big step. CAM: Hank raised Booth after his father left. Seeley would do anything for him. CLARK: Booth is a good man. HODGINS: Well, well. Showing a little interest in the personal lives of your co-workers there, Clark? CLARK: No. I just meant that...Well, I had a grandparent who lived with us when I was young. (turning to Hodgins) And yes, I am. Too often we don't appreciate the elderly until they're gone. (Cam nods) I just find Agent Booth's actions to be commendable...(quieter) and moving. HODGINS: (confused) You're moved? CLARK: Yes. I'm moved. (Brennan looks at him) And now I'm not. (Hodgins and Cam smirk at each other) CLARK: (pointing at foot) Based on the markers, I'd say we're looking at a female. BRENNAN: (looking as well) The victim had Haglund's deformity. Very good, Dr. Edison HODGINS: (stepping towards the foot) Haglund's deformity? CLARK: It's a bony enlargement on the heel that's caused by wearing ill-fitting high-heeled shoes. (Brennan pulls up the X-Ray of the foot on the computer) BRENNAN: Judging by the microfractures and remodeling to the tarsus and metatarsus, the victim also had plantar fasciitis CAM: There were also elevated levels of leptin in the tox screen. BRENNAN: Taken together, that means the victim was probably obese. CLARK: So we have to ID a pile of ash based on only the fact that it's a...fat lady. BRENNAN: It's quite a challenge, I agree. HODGINS: This orange goo looks like melted polymers. Can I grab a sample here? BRENNAN: Just be careful of bone fragments. CLARK: So what does he call his grandfather? BRENNAN: Uh, "Pops." CLARK: (smiling) I called mine "Gramps." (A park) (Hank is sitting on a bench while a police officer is on the phone) POLICE OFFICER: Agent Booth? This is Officer David Poe, third district. Sorry to disturb you, sir. (Booth's Office) BOOTH: What's up, Officer Poe? POE: (through phone) Well, I'm here with your grandfather, sir. BOOTH: Excuse me? HANK: (through phone) I'm fine... (A park) HANK: ...Seeley. This cop just pinched me for nothing. POE: We're in Tacoma Park. I think he could use a ride home. (Booth's Office) BOOTH: Well...uh...uh...is he hurt? Is he okay? (A park) POE: He was a little confused and disoriented. HANK: (grabbing the phone from Poe) Wait a minute. Seeley, I'm fine. I just took a... (Booth's Office) HANK: (through phone) ...subway to see my friend, Willy Louis. I mentioned him to you? (A park) HANK: We were in the 82nd together. (Booth's Office) BOOTH: Yeah, I remember, Pops. (A park) HANK: Well the son of a bitch up and died on me. They had the funeral three weeks ago. Nobody even told me. I took a walk to clear my head and uh...well I got turned around. (Booth's Office) BOOTH: Listen, Pops. I'm just..I'm coming to get you. Okay? (A park) HANK: You're working. (Booth's Office) BOOTH: (exiting his office) That's okay. It's okay, Pop. Just uh...put me back on with the cop. (A park) HANK: (handing the phone back to Poe) Here. (The Office area outside Booth's office) BOOTH: Hi. (he looks up and sees Katie approach him) Oh, Ms. Selnick. (to Poe) Hold on. KATIE: (following Booth toward the elevators. she hands him a paper) I have a list of some of the people who had access to the house. BOOTH: Some? KATIE: I'll...I'll get more but I was showing a house. The market is horrible. I haven't made a sale in... BOOTH: (holding his hand up to interrupt) A woman is d*ad, Ms. Selnick. That doesn't bother you at all? KATIE: I know it should. My therapist says I'm afraid to feel. BOOTH: (getting into the elevator) You know, you should really be afraid of going to jail for obstructing a m*rder investigation. I want those names by tomorrow. Tomorrow. (putting the phone back to his ear) I'm on my way, Officer. (Back to Katie) Tomorrow. (Medico-Legal Lab: Angela's Office) (The solidified ash hand is on a rotating pedestal getting scanned by the computer) BRENNAN: The wounds appear to be defensive but this section of hand is too fragile to take a mold. ANGELA: I'm making a 3D rendering which is essentially a virtual mold. (the 3D image appears on the monitor) Hey, Booth must be cute with his grandfather, huh? BRENNAN: His grandfather calls him "Shrimp." Booth seems to like it which I don't understand. ANGELA: Well cause it makes him feel loved. Like when he actually was a shrimp. BRENNAN: So the moniker is a sign of affection. ANGELA: Very good, Brennan. You never had a nickname? BRENNAN: Oh, no. Just what Booth calls me. Just...just "Bones." HODGINS: (entering) The orange glob of goo. Polyethylene terephthalate. (Angela looks had him confused) Right. It's polyester. It's the perfect wick. She had to have been wearing it when she was lit. ANGELA: Hey let me see that. HODGINS: (handing Angela the tray with the sample) Not enough residue for it to be a coat or pajamas or anything. ANGELA: What about a vest? HODGINS: Yeah, I mean could be. ANGELA: Hmm. I think I know this color. (grabbing her monitor tablet and scanning the sample) The computer can match the exact shade of color for us. (bringing up the color wheel on the monitor) This is the Palatone color wheel. When a corporation wants to standardize their logo, they have Palatone create a color for them. This particular shade of orange is known as "PriceCo. Blossom Orange" This is the color of the vests the employees wear. HODGINS: The victim worked at PriceCo. BRENNAN: (starting to leave) I'll tell Booth. (she exits) (Booth's car) (Booth is driving and Hank is in the passenger seat) BOOTH: I just got to make one stop. Okay, Pops? HANK: This about the m*rder? BOOTH: Yeah. It's not going to take long. You sure you're alright? HANK: Stop asking me that. You never got lost? Just because I'm maturing, people think I'm going senile. BOOTH: Alright, alright. Okay. Just asking. HANK: You remember when I taught you how to pitch? You thought I was too old then, too. BOOTH: I'll tell you. You had the best sinker I ever saw. I can never get that one right. HANK: Your fastball could smoke mine. BOOTH: (smiling) I'm glad you're here, Pops. HANK: Yeah, well...And don't worry...if you ever need a little privacy with the bone doctor, I'll make myself scarce. BOOTH: Ok, thanks. But there's nothing going on between us. HANK: You gay? BOOTH: What? (confused) No. HANK: She's a keeper. You should listen to me. I warned you about Rebecca being a waste of time. Didn't I? BOOTH: C'mon, Pops. I can take care of my own love life. HANK: I don't think so. (Booth nods and continues driving) (PriceCo.) (Booth and Hank are entering the store) HANK: Well I got to get a book light. Now, I won't get in your way. BOOTH: Alright. Listen, Pops. Do me a favor. Why don't you just...just stand right in the entrance. Underneath this big sign, alright? Cause I got to go find the manager. HANK: Well go! Keep America safe. BOOTH: Don't wander off. Stay right here. (Booth heads off to find the manager. Hank paces in a circle. A woman approaches) WOMAN: Excuse me. Um, where would I find electrical tape? HANK: (thinking about it) Let's see... I think... (looking down the aisles) I think I can help you find it. This way. (he guides her away from the entrance) (Electrical section of PriceCo.) (Booth is speaking with the manager) MANAGER: Meg Tracy's been AWOL since Tuesday. Never called. Not like her. BOOTH: Would you happen to have an employee photo? MANAGER: Sure. Did she do something? Because I don't want to get dragged into anything. BOOTH: No. We're just concerned something may have happened to her. That's all. MANAGER: Maybe you heard complaints about me. But its from those slackers and deadbeats who don't do their job. I keep my nose clean. BOOTH: The photo... MANAGER: I'll get her whole file. Just leave me out of it. (Hank, now wearing a orange work vest approaches the electrical section, this time with a different customer) HANK: Kitchen and Bath. Right down there. CUSTOMER: Thank you. (Booth sees Hank and stops him) BOOTH: Pops, what are you doing? You don't work here. Why are you wearing that vest? HANK: Well three people told me I was a good greeter so I got a vest. BOOTH: Okay Pops. We got to go. Let's go. Take the vest off. HANK: My shift's not over. BOOTH: No. You're not on a shift. (the manager approaches) Will you just... MANAGER: You think this is the break room? Because I will f*re you. BOOTH: Slow down, okay. This here's my grandfather, alright? He's just a big fan of the store, that's all. (Taking off Hank's vest) He's always wanted to work here, but not today. (Handing her the vest and taking the file) We got to get this file back to Bones, okay. Thanks. MANAGER: Mmmhmm. HANK: I quit. BOOTH: Yeah, he quits. C'mon. (Booth leads Hank toward the entrance. They pass a customer asking an employee a question) CUSTOMER: Where would I find fertilizer for azaleas? HANK: (before the employee can respond) Aisle 4. (Medico-Legal Lab: Platform) (Brennan, Clark and Cam bring up the picture of Meg Tracy on the computer. She is not obese.) CAM: This woman's a size 4, tops. BRENNAN: Well she must have recently lost a significant amount of weight. CLARK: Her doctor confirmed that she had been treated for both the microfractures we found on the foot and the Haglund's deformity. BRENNAN: But on her last visit with him she weighed 234 pounds. CLARK: Baby had back. (Cam looks puzzled. Brennan looks at Clark. Clark looks back at the monitor awkwardly) Sorry. I don't know where that came from. (He then pulls up X-rays of the victim's foot) The doctor's x-rays of the foot match ours. It's Meg Tracy. CAM: If Meg was thin, why so much ash? BRENNAN: Because there was someone else in bed with Meg. Two people died in that f*re. CAM: So now we're looking at a double m*rder. (Medico-Legal Lab: Platform) (Bone fragments and ash taken are dispersed in various bins on one of the examining tables. Clark places down a final bin of ash) CLARK: Given the amount of ash and bone, these remains represent approximately 380 pounds of human. CAM: (standing next to Clark. Angela is on the other side of the table) We know that Meg Tracy weighed about 120 which puts our second victim at 260. CLARK: (picking up a fragment and looking at it through a magnifying glass) It's part of the middle eminence. Judging by the angle of the jaw fragment, the second victim was male. HODGINS: (on another table examining a piece of the bed spring) A super-size male. CAM: So the cake on the table was probably his. ANGELA: I still don't have nearly enough to give you a face. HODGINS: And I'm still working on these inorganics. CLARK: I'll separate the male and female bone fragments. See if they share any injuries. (The Founding Fathers) (Booth, Brennan and Hank are eating lunch. Hank has multiple pill bottles in front of him and is looking at one.) BRENNAN: We're still assembling evidence analyzing the bones and constructing 3D imagery. HANK: They got lighter fluid and Presto logs over at PriceCo. They could burn somebody up. BRENNAN: There's no evidence of an accelerant. HANK: Yet. That manager over there that yelled at me. I saw the look in her eyes. I was an M.P. you know. BOOTH: Pops, this is a little bit more complicated than, you know, arresting some drunk soldiers that just wandered off the base. HANK: I don't think so. (looking down at the bottle in his hand) Did I take these blue pills? BOOTH: You took the yellow pills. HANK: (slamming the bottle on the table, clearly frustrated) I feel like a damn chemistry experiment. They didn't have this stuff 50 years ago and everybody was fine. BRENNAN: Actually medicine has increased life expectancy quite a bit since 1959. 50 years ago, you'd probably be d*ad. BOOTH: Bones. HANK: No, I like her. She's real. She's got balls. BRENNAN; Well, ovaries actually. HANK: Well alright. You got a pair of steel ovaries. BRENNAN: Thank you. BOOTH: Will you two, please? HANK: Always so proper...will you loosen up? BRENNAN: He's quite skittish when the subject of sex comes up. BOOTH: No I'm not. HANK: Maybe I didn't give him enough information when he was a kid. (Booth's phone rings. He answers) BOOTH: Booth. Oh. Yeah. I'll come in right now. Alright. (he hangs up) BRENNAN: What's going on? BOOTH: (standing) They brought in Meg Tracy's roommate for questioning. I should go talk to her. Look, I'm sorry, Pops. HANK: Go! We'll play dominoes later. You'll lose. BOOTH: (exiting) You wish. HANK: I love that kid. I'm more proud of him than anybody in the world. BRENNAN: I think he feels the same way. He had no one else when his father walked out. He was lucky to have you. HANK: (sighs) I never had the nerve to tell him it was my fault. BRENNAN: What was? HANK: If I was a better man, maybe I could have figured something else out. But when I saw my son hitting Seeley...beating that little kid...that was it. I said, "Get out. You don't deserve to be a father. Get out." He never came back. So I...I was left with the two boys. BRENNAN: You are a good man, Hank. HANK: I didn't know what else to do. He was beating my grandson. (Brennan grabs Hank's hand) Look, when the time is right, you'll tell him. And if he uh...if he needs it...you'll hold him. Okay? BRENNAN: (nodding) Okay. (Hank sighs) (Booth's Office) (Meg Tracy's roommate, Stephanie, is sitting in a chair, she is overweight. Booth is standing behind his desk leaning against the file cabinets) STEPHANIE: I wondered why Meg hadn't come back to the apartment. I tried to call. You're sure it's Meg? BOOTH: Yeah, I'm afraid so. How long have you guys been roommates? STEPHANIE: Three years. We were weight loss buddies. This year the loser paid for the other one to go to Hawaii. Incentive, you know. I lost, obviously. BOOTH: So yo paid for Meg's trip? STEPHANIE: Meg lost over a 100 pounds. I lost 6. How did she die? BOOTH: Well, we're still working on cause of death. You know, she was with a man. (sitting) Do you happen to know, uh, who Meg was dating? STEPHANIE: No one special. I would have known. She used to meet different guys at Club Jiggle. BOOTH: Club Jiggle? STEPHANIE: For thin people who...let's say they appreciate people my size. I went myself a couple times but it was too freaky. These skinny guys saying they wanted to fondle my cankles and eat brisket out of my navel. It skeeved me out. BOOTH: Brisket? (Stephanie nods.) Right that's a whole...a whole 'nother world, I guess. Um, can you verify where you were the night of the 10th? STEPHANIE: There was a big house party. I was there until after 2am. BOOTH: (taking out a pad and pen from his desk and bringing it to her) Um, can you do me a favor and just, um, write down the names of people who could verify they saw you at the party? STEPHANIE: (taking the pen and pad suspiciously) Am I a suspect? (Medico-Legal Lab: Angela's Office) (Hodgins, Angela, Clark and Cam are standing in front of the giant monitor) CAM: You can get the second victim's height from bone fragments? CLARK: Once objected to intense heat, the long bones warp, crack and contract in predictable ways. ANGELA: Based on the figures that Clark gave me, I was able to partially reconstruct a male fibula. CLARK: The amount of bone shrinkage from heat exposure was about 20%. HODGINS: Which allows you to calculate height. That's brilliant. (Angela is visually reconstructing all that is said on her monitor) CAM: We know that our victim was approximately 260 pounds. ANGELA: Yeah, but based on the fibula, he was 5'5". CAM: 5'5", 260. That's a start. I'll tell Booth. (she exits) (Sweets' Office) (Brennan and Booth are on the couch, Sweets in his chair) SWEETS: Meg may have been participating in a feeder and eater fetish. BOOTH: Her roommate said that the guys at the club wanted to eat brisket out of her...navel. SWEETS: Okay, that would make sense. BRENNAN: Fetishes are common in all sexually repressed societies like ours. SWEETS: Yeah, feeders and eaters are a sub-category of fat fetishism that involves an obese person, or an eater, and a feeder that derives sexual pleasure out of gaining and fondling of body fat. BOOTH: That would explain the uh..the cake next to the bed. Which I'm probably never gonna want to eat again. BRENNAN: Hank said you love cake: BOOTH: I usually do. Wait, are we staying on point here? BRENNAN: Well, we were discussing cake, weren't we? Oh, he's making you grilled cheese tonight by the way. BOOTH: Really? BRENNAN: Yes. I'm invited. SWEETS: How's it going with your grandfather? I know it can be very stressful to be responsible for someone who is elderly. BOOTH: It's fine. BRENNAN: Well he does take a lot of medication so he has health issues. You have to stay on top of that. BOOTH: Well he took care of me when I was sick. I can take care of him. SWEETS: It's not going to be easy for him to build a new life here at his age. And he's got a history of aggressive behavior, right? If he ever wants to talk, I'd be more than happy... BOOTH: (interrupting) ...sorry we were talking about m*rder here, right? Meg Tracy...fondling of fat. SWEETS: Of course. BOOTH: So why would Meg go back to the club if she wasn't fat anymore? SWEETS: Meg lived for many years as an obese woman. Her obsession with food is not something that would just go away. She would have to struggle with it everyday. BOOTH: Right. So you're saying she missed overeating so much that she fed other people in order to feed herself? SWEETS: Yes, exactly BRENNAN: So the eater became a feeder. And somehow it got her k*lled. (Sweets nods) (Booth's Apartment) (Hank is in the kitchen cooking. Brennan and Booth are eating grilled cheese in teh living room) BOOTH: I had these about three times a week. They're amazing, right? BRENNAN: Mmmhmm. Very good. HANK: I learned how to make these during the Battle of Inchon. American Cheese reminded us of home. We kept fighting. (he places another plate of sandwiches down) BOOTH: Come on, Bones. Dig in. This is real food here. BRENNAN: Mm. We should get to the club, Booth. (she stands and heads for the door) BOOTH: (standing and still chewing) Bones is right. We got a lot of people to interrogate, Pops. HANK: Oh, sure. BOOTH: (pointing to the food) Amazin. HANK: What channel's the fishing channel on? BOOTH: 135 BRENNAN: (coming from the kitchen with one of Hank's pill bottles) You're out of your coumadin Hank. HANK: Ahh, I forgot. So many pills. BRENNAN: These pills are important. (Booth comes over with his jacket on looking very concerned) If you forget to take them you get clots, have a heart att*ck, or stroke. HANK: (shaking his head) I don't think so. BOOTH: Pops, when was the last time you took them. HANK: Uhh...a few days ago. BRENNAN: We have to go get this refilled. He should take them right away. HANK: (looking to Booth) I'm fine. BOOTH: No no. You're coming with us. Okay Pops? I'm going to make sure you take them in front of me. Alright? Come on. (Medico Legal-Lab: Angela's Office) (Cam and Angela are looking at the 3D rendering of the hand) ANGELA: The center of the palm has some kind of injury. Brennan suspects it's defensive. CAM: There was a cake next to them. Could the injury be caused by a Kn*fe? ANGELA: No. It's not a Kn*fe. See the markings are jagged. No, it doesn't indicate any recognizable w*apon. By filling in the injury I can make a virtual mold of the injured area. CAM: It's a nose. ANGELA: (laughing) k*lled by a nose? That'd be a first. I'll see if I can match any possible w*apon. Maybe something old. (Booth's Car) (Booth is driving, Brennan is in the passenger seat and Hank is riding in the middle seat in the back) BOOTH: So you took it Pops, you took the pill? HANK: I took it. You saw me. BRENNAN: I got you a pill box that has a compartment for each day's pills. That way you won't forget. HANK: I won't forget. So where're we going? BOOTH: Well...we're going to a...(looking to Brennan to find a better description) it's an unusual spot. It's where...what would be the PC word for fat? HANK: There's nothing wrong with big women. You're grandma has some jam in her jelly. BOOTH: Alright, Pops. BRENNAN: Being overweight wasn't always stigmitized. During the Middle Ages in Italy, the wealthy and influential members of society were called "popolo grasso," meaning literally "fat people." HANK: Is she always like this? BOOTH: You know what, Pops? She always has the facts, Pops. Always. HANK: You should go on a game show. You'd clean up. BOOTH: I tell her that all the time. But you know...she's already loaded. HANK: She's got talent, charm, beauty, money. And you're just friends? (Brennan and Booth both look back at Hank) I didn't raise you very well. (Brennan and Booth look at each other, then look away at the same time) (Club Jiggle) ("Baby Got Back" is playing in the background. Overweight women are dancing with skinny men. Some men are feeding the women. Brennan and Booth are observing the room. Hank is standing in front of them, staring) HANK: Freaky. BOOTH: Hey look, Pops. I want you to stick close. I don't want you disappearing into one of those women. BRENNAN: They seem quite happy. Obviously they haven't seen their blood sugar levels. (A large woman pops up from the table in front of them) WOMAN: Hey baby. You're not with the celery stick, are you? BOOTH: No...I mean yes, yeah. (he puts his arm around Brennan and pulls her closer) BRENNAN: My body mass index is within the accepted medical norms. WOMAN: You don't know what you're missing. (she winks at Booth) BOOTH: Hey listen, Pops. We're going to go talk to the bartender. You going to be okay? (Hank is staring at the woman and not paying attention. Booth snaps him out of it) Pops? HANK: Will you stop asking me that? BOOTH: Alright, come on. (Booth leads Brennan over to the bar. Hank looks back at the women dancing. He sways to a couple beats) (Club Jiggle: At the bar) (The bartender sees Booth and Brennan approach. Booth flashes his badge) BARTENDER: Is there a problem? BOOTH: I just want to ask you a few questions. (he takes out a picture of Meg) Do you recognize this girl? BARTENDER: (looking at the picture) Yeah. Meg. She's been coming here for years. She just lost a bunch of weight. I guess she switched sides. BRENNAN: Did you ever see her with a man, approximately 5'5", 260 pounds? BARTENDER: Is Meg alright? BOOTH: She's d*ad. (the bartender looks shocked) That might help jog your memory a little bit. BARTENDER: Oh, man. Yeah, sure. Let's see. There was one guy. (she pauses. Brennan and Booth wait for more) BRENNAN: Yes? BARTENDER: Glasses? BOOTH: I don't know. You tell us. BARTENDER: Big, of course. Short. Meg bought him a bacon burger and some cake. The guy loved cake. Just like Meg used to. She must have fed him...six pieces. Devil's Food. BOOTH: Great, great. Do you got a name? BARTENDER: Sorry. Did he k*ll her? BOOTH: He's d*ad too. (the bartender makes a disgusted face) Yeah. BARTENDER: He had a goatee...Oh wait. Hugo. She called him Hugo. BOOTH: Hugo? Great, thank you. BARTENDER: Sure. Sorry about Meg. (Club Jiggle) (Brennan and Booth come back into the dance section of the club) BRENNAN: We should see if there are any Hugo's on the real estate agent's list. BOOTH: Yeah, well she hasn't given me the list yet. BRENNAN: Well maybe she had a reason not to. BOOTH: That's exactly what I was thinking. (he looks towards the dance floor) Look at that, huh? (Hank is dancing with a couple of women, clearly enjoying himself. Brennan laughs) BRENNAN: They like him. BOOTH: Yeah, well you know? He never had any problems with the ladies. (Hank whispers something in one woman's ear and she laughs quite loudly. Brennan looks concerned) BRENNAN: We should get him home. BOOTH: Nah, let's just give him a second there, huh? He's having a good time. No rush. (Booth continues to watch Hank dance and likes that Hank is having a good time. Brennan observes this and smiles) (FBI Building: Conference Room) (Katie and Howard are sitting at the table when Booth and Brennan walk in) BOOTH: Mr. Fileman. I didn't expect to see you here. HOWARD: Katie said she was going to see you and suggested I come along. BOOTH: Did you bring the list of people who had access to the house? KATIE: (handing a paper to Booth) Yes I did. BOOTH: Right, then what's he doing here. KATIE: He can't sell his house as long as it's a crime scene. BRENNAN: Neither can you. KATIE: That was nasty. BOOTH: But it's true. HOWARD: Look the bank is thr*at to foreclose like, you know, this is my fault. I can't lose my house before I have a chance to sell. Katie said you could help. (Booth looks to Katie. She looks down.) BOOTH: I'm sorry but it's an active crime scene. HOWARD: My wife and I built that house together. After she died I couldn't get any work. 21 years as a master carpenter, you know? Means nothing. How is that fair? (Katie places her hand on Howard's shoulder) KATIE: If you could just sign a request for a stay of foreclosure for, uh, unforseen circumstances, like a government investigation? I brought the form, Agent Booth. (she hands Booth another paper) BRENNAN: This isn't a very long list. KATIE: Not a very good market. BRENNAN: (pointing to a name on the list out to Booth) Hugo. Tucker. BOOTH: Hugo Tucker? Tucker? Uh, would he happen to have been overweight, goatee, glasses, by any chance? KATIE: Tucker? Yeah. I think so. He looked at the house a few times. Thought he was going to make an offer. HOWARD: I remember him. He really loved the custom work I'd done. Nice man. BRENNAN: Well he's probably the other victim. HOWARD: Oh god. Is this going to delay things more? BOOTH: I'll see what I can do. (Medico-Legal Lab: Bone Room) (Clark is examining bone fragments. Cam enters) CLARK: I've pulled all the teeth we've found in the ashes. These incisors and molars, they match the x-rays that were sent over from Hugo Tucker's dentist. CAM: So it's definitely him? (Clark nods) Any markers on the fragments that could help Angela ID a w*apon? CLARK: All the bone damage I've found so far is a result of f*re. The heat causes the bone to break apart into small crescent shapes. (bringing a magnifier over the bones) Like this. Or they'll show a criss-cross pattern. (he moves the device again) Like this. CAM: Huh. Have you gone through them all? CLARK: I'm still looking. CAM: Excellent. (she begins to exit but then turns back around) Oh. And I have to say, I was pleasantly surprised yesterday that you felt relaxed enough to talk about your grandfather. CLARK: I'm human, you know? I just believe in working at work. CAM: I realize that. I do. CLARK: And I love my grandfather very much, but...I really should have the discipline to keep it to myself. CAM: Of course. Then carry on. (she heads to the door once more) CLARK: He never got to see what I became. (Cam stops and waits) What I do...it's for him. CAM: I'm sure he'd be very proud. (she turns and exits) (FBI Building Office Floor) (Brennan and Booth are exiting Booth's office and walking towards the kitchenette) BOOTH: (handing Brennan a picture) Hugo Tucker. Single. BRENNAN: Huh. Glasses and goatee. BOOTH: Yeah. Signed in at the open house. I talked to his roommate. No enemies, he wasn't in debt. There's no reason why somebody would want him d*ad. BRENNAN: Jealousy. What if Meg had a boyfriend? BOOTH: No. Her roommate said there was no one special. BRENNAN: I still don't like the real estate lady. BOOTH: Interesting. (they enter the kitchenette and Booth heads to the vending machine) thought you didn't like to go by your gut. BRENNAN: Well, I was just trying it out. (she makes a disgusted face) It's not satisfying. BOOTH: Right. (Brennan's cell rings. She answers) BRENNAN: Brennan. Oh, hi Hank. BOOTH: (having trouble with the machine) Hank? Why is he calling you? BRENNAN: For dinner. Tonight at 7. We'll play dominoes after. BOOTH: No. No. Tell him he doesn't have to make me dinner. BRENNAN: (into the phone) Booth says that you don't have to make dinner. (she listens, laughs then turns to Booth) Okay. He says shut up and don't be late. (she laughs again) Okay, Hank. Alright. Thanks, bye. (She hangs up) He says he's going to teach me how to kick your ass. BOOTH: Ha. That'll be the day. I don't think so. I don't like that real estate agent either. Maybe...what if she was sleeping with Hugo. (Brennan's cell rings again. She tries answer but Booth grabs the phone) Give me that. (he answers) Listen Pops, okay, we're trying to work here. (Medico-Legal Lab: Hodgins' office) HODGINS: (on the phone) Not Pops. But I'm interested to know what's going on. (The Kitchenette) BOOTH: Nothing special. What is it Hodgins? (Medico-Legal Lab: Hodgins' Room) (Hodgins is showing a sample of something in a petri dish to Booth and Brennan. Cam and Angela are also there) HODGINS: So this was melted onto one of the bedsprings. BOOTH: (looking with a magnifying glass) What is that? BRENNAN: It's a slim ring. BOOTH: One more time. What is that? HODGINS: It's a gastric banding device that actually limits the amount of food a person's stomach can hold at one time. CAM: A surgical means of losing weight. ANGELA: Well that's how she lost 100 pounds in such a short time. BOOTH: Heh. So much for willpower. BRENNAN: (looking at it through the microscope) It has a serial number. HODGINS: Yeah, exactly. I talked to the doctor who did the operation. It turns out that the slim ring was not registered to Meg Tracy, but it was registered to her roommate, Stephanie Stevens. (Hodgins pulls up a digital copy of the record on the computer) CAM: Woah. Meg used her roommate's insurance. Bet Stephanie was pretty mad about that. BRENNAN: Well especially if she wanted to get the same procedure herself. But now couldn't. (Booth's phone rings) ANGELA: But mad enough to k*ll? BOOTH: Oh, I've seen people k*ll for a lot less, believe me. (he answers the phone) Booth. Yeah, God, is he alright? Okay, I'm on my way. (he hangs up) Uh, there was a f*re in my place. Pops was cooking and the stove and uh...(he exits quickly. the others look worried) (Booth's apartment) (Firemen are leaving. Booth is thanking them. He shuts the door and walks into the kitchen. The entire stove area is charred. Hank is standing there) HANK: It's that stupid stove. Who has a stove like that? BOOTH: You left a dishtowel on the stove, Pops. HANK: (shaking his head) I don't thinks so. BOOTH: You know, you could have been hurt. You could have been k*lled. HANK: I always used to make dinner for you. (Booth nods) Done it more than a million times. (he walks into the living room and sits on the arm of the couch) It's that damn stove. BOOTH: (nodding) Alright. (Booth's Office) (He enters with Hank, Brennan and Sweets behind him) BOOTH: I won't be long, Pops. I just have to question the suspect. HANK: I don't need a babysitter, you know. (looking at Sweets) And I do mean baby. Why can't I stay here with Temperance? BRENNAN: Oh, I have work at the lab. Perhaps you can teach Sweets to play dominoes. BOOTH: (grabbing a file off his desk and coming back around to Hank) Great idea. SWEETS: I already know how. I don't think he'd have a chance. HANK: You don't know who you're messing with, squirt. SWEETS: Bring it on, old man. BOOTH: (handing a box of dominoes to Hank) Those are fighting words, Pops. Thanks Sweets. (he nods to Brennan to leave) BRENNAN: Okay, see you later Hank. (Brennan and Booth exit) HANK: (alone with Sweets) You know, what happened to me could have happened to anybody. (They sit in the corner chairs) SWEETS: Oh, I know. HANK: Just because I'm carrying a few extra years doesn't mean I can't take care of myself. SWEETS: I know. HANK: (staring at Sweets) Smart ass. (he opens the dominoes and dumps them on the table) I go first. SWEETS: Alright. (FBI Office floor: by the elevators) (Booth is leading Brennan to the elevators) BOOTH: Thanks for coming in Bones. You know, he really wanted to see you. BRENNAN: Are you sure you don't need me? BOOTH: No. I'll interrogate her roommate and if I get anything, I'll call you. BRENNAN: I'm sorry. BOOTH: Yeah, I guess he needs more than I can give right now. (he waits for a response. she gives none) Maybe I should take a leave of absence. BRENNAN: Can you afford to do that? You have a son to take care of too. BOOTH: No. Pops will think I don't love him. BRENNAN: (shocked) Really? BOOTH: I should go. (he leaves to go to the interrogation room) (FBI Building: Interrogation Room) (Booth is interrogating Stephanie) BOOTH: So we know that Meg used your insurance card for the slim ring surgery. STEPHANIE: (confused) What? That's why I got turned down? BOOTH: What? You didn't know? STEPHANIE: I...went in for a routine check-up and my insurance declined payment. They said I'd exceeded my annual limit. I thought it was a mistake. That's how she lost the weight? That bitch. BOOTH: So are you saying she stole your insurance card? STEPHANIE: Well, no. I...I...I let her use my card, but not for that. She was sick, she didn't have any insurance so I helped her out. BOOTH: Well you know that's a crime, right? STEPHANIE: Well isn't it a crime when your roommate screws you out of 10 grand worth of medical coverage? BOOTH: Sorry, but you're not answering my question here. STEPHANIE: She cheated on our bet. I paid for her trip to Hawaii too. I can't believe this. BOOTH: So you were at the party the night that Meg was k*lled, correct? STEPHANIE: Yes. BOOTH: Well we talked to those people off the list that you gave us and, um, that's an awfully big party, big enough for you to disappear. And no one could really tell if you'd gone or if you'd left. They didn't know. STEPHANIE: Great. You're never going to believe me so now I have to pay for a lawyer too. (Medico-Legal Lab: Bone Room) (Brennan enters. Clark is there. He has the bones separated into 2 piles) BRENNAN: Have you found anything Dr. Edison? CLARK: Yes. All of these bone fragments are scarred exclusively with markers from the f*re. But these two... (he points to a tray where he has 2 small pieces laying) a piece of the parietal and occipital seem to show evidence of being fractured. BRENNAN: (looking at the bones under magnification) Huh. Definitely could have been made by the pointed object Angela is trying to identify. (she pokes the pieces with the tweezers) But look at this. (liquid comes off on the tweezer) CLARK: Residue on the edge of the fracture? BRENNAN: It's a resin. (Medico-Legal Lab: Hodgins' Room) (The results of the mass spectrometer come up on the monitor) HODGINS: Resin consists of turpines and phenolic compounds. BRENNAN: It's wood. He was struck with a w*apon made out of wood. HODGINS: Teak, to be exact. CLARK: The bed is teak. (Medico-Legal Lab: Platform) (Hodgins, Cam, Brennan, Angela and Clark are all standing around the bed) BRENNAN: The wounds on Meg's hand were clearly defensive so she couldn't have accidentally h*t her hand against the posts. CAM: And the blows were sufficient to render them unconscious. ANGELA: (pointing to the head bedposts) The finials. HODGINS: The what? ANGELA: The decorative knobs that go on top of the posts. They're missing. (Medico-Legal Lab: Angela's Office) (All 5 squints are now in front of Angela's monitor) ANGELA: So the rest of the bed was carved which means the finials must have been carved too. (She pulls up pictures of the exterior and interior of the house) Okay. This is the real estate agents virtual tour of Howard's house. (she pulls up a picture of the bed in the bedroom) Look. We have finials. (she zooms in on them. they are carved in the shape of a woman's head) CAM: The reason why the image looked like a nose was because it was a nose. (Angela takes the hand impression and tries matching it to the finial. no match) The victim was beaten with one of these heads. (She pulls up the other finial. This one is a man) BRENNAN: Wait, that's Howard Fileman, the homeowner. He said he was a master carpenter. ANGELA: So the other one was probably his wife. (Brennan nods and she matches the nose on that finial to the hand. It's a match. CAM: So it wasn't about who was having sex, but about where they were having sex. ANGELA: Howard carved this bed for him and his wife. It was a symbol of their love. HODGINS: Meg and Hugo both had roommates. The house was cheaper than a hotel. CAM: Howard catches Meg and Hugo having sex in his bed. CLARK: Weird cake sex. HODGINS: He kills them, sets the bed on f*re, then leaves with the busts of him and his wife. ANGELA: That's so sweet. (they all look at her quizzically) a...a...and it's horrible too. It's mainly horrible. BRENNAN: I'll tell Booth. Howard might still have the finials we'll pull blood and tissue from. ANGELA: Oh he'll still have them. I guarantee it. It's all he has left of her. (FBI Building: Interrogation Room) (Howard is sitting across from Booth and Brennan looking at his wife's finial that's in an evidence bag. His finial is also there) HOWARD: I went back to...sleep in our bed. I used to stare at her face up on the bedpost and pretend she was next to me. But I found them. It wasn't right. (Booth's Apartment) (Booth and Hank are in the living room about to eat dinner) HANK: I don't know why you got take out. I could have cooked dinner. BOOTH: Right. Try this one here, it's chicken. You'll love it. HANK: Oh I don't think so. It doesn't look like chicken to me. (Booth looks at him) I'll try it anyway. BOOTH: (handing him a fork) Look I got you a fork because I know how much you hate chopsticks. Alright? HANK: Good job. BOOTH: Yeah. (he watches Hank spread his napkin) Listen. There's something I got to tell you. HANK: I know. This isn't chicken. I already told you that. (Booth half laughs) But there's something I want to say to you first. (Booth lets him speak) I can't tell you how much it means to me to be here with you. To share your life. To see what a good man you've turned out to be. BOOTH: Pops... HANK: Shut up. This gooey crap isn't easy for me. (Booth smiles) Now listen. I don't want you to think I don't love you. But I've got to go back. BOOTH: What? HANK: To the place. They need me. Ronald called. He's got no one to fish with. And Margaret needs my help with the crocheting. BOOTH: You crochet, Pops? HANK: That's what we call sex. (Booth nods) And lets face it. You're appliances stink. BOOTH: I...well, what about the orderlies? HANK: Ah don't worry about them. They're used to being h*t by them. BOOTH: Ok then. You're really sure this is what you want? HANK: I already called them. They know I'm coming. Maybe you and your friend can give me a ride, huh? BOOTH: Yeah. (Outside Willow River Retirement Community) (Hank is wheeling his suitcase to the entrance. Brennan and Booth are following) BOOTH: You'll call, right Pops? HANK: I'll call. You'll call. We'll visit. We'll be sick of each other. (he stops and turns to Booth and Brennan) BRENNAN: I'll miss you, Hank. HANK: Of course you will. Shrimp, can you give us a minute? (Booth looks to Brennan and then back to Hank) BOOTH: Sure, Pops. (He steps away) HANK: You remember what I told you. BRENNAN: I remember HANK: (looking to Booth) He's big and strong. But he's gonna need someone. Everyone needs someone. Don't be scared. BRENNAN: Scared? What? I'm not scared of anything. HANK: It all goes by so fast. You don't want any regrets. BRENNAN: I don't understand. HANK: Yes you do. (Brennan knows he's right) Give me a hug. (they hug. Hank points to Booth) Alright it's your turn. BOOTH: (as he passes Brennan who steps away from Hank) What did he say to you? HANK: None of your business. Now listen. You remember? It's all in there. (pointing his fist over Booth's heart) Everything you need to know. (Hank looks at Brennan. Then back to Booth) You just do what it tells you. BOOTH: I love you, Pops. HANK: I love you. (They hug) Okay, okay now. I can't breathe. Alright. (He and Booth do their special handshake. Brennan also waves and steps back to them) HANK: Alright then. (he wheels his suitcase through the doors) BOOTH: What he say to you? BRENNAN: Nothing. Just saying goodbye. You? BOOTH: Me? Uh...nothing. Just...be a good boy. Stuff like that. (they watch Hank disappear) We should go. BRENNAN: Yeah. (neither moves. Then they turn away together) BOOTH: I like that thing around your neck. BRENNAN: What? BOOTH: That thing that you're wearing around your neck. It looks really good. BRENNAN: (touching the necklace) Oh. You've seen it before. BOOTH: I don't think so. BRENNAN: Well...thanks. BOOTH: Sure. (They walk off together as the screen fades to black) END

{"type": "series", "show": "Bones", "episode": "05x08 - The Foot in the Foreclosure"}

foreverdreaming

THE GAMER IN THE GREASE TEASER EXT. BACK ALLEY OF A FAST FOOD CHAIN - NIGHT (FATHER and SON are collecting grease from a grease receptacle. They are maneuvering hoses.) SON: Sucking fry oil from these seafood restaurants are the worst. I don't mind the chicken places but the seafood makes me sick. FATHER: Quit moanin' and put the hose in. SON: (Opens a panel of the grease receptacle) Ugh, smells like shrimp. (Puts the hose in) Okay! Suck it. (The father turns on the machine. Something gets caught in the hose.) SON: Hold it. Hold it. (He pulls out...) Ugh, I got hair. A lot. It's gross. FATHER: Probably a rat. Let's just open 'er up. (They open up the receptacle together. It looks unappetizing.) FATHER: Go ahead and pull it out. (Son reaches his gloved hand in and pulls out a fleshy, d*ad human. Son screams as the camera pans to the corpse slowly sinking back into the grease.) EXT. BACK ALLEY OF A FAST FOOD CHAIN - DAY (Police sirens.) (FBI and police cars are already at the scene. CAM is also there directing personnel. BOOTH and BRENNAN arrive. They are walking from Booth's car.) BOOTH: Fishing is not a sport. BRENNAN: What? Monuments to sporting events in Ancient Egypt include fishing, as well as swimming and wrestling. BOOTH: C'mon. No sweat, no sport. BRENNAN: Well. Oh, Boris Spassky at chess. He used to perspire profusely. BOOTH: Why do you gotta make things so complicated? Let me break it down for you, okay? Basketball, football, hockey... that's a sport. Board games, fishing? Not a sport. CAM: No problem going easy on the fried food after this one. (They walk towards the body) BOOTH: Woah. BRENNAN: Well, the International Olympic Committee is considering adding chess as a sport. (Booth scoffs) CAM: Not a sport. BOOTH: See? Not a sport. CAM: Neither is, uh, ribbon twirling, bridge, or synchronized swimming. BOOTH: Synchronized swimming. That is not a sport. That's for sure. (Brennan makes an unhappy noise) CAM: Oh god. I'm in the middle of something, aren't I? (Booth whistles and points to the body) CAM: Oh look! d*ad guy. BOOTH: Yeah, look at that. Colonel's not gonna like this one. CAM: Male. No sign of clothing. All other stats still unknown. He was found at the bottom of this grease receptacle by those lovely gentlemen over there. BRENNAN: The remains are covered in flesh. Why am I here? CAM: I don't know. I told Booth. (Booth makes a noise) CAM: Oh god. In the middle, again. BOOTH: Look, I heard m*rder victim, you know, in cooking oil and I thought, 'Bones would just love this one'. So, how long has tempura guy been in there? CAM: The t*nk hasn't been emptied in a couple weeks. BOOTH: Two weeks, okay. BRENNAN: I could be biking now. An activity during which I perspire. CAM: Daily addition of hot oil hastened decomposition and led to early hydration of body fat. BOOTH: God, so he drowned or maybe fried? BRENNAN: Billiards is considered a sport by the International Olympic Committee. BOOTH: Bones, we're working here. BRENNAN: Not me. (She walks away, playing with her phone) BOOTH: Wa-woah. CAM: Can we get the body out of here, please? (She also moves away and observes as the tech guys lift the body out) TECH GUY: Be careful now. Easy. CAM: Okay, careful. TECH GUY: Easy. Is the skin slipping? The skin is slipping! (And all of the skin, organs, and intestines start to fall off in clumps onto the pavement. Cam and Booth watch in fascination, horror, and disgust. As do we all.) CAM: Oh my. BOOTH: Uh, Bones! Look at that - bones, huh? BRENNAN: Oh, this is good for me. BOOTH: Yeah. (Brennan walks over to the four tech guys who are still holding onto the skeleton. She snaps on some gloves) INT. JEFFERSONIAN - MEDICO-LEGAL LAB (HODGINS, SWEETS, and FISHER are standing around a workstation) SWEETS: You're kidding. Avatar? FISHER: Yup. (Flicks at the three 'Avatar Premiere' tickets in his hand) There were over 10 000 entries for 500 tickets. SWEETS: And you won. FISHER: Yeah. Good fortune. If I thought that good fortune existed. HODGINS: And you're taking us. FISHER: All friendship is fleeting and ends in abandonment so, why not spend a few good hours with you guys until it all falls apart. (Fisher has a file in his hand and the three of them are walking towards another workstation) SWEETS: Works for me. HODGINS: Heck yeah, it does. Nice. Avatar. You guys do realize that being this excited about a sci-fi film will drastically cut down on the number of women that will sleep with us. FISHER: Oh, I'm into the high double digits, sex-wise so... not worried. SWEETS: You're closing in on a hundred women? FISHER: Mhm. (Sweets does not look happy about this) BRENNAN (O.S.): Mr. Fisher? I'm ready. FISHER: Coming, Dr. Brennan. (Fisher slaps Hodgins with the folder and walks off) SWEETS: A hundred women? That's a lot. HODGINS: Yeah, yeah. Hats off to the guy, huh? INT. JEFFERSONIAN - FORENSIC PLATFORM (Brennan and Fisher are examining the body) BRENNAN: Compound depressed fracture to the temporal bone. FISHER: More hairline fractures on the femur, humerus, and scapula. BRENNAN: And here. On the right ilium. FISHER: There are puncture marks on the ilium, ilia lumbar and sacroiliac. So, he was beaten and s*ab. Somebody really went after this guy. (Cam arrives, carrying a bowl of organ) CAM: Those injuries didn't k*ll him. There's grease in all levels of the bronchi, which means our victim was alive when he was tossed into the vat. (She squeezes liquid out of the lung into the bowl) Cause of death is drowning in cooking. Or, vice versa. FISHER: Saturated fats. They're a k*ller. (The three of them walk over to a computer as Cam brings up a graph) CAM: Also, carboxyhemoglobin test shows our victim had a 17% carbon monoxide level - triple the norm and double what even the heaviest people would have. FISHER: He could've worked with cars. Along the freeway, maybe a tollbooth? BRENNAN: (Turns back to the body) Let's review occupational markers. Acute asymmetrical spinal subluxation, which in life would've been apparent in a pronounced leftward lean. Chronic periosteal reaction with bone formation over the clavical - CAM: - Constant pressure on his collarbone. BRENNAN: Mhm. Remodeled bite marks on the tibia - probably canine. FISHER: Sounds like this guy spent most of his life carrying something heavy on his left shoulder while dodging dogs. BRENNAN: Together with the high levels of carbon monoxide, I posit that our victim was a mail carrier. FISHER: Someone went postal on this postman. OPENING CREDITS ACT TWO INT. FBI HEADQUARTERS - KITCHEN (Booth shows Brennan the Postal ID card of STEVE RIFTON. Booth is sitting on the counter while Brennan is examining the card.) BOOTH: Steve Rifton: 26 year-old mailman reported missing by his wife 12 days ago. (He hops off the counter) You figured out he was a mailman and guess what? He's a mailman! BRENNAN: Why are you surprised? BOOTH: It just surprises me. It amazes me sometimes how you figure that stuff out - he's a mailman, you figured that out. (Booth takes out a map) BRENNAN: I'm good at my job. BOOTH: Wait 'til you see what I got here. Okay. Here - BRENNAN: Oh, marked in red - BOOTH: Right - Is Steve Rifton's postal route. (He circles the area with his finger) And here - BRENNAN: Marked in black - BOOTH: Right - Is the grease truck route. See what I've done here? BRENNAN: Obviously, you've created a geographic Venn diagram. BOOTH: No, no, no, no, incorrect. What I've shown here is they've overlapped in the same area. BRENNAN: You need to Google 'Venn diagram'. BOOTH: No, you know what I'm thinking? Lonely housewife, you know, husband away on a business trip. Bow-chicka-wow-wow. BRENNAN: What's 'bow-chicka-wow-wow'? BOOTH: You know, boom-clicka-mow-mow. It's very - uh - common p*rn-plot theme which, in real life, it's a jealous husband stuffing, you know, a horny mailman in the grease traps. (Booth is also attempting to refold the map, can't, which results in Brennan taking it from him, successfully refolding it and handing it back. This whole exchange is rather adorable.) BRENNAN: Who's that? BOOTH: It's the victim's wife. BRENNAN: (She stops him as they near the sliding doors) Well, are we going to tell her about the clacka-mow-boom-chicka-mow-mow-boom? BOOTH: (He opens the door) No, no, it's bow-chicka-wow-wow, boom-clacka-mow-mow. INT. FBI HEADQUARTERS - CONFERENCE ROOM (Booth, Brennan and JILL RIFTON are sitting at the desk) JILL RIFTON: It's so unfair. All those years of effort. Steve finally gets somewhere and then gets k*lled. BOOTH: Can you think of anyone who would want your husband d*ad? JILL RIFTON: You know who Steve is, right? I mean, was. BRENNAN: A postman. BOOTH: Yeah, mailman. JILL RIFTON: That was Steve's job, his vocation. (She takes out her wallet from her purse) His avocation was gaming. (She hands Brennan a picture) BRENNAN: He was a professional gambler? (She shows Booth the picture) JILL RIFTON: Video gaming. My husband became the reigning world champ in Punky Pong after he got a perfect score. It was on the news. BOOTH: Did he have any enemies? JILL RIFTON: Sure. The thousands of people he b*at out for the world title. It's a very competitive sport. BRENNAN: Ah, Agent Booth would never accept Punky Pong as a sport. BOOTH: Did your husband have any trouble at work? JILL RIFTON: Steve was never gonna be Postmaster General, that's for sure. He had a very high IQ; you know how those people can be - very absentminded. BRENNAN: I don't think that's true. At all. JILL RIFTON: Sometimes it was tough to get his attention but he was a good man. Please find whoever hurt him. INT. JEFFERSONIAN - OOKEY ROOM (Fisher and Hodgins are standing around while the body soaks in a clear container with kegs of beer feeding into it.) HODGINS: Does Dr. Brennan know you're soaking the body in beer? FISHER: Yeast speeds up the putrefaction process. It's the kinder, gentler way of removing the last vestiges of flesh and cartilage from the skeleton. (Sweets enters) SWEETS: Is that beer? HODGINS: Yeah. Yeah, it beats being scrapped or eaten by beetles. FISHER: Technically, his remaining cells will be very drunk before he ceases to exist. HODGINS: So, hey, Fisher. How long does this thing take to marinate? FISHER: Few hours. HODGINS: Okay, good. Both of you - come with me. INT. JEFFERSONIAN - ANGELA'S OFFICE (The Avatar trailer plays on the Angelatron.) SWEETS: Oh, okay, I am no longer able to discern special effects from live action. HODGINS: This is 2D. 3D is gonna blow your mind. Oh, one of us needs to be in line right now. FISHER: Okay, we're up against freaks and fanatics for the best seats. To defeat them, we must become freaks and fanatics. SWEETS: (looking at his PDA) Right, well, I cleared most of my days but I am a mental health professional with responsibilities. (ANGELA walks in looking less than happy) FISHER: Between me and Hodgins, we'll have the forensics covered. ANGELA: What's with the blue people? (The three guys turn to look at her) HODGINS, SWEETS, FISHER (in unison): The Navi ANGELA: I beg your pardon. FISHER: Denizens of a lush planet called Pandora. ANGELA: You boys are not allowed to watch movies on my monitor. (Angela, with arms crossed, walks in front of the screen) HODGINS: Angela. This is so much more than a movie. SWEETS: Yeah, I mean, we're sorry but the screen is so big. FISHER: You get p*rn on this thing? ANGELA: (Pointing) Get out. (More forcefully) Out. (They leave. Hodgins hands her the control.) INT. JEFFERSONIAN - MEDICO-LEGAL LAB (Fisher, Hodgins, and Sweets are planning) FISHER: All right, listen, I'll take the first shift, you guys cover me. SWEETS: Everyone email me your projected availabilities, I'll set up a schedule. HODGINS: Yup. FISHER: Okay. (They break.) EXT. SEEGER HOME - NIGHT (Booth and Brennan are getting out of his car) BOOTH: Our mailman had a clean record except for complaints from this guy Seeger. BRENNAN: Right. Seeger claims that he trespassed and was acting creepy around his son. BOOTH: Well, protecting the well being of your own kid seems like a good reason to k*ll someone - I'm not saying that I approve, I'm just saying - look, I understand. (They approach the garage and hear video game noises. They see a boy, DOUGIE SEEGER. He is concentrating intently on the game.) BRENNAN: Oo. This is probably the child who got creeped on by the victim. (They enter the garage) Hello? BOOTH: Excuse me. Hello? BRENNAN: Hello? BOOTH: Hi. I'm Agent Booth. (He takes out his badge) I'm with the FBI. BRENNAN: Oh, show him your g*n. Kids love g*n. BOOTH: Let me handle this. (Dougie's father, KEITH SEEGER, enters from the house entrance) KEITH SEEGER: Can I help you? BOOTH: Yeah, Agent Booth with the FBI. I'm her to talk to you about the mailman incident. KEITH SEEGER: That was 3 months ago. BOOTH: Right. And what was the problem? KEITH SEEGER: The problem was - I come out, the guy is here staring at my son. Dougie, uh, is autistic. He can't watch out for himself in that way. BRENNAN: (Standing next to the machine where Dougie is playing) He's very focused on this game. KEITH SEEGER: Punky Pong. Dougie plays it most of the day. Take it away, he shuts - shuts down. So uh, someone else complain about the mailman? That why the FBI's involved? BOOTH: Look. You're aware that this mailman is the Punky Pong World Champion. KEITH SEEGER: You gotta be kidding me. That's why he was checking out Dougie? The game? Well, he should've said something. He just took off. That's why I made the complaint. If I was out of line, I'll apologize. (The video game screen shows Game Over. Dougie looks over at Brennan who smiles at him. He just turns back to the game and starts over at level 1.) INT. JEFFERSONIAN - ANGELA'S OFFICE - LATER (Angela and Brennan are standing in front of Angela's monitor where screen sh*ts of Punky Pong are seen.) ANGELA: Punky Pong is kind of an old-school game but it takes a lot of skill. There are a lot of message boards and websites dedicated to it even today. But, I found something on one of them - BRENNAN: How many people play? ANGELA: Uh, thousands. They put out a retro version on modern platforms like Xbox and it's having this whole resurgence but what I found is - BRENNAN: Why do they only allow world records to be attained on a vintage arcade machine? ANGELA: Well, I guess the purists like it old school. But, sweetie, I think you need to see - BRENNAN: Are there many of those machines? Because the autistic boy had one. ANGELA: Uh, I think around 20 000 were made and there are probably about 1500 that are still in existence but I think this is something that you really need to see. (She brings up a video of BILLY GABEL) This is Billy Gabel. He was the Punky Pong World Champion before our m*rder victim claimed the throne. (Angela hits play) BILLY GABEL (on screen, vehemently): I am still the rightful champion. The manner in which Steve Rifton stole my crown is shameful. I will not put up with this. Steve Rifton: I am the rightful and eternal World Champion and you are d*ad. BRENNAN: Angela. You should've shown me this first. ANGELA: Uh - (chuckles good-naturedly as she clearly tried to) well - okay. ACT THREE INT. FBI HEADQUARTERS - SWEETS' OFFICE - NEXT DAY (Sweets watches the video of Billy Gabel on his laptop with Booth and Brennan) SWEETS: Okay. So, video games provide the outlet for aggression that more physically taxing sports also provide. BOOTH: C'mon, video games are not a sport. BRENNAN: Well, technically they are. Sport being a competitive activity governed by a set of rules - SWEETS: Dr. Brennan is correct. BOOTH: Right, okay, so you actually think that this geek is capable of m*rder because some guy b*at his high score? SWEETS: Oh yeah. If one's instincts are deeply rooted in the status that they've enjoyed from the game and someone takes that away - BOOTH: It would just be another geek lining up to see a space movie. SWEETS: No! It's not just another space movie! It's a symbol-laden alternate reality with... (Booth and Brennan look at him strangely. Sweets sighs and gives up.) So, this guy was the recognized champion for nearly 10 years, right? If he feels that his notoriety was stolen, he might take revenge. (Sweets' phone rings. It's Hodgins.) Sorry. (He exchanges some weird looks with Booth and Brennan as he ponders whether to answer. He does.) This is Dr. Lance Sweets. Hodgins (O.S.): Yo. INT. JEFFERSONIAN - OOKEY ROOM (Hodgins is straddling the phone on his shoulder as he examines evidence) HODGINS: Fisher just called from the movie line. He's gotta get back to the lab so you have to relieve him because I can't. INTERCUT - TELEPHONE CONVERSATION SWEETS: I understand. That's a fascinating case, um - (to Booth and Brennan) I'm needed for a consult. We're - we're through here, right? BOOTH: Oh no, you're coming with us to see if this geek is actually psycho or not, pal. SWEETS: Yeah... okay. (Into phone) So I'm afraid you're gonna have to, uh, take care of the patient on your own at this juncture. Right now. HODGINS: Sweets, I'm knee-deep in larvae and dicotyledons here. SWEETS: I'm sorry doctor. Bye now. HODGINS (O.S.): Sweets! Don't - (Sweets hangs up) HODGINS: Okay. (Hodgins hangs up with a sigh) INT. JEFFERSONIAN - OOKEY ROOM - A LITTLE LATER (Hodgins is briefing Cam. He says all this rather quickly.) HODGINS: This is it. This is it. This is all I've got so far. CAM: Please tell me these all crawled into the dumpster after the oil was removed from the restaurant. HODGINS: No. All the insects had antemortem burns, which means they flew into the oil while it was cooking. CAM: So easy to diet around here. HODGINS: So, I assumed that the fragment of the cricket exoskeleton from the skull wound trace had migrated into the skull from the grease but definitely uncooked which means my three mysterious particulates were all transferred from the w*apon. Now, (he brings up a new picture on the computer screen) the exoskeleton is from the Gryllidae family, probably a nocturnal cricket, the graminoid seed is from a fescue grass and I thought the silk-like fiber was from a tetrapod but what kind is indeterminate at this point. CAM: You're talking really fast. Are you late for something? HODGINS: No. No. Why? Do you want me to go through it all again, more slowly? CAM: No, that's okay. Do you know where the cricket and the grass came from? HODGINS: Yes. Yes. North America. CAM: Great. So, Asia's out. HODGINS: I'm still analyzing what was in the water where the fescue grew but, you know, I can check that against specific water districts and narrow down the location further, so... CAM: Great. (Cam turns to leave and Hodgins checks his watch) CAM: Oh. (She turns back around) Have you Fisher? HODGINS: Uh, no. No. But I'll go find him. CAM: That's not necessary. I'm sure he'll turn up. HODGINS: Yeah, but you know what, the mass spec is doing its thing and the computer, the computer really checks all the districts so I'm on autopilot here for at least the next 2 hours and we know Fisher - how depressed he gets - so I'll go find him. (Hodgins rushes out while Cam is left staring after him, confused) INT. GABEL VINTAGE GAME REPAIR SHOP (Booth, Brennan, and Sweets enters. BILLY GABEL is at the back, repairing something. Booth shows Sweets a plaque with "Pong Master Bill" 2004 engraved on it. BOOTH: (He pulls the electrical plug and the machine sounds stop) FBI. You Pong Master Bill? BILLY GABEL: That's right. SWEETS: We're here about the thr*at you made against Steve Rifton on the internet. BILLY GABEL: That guy cheated. I don't believe he played a perfect game. I want my title back. BRENNAN: Is this how you made a living? Repairing vintage arcade games? BILLY GABEL: It's a skill. I know why he called you. 'Cause he knows what he did was wrong. BOOTH: He's d*ad. m*rder. BILLY GABEL: What? BOOTH: Did you k*ll him? BRENNAN: These are very complex devices and it appears you have to machine many of the parts yourself. BILLY GABEL: Look, if I was gonna k*ll somebody, it would be the Ref. He's the one that accepted Steve's crappy videotape as evidence of a perfect game. BOOTH: And this Ref's name is? BILLY GABEL: Chris Ballinger. H heads the Gemini Constellation - the organization that decides on World Records for Punky Pong. Right after Ref declared Steve World Champion, they went into business together. BRENNAN: Oh. What kind of business? BILLY GABEL: Going out on tours, signing autographs. The way I hear it, the Ref is hooked up with some babe and now he's doing better than ever. Maybe he k*lled Rifton. EXT. MOVIE THEATRE (It's the screening of Avatar and there is a long line-up outside the theatre. Hodgins finds Fisher in the line.) HODGINS: Fisher. There you are. Hey. You gotta get going, man, Cam's looking for you. FISHER: It's okay. I gotta set this tent up. HODGINS: Hey, this is good! This is really good positioning here, man. Not bad. FISHER: You might want to step back. Look out! (The tent enlarges as Fisher throws to stretch it out.) HODGINS: Wow, you do this often? FISHER: Gotta come prepared. Oh, fresh meat tarts and a box of wine. (He hands the cooler and wine to Hodgins) Have at it. (Fisher leaves) HODGINS: Nice. INT. JEFFERSONIAN - BONE ROOM (Fisher rushes in, out of breath. Cam soon follows.) FISHER: Hey. CAM: Hey. Are you out of breath, Mr. Fisher? FISHER: No, I'm - I'm just thankful I'm breathing, you know. Never know when that luxury will end. So, I examined the uh, the marks on the pelvis. They were made by a hollow rigid w*apon 9.4 mm in diameter. CAM: Was the same w*apon used on the victim's skull? FISHER: That seems unlikely because the cranial injury was made by a blunt instrument, uh, that left a 12 cm fracture... right there. CAM: Any guesses to what it could be? FISHER: Not at all. No. But I did, uh, scrap what looks like metal shavings from both the cranial fracture and the uh, s*ab wounds in the pelvis. Maybe Hodgins can find a match. CAM: Very good, Mr. Fisher. (She turns to leave) FISHER: All right, I've always been a multitasker. CAM: Multitasker? (She turns around again) What would be splitting your focus? FISHER: The head and the pelvis. Completely separate parts of the body. CAM: Right. Did Hodgins come back with you 'cause I haven't seen him. FISHER: Yeah, he should be out there. I gotta get back to work here but he's... check the men's room. Or don't. Good luck. (Cam leaves. Fisher breathes a sigh of relief.) INT. VIDEO ARCADE (Opens on a sign that says: "Play on Steve Rifton's Winning Punky Pong Machine; High Score plays DEIRDRE RYAN". Brennan, Booth, and Sweets are walking through.) BRENNAN: There is some excellent hand-eye coordination here. This is an activity that could definitely be considered a sport. SWEETS: Yeah. There's an intense, competitive edge, skill, stamina - BOOTH: For something to be a sport, there has to be some chance of injury, okay guys? BRENNAN: Oh, Booth. That man dressed in traditional stripes could be the Ref. BOOTH: Not that kind of Ref, okay? (He shows CHRIS BALLINGER his badge) FBI. CHRIS BALLINGER: What can I do for the FBI? BOOTH: Well, we'd like to ask you a few questions about Steve Rifton. CHRIS BALLINGER: Oh, I've got a few myself. The guy just disappeared on me. We had a business deal and he left me high and dry. FBI - what? He wasn't kidnapped, was he? BOOTH: Oh, he's d*ad. Which is probably why he didn't keep his business commitment. CHRIS BALLINGER: He's d*ad? Oh man. DEIRDRE RYAN: Yes! Take that Steve Rifton! I am the reigning empress of Punky Pong! (High fives and cheers all around) BRENNAN: (Points) She must be the babe who replaced Steve. SWEETS: Wow. You didn't waste any time, did you? CHRIS BALLINGER: Look, I had business commitments with Steve. Had to move quickly or I was gonna lose a ton of dough. DEIRDRE RYAN: (Approaches the group) What's up Chris? CHRIS BALLINGER: Deirdre. These people are with the FBI. (Brennan is pushing through the crowd to get to the machine) SWEETS: Plus, gamers are predominantly male so a lot more are gonna turn out to see her compete, right? DEIRDRE RYAN: Sexist little twerp. It's not about looks, it's about ability. CHRIS BALLINGER: Steve is d*ad, Deirdre. We are suspects so you don't say a thing to these people. BRENNAN: Booth? BOOTH: Yeah. BRENNAN: The front of this machine has been scrubbed. (The crowd makes way for Booth and Sweets to approach Brennan. She shines an ultraviolet light on the machine. It is covered in blood.) BOOTH: What do you got? BRENNAN: Blood. BOOTH: Yup. 'K, that's it! Machine is coming with us. Part of a federal investigation now. ACT FOUR INT. FBI HEADQUARTERS - INTERROGATION ROOM BOOTH: Did you sign this check, Mr. Ballinger? CHRIS BALLINGER: Yeah, yeah, this is made out to Steve Rifton BOOTH: $12 000. That's a lot of money for an old arcade machine. CHRIS BALLINGER: Steve not only got the world record in Punky Pong on that very machine, okay? He got a perfect score. What that machine is, there? Is a piece of gaming history. Serious gamers would drop 50 bucks a pop to play on a unique piece of equipment like that. $100 if Steve was standing beside it. BOOTH: You see, that is a conflict of interest, right there. So you decide if Rifton gets the world record and you profit from it. CHRIS BALLINGER: You've been talking to Billy Gabel, am I right? BOOTH: No, we've got a tape proving that Steve Rifton won fair and square, am I right? CHRIS BALLINGER: Yeah. That's how we do it. Now, if you guys want it for verification, fine. I'll, I'll hand it over. BOOTH: How about the blood? Can you explain the blood on the machine? CHRIS BALLINGER: Kids play the game, right? They get anxious, hyper even. Sometimes, their noses bleed. Sometimes, they put a little sauce into it and they bash their heads. Either way, I'm cleaning blood off the floor every day. We had a business plan, me and Steve. Why would I k*ll him? BOOTH: I don't know. Maybe he reneges, you take exception, heat of the moment... it's an accident? CHRIS BALLINGER: I'm not like that, ask anybody. What I am like is a guy who's smart enough to ask for a lawyer. BOOTH: No problem. EXT. MOVIE THEATRE (Sweets is sitting in the lawn chair reading the DSM-IV-TR. TORI PAYNE skips up to him.) TORI PAYNE: Hey. SWEETS: Hey. TORI PAYNE: What's with the formal wear? SWEETS: Ah... TORI PAYNE: Little light reading, you got there. What are you? Like, a first year psychology student or something. SWEETS: Sort of. Not first year, though. I'm Lance. (He proffers a hand to shake) TORI PAYNE: Lance. Very phallic name you got there. My name's Payne and if your name's as accurate as mine then we should get better acquainted. SWEETS: Oh. Well, that's uh - I have a girlfriend, I'm sorry. TORI PAYNE: So? I have a boyfriend but he's not coming to this movie. Is your girlfriend? SWEETS: No. TORI PAYNE: We're just talkin', right? SWEETS: Yeah. Albeit, somewhat suggestively. TORI PAYNE: So, I'll change the subject. Do you, uh - do you like my tattoos? (She lifts her top) SWEETS: Very much. I've always enjoyed calligraphy. INT. JEFFERSONIAN - BONE ROOM (Hodgins and Fisher are examining the head wound.) HODGINS: What is that? 10 cm in length? FISHER: 12. HODGINS: Great. One of us needs to relieve Sweets. FISHER: I gotta write a report up on this. There's a lip here. I'm thinking a smooth, rounded edge. HODGINS: (Looks at his watch) Okay, Sweets said he had an appointment he can't miss so... FISHER: Follow me on this. The mailman is delivering his package to the uh - lady of the house, if you catch my drift. The husband comes home, finds the nearest blunt instrument which is a cast-iron frying pan, huh? And... wham! The postman who rang twice never rang again. HODGINS: Yeah. Yeah, that totally works. FISHER: Mhmm. HODGINS: If the husband is a peacock wrangler who fights crickets after work in a creeping red fescue field. FISHER: Peacock? HODGINS: Yeah, what I thought was silk turns out to be thread from the after-feather of a peacock. FISHER: You and your particulates always ruining the day for me. HODGINS: Okay, look. I'm gonna go relieve Sweets. You just - if anyone asks, tell 'em I'm - I'm defligisterizing Tachymosis Franklangellacum. (Hodgins rushes out) FISHER: What, is that a real thing? Or are you just trying to be funny? 'Cause that didn't sound real. At all. INT. JEFFERSONIAN - ANGELA'S OFFICE (Cam and Angela are watching her monitor) ANGELA: This is Steve Rifton's winning tape. CAM: How many times have you watched this? ANGELA: Ugh, I'm not watching it, I'm analyzing it. CAM: And? ANGELA: Uninterrupted control track which means no tampering. CAM: The only thing you see on this tape is the game playing. No hands, no audio, just the screen. ANGELA: Mhmm. 3 hours. This perfect game's been downloaded and watched hundreds of thousands of times by expert gaming eyes. Not one a**l-retentive, detail-oriented, paranoid geek is calling foul, so... CAM: Can I see the last part? ANGELA: The, uh, last stage of the game is called 'The k*ll Screen'. Three hours of his life to get to this point - flipping the monkey. CAM: Wait, can you play that again? ANGELA: (She rewinds the video) What do you see? CAM: The injuries the monkey suffers are the same as the victim's. ANGELA: Oh my god. EXT. MOVIE THEATRE (It is raining. Tori Payne is now sitting on Sweets' lap, sharing an umbrella.) TORI PAYNE: Okay, sometimes, I taste salt in my mouth when there isn't any. SWEETS: Okay? TORI PAYNE: What mental illness do I have? SWEETS: Uh... do you taste salt now? TORI PAYNE: You tell me. (She leans in) SWEETS: Hodgins! (He gets up hastely) HODGINS: Uh... yeah. Yeah. Who's your friend? SWEETS: Uh... this is Tori Payne. This is Jack Hodgins. HODGINS: Hi. Um... (He taps his watch) Sweets. SWEETS: Right, I'm sorry, I should have called you. Um, there's a sudden opening in my schedule. HODGINS: Mhm. Mhm. So, does this have anything to do with Fisher's double digits? SWEETS: No, no, no, no, no, of course not. No. That is not this situation. HODGINS: Sweets. SWEETS: Yeah. HODGINS: If you need anything, just call me. SWEETS: No, I'm good. I'm good. We're good. HODGINS: Bye. (Hodgins leaves) SWEETS: Bye. (Tori Payne pushes him down onto the seat and settles on his lap) Oh. TORI PAYNE: Salt? INT. JEFFERSONIAN - FORENSIC PLATFORM (The Punky Pong machine is on the platform as well. Brennan, Cam, and Fisher are present.) BRENNAN: (She swipes and enters the platform) Did the blood come from our victim? CAM: No. Like the guy said, it seems to have come from a number of people and it's been totally degraded by a liquid. BRENNAN: Oh. What liquid? CAM: Mostly cola. FISHER: Here's a mikrosil cast of the wound, Dr. Brennan. BRENNAN: Well, I don't see any protuberances on the machine that correspond to the shape of the wound. CAM: Also, no sign of crickets, grass seed, or peacock feathers. FISHER: The particulates Dr. Hodgins found. BRENNAN: Well, those particulates were only found in the head wound, correct? CAM: Yes. BRENNAN: Is there anything on this machine that could explain the groin wound? FISHER: There's an access panel at groin level. (He opens the access panel) I don't see anything. CAM: Shall I get an ALS? BRENNAN: I don't see how something could pop out of there, s*ab our victim and then withdraw it - (Something injures Fisher's hand) CAM: Oh! FISHER: Ow! CAM: Are you all right? FISHER: Uh, yeah, that was dumb. (He peels pack his gloves) Yeah, I just jammed my hand against the bottom of the control stick. BRENNAN: (She examines Fisher's hand) The dimensions and the shape are very similar to the marks on the victim's pelvis. CAM: The joystick isn't long enough to pass through the abdominal wall and the intestines. BRENNAN: Oh, Billy Gabel has a whole supply of this piping at his workshop. Uncut. ACT FIVE INT. GABEL VINTAGE GAME REPAIR SHOP (Booth, Brennan, and an FBI team enter.) BOOTH: Hey. Pong boy. BILLY GABEL: Now what? BOOTH: Get your hands off everything. We've got a search warrant. (Deirdre Ryan comes out from behind a machine) DEIRDRE RYAN: Are you guys following me? BOOTH: Oh, some babe, Billy? BRENNAN: You knew her all along. DEIRDRE RYAN: I'm not allowed to fix my game? Billy's the only one with first generation Qbert parts. BOOTH: Yeah, really, because it seems to me that you two had reason to get rid of Steve. DEIRDRE RYAN: Look, man. I didn't have to k*ll him. I got a nice rack, a cute ass, and can wipe out any one at Punky Pong. BOOTH: Right, except for Steve, which is why you two teamed up. BILLY GABEL: She's just here for parts. BRENNAN: Booth? BOOTH: Yeah. BRENNAN: (She holds up some pipes) These are the types of piping congruent with the wounds on Fisher's hand and the victim's groin. BOOTH: Oh, pipe. Okay, bag that. Bag the pipe. EXT. MOVIE THEATRE (Sweets and Tori Payne are inside the tent, drinking boxed wine.) TORI PAYNE: An actual shrink. That is so, just hot. (She takes off her glasses) SWEETS: Yeah, but you know, my profession doesn't really preclude me from my fascination with sci-fi and fantasy. (Tori starts to unbutton his shirt) Oh really? TORI PAYNE: Does this tent zipper have a lock on it? SWEETS: Hm? No! No, no, no, no. There's no kind of privacy here and god! You really have fleet fingers. I've got a girlfriend. TORI PAYNE: Yeah. So you say. (They kiss) SWEETS: That shouldn't have happened. Why did that happen? TORI PAYNE: I know. It's like that one scene in Mimic where you're in a hot kiss one minute and then the next minute you're getting your brain sucked out by a mutant. SWEETS: (They kiss again but this time, he pulls back) Mm, um... I'm sorry. I've gotta make a call. (He dials his cellphone) TORI PAYNE: Would it help you get over this whole girlfriend thing if maybe you saw my tattoos again? SWEETS: I - (Into phone) Where are you guys? I need back-up. INT. JEFFERSONIAN - OOKEY ROOM HODGINS: You told me to get lost so now, I gotta test the tensile strength of the - INTERCUT - TELEPHONE CONVERSATION SWEETS: (Tori lifts up her shirt again) Just please, I need to be released - relieved. Please. HODGINS: Yeah. Sorry doctor, oh! And uh, save me a meat tart. Bye now. (Hodgins hangs up) SWEETS: Uh, that was an emergency... (Tori pulls him towards her) ...family emergency. INT. JEFFERSONIAN - BONE ROOM (Fisher and Brennan are examining the victim) FISHER: This could be an anomaly of the scaphoid BRENNAN: Oh. Magnify that, please. FISHER: Looks like resorption. What could have caused that? BRENNAN: A cyst. The victim had De Quervain's tenosynovitis. A painful condition caused by extreme stress on the wrist. FISHER: Which means... BRENNAN: Billy Gabel was correct. Steve Rifton must have cheated. On the date the videotape was made, he would not be capable of playing the game. (Brennan rushes out) FISHER: Okay. (Fisher looks down the hallway after Brennan and then leaves, too) INT. JEFFERSONIAN - OOKEY ROOM (Cam is observing as Hodgins tests the tensile strength of several pipes.) HODGINS: Brennan found five types of piping of the same dimensions. Aluminum, brass, steel, stainless steel and copper. I'm testing to see if any of them shatter under pressure. CAM: So far, they just bend. HODGINS: Tensile strength is 760 MPa. So far, I've tried torsion, impact, and got nothing more than bending and denting. (Angela enters) CAM: So, the pelvic injuries couldn't have been caused by the piping we found in Billy's workshop. HODGINS: Yeah, no. ANGELA: (She's shocked to see the tattoo of her face on Hodgins' shoulder) I'm - I'm... tattooed. On your arm. HODGINS: We're looking for a more brittle substance. Ange. It's not what you think. ANGELA: What I think is that there's a very large tattoo of me that's indelibly affixed to your skin. CAM: I'm gonna flee right now. (Cam leaves) HODGINS: I didn't do it. ANGELA: Wait a minute. My dad? (Hodgins chuckles and nods) My father did that to you? HODGINS: Let's just say he was trying to prove a point. ANGELA: I am so gonna kick his Texan bad-ass. You - you need to get that removed. HODGINS: Why? ANGELA: Because we are not together anymore and I don't want you sweating all over my face. And I - you need to get that lasered. (Angela leaves. Hodgins looks at the tattoo with a smile.) EXT. MOVIE THEATRE (Sweets and Tori Payne are still in the tent but Sweets is trying to leave.) TORI PAYNE: Why are you avoiding me? Doctor, it's just sex. SWEETS: I know. I know. It's just the combination of meat tarts and boxed wine has got me a little queasy so... (Sweets backs out of the tent and bumps into Fisher) FISHER: Oh. Sorry. (Tori pokes her head out of the tent and spots Fisher) You okay? SWEETS: Yeah, yeah, I'm fine. Everything is fine. This is Fisher. TORI PAYNE: Are you a shrink, too? FISHER: Nope. Forensic anthropologist. (Tori shakes her head, not understanding) SWEETS: He works with the d*ad. TORI PAYNE: The d*ad? Really? FISHER: What can I say? I can relate to the boundary between this existence and whatever screaming cold hell comes next. TORI PAYNE: Do you wanna see my tattoos? (She lifts up her shirt) FISHER: Wow. I love that poem. (Tori and Fisher smile at each other and make their way into the tent. Sweets looks on disbelievingly.) INT. JEFFERSONIAN - ANGELA'S OFFICE (Brennan and Angela are back to watching the game being played out on Angela's monitor. The Punky Pong machine is also in her office.) ANGELA: I analyzed the game's chip. Since the programming is from the 80s, it's pretty basic but still... BRENNAN: One would certainly need to be in command of the rapid-cycling beta level as well as being exceptionally dextrous. ANGELA: Right. Which according to you, Steve Rifton was not. BRENNAN: Oh. ANGELA: The computer has played a perfect game. So, this is the second time that this machine was played to the perfect game. The first time was Steve Rifton's perfect game. (She pulls up a picture of Steve Rifton next to the machine) BRENNAN: Well, if Steve Rifton played a perfect game, he had to have done it before he developed tenosynovitis. ANGELA: Yeah, well, that makes sense. BRENNAN: Can you pull up the videotape showing this perfect game? (Angela pulls it up on the opposite screen) Could you freeze it please? ANGELA: Yeah, what do you - what do you see? BRENNAN: These are not the same machine. (She points to the two pictures) ANGELA: Uh, sweetie, these look identical. BRENNAN: No, see, here? (She points to the machine that Steve Rifton is standing beside) This banana has exposed central and lateral incisors as well as a white section of peeled epicarp. ANGELA: Right. The teeth and the peel. Who would notice that? BRENNAN: Me. I'm extraordinarily observant. ANGELA: Uh, so, this is the same machine that was in the photo. BRENNAN: But not the same one as in the videotape. See? No incisors and yellow epicarp section. ANGELA: Steve Rifton cheated. He didn't play the winning game on this machine. What other machine do you think he had access to? BRENNAN: Dougie Seeger's. The autistic boy. ACT SIX INT. JEFFERSONIAN - FORENSIC PLATFORM (Both Punky Pong machines are on the platform. Cam, Booth, and Brennan are examining them.) BOOTH: This here is Dougie Seeger's machine and this is the one that the Ref bought from our m*rder victim. BRENNAN: We have photographic evidence that our victim actually played a perfect game on his own machine. BOOTH: Maybe that photo there is doctored. CAM: Angela says no. (Hodgins enters) HODGINS: Who wants to know about peacock poop? Okay, all right, not the greatest opening but (he pulls up his files on the computer monitor) I was looking at this thing all wrong. I kept asking myself how do peacock feathers, graminoid seeds, and insect legs get onto the same blunt w*apon. BRENNAN: That is exactly the question we need answered. HODGINS: Sometimes peacock feathers are in peacock poop because they preen themselves. The Indian Blue Peacock, to be precise. CAM: The m*rder w*apon was dipped in Indian Blue Peacock excrement? HODGINS: Pavo cristatus. BRENNAN: Why would the m*rder dip his w*apon into peacock excrement? HODGINS: What if he didn't do it on purpose? Check this out. (He pulls up a map onto the screen) The only two places with Indian Blue Peacock are the United States Botanic Gardens and the Annapolis Valley Golf Course. BRENNAN: The m*rder w*apon could have been a golf club. HODGINS: That would also explain the crickets and the fescue. CAM: Let's see which one of our suspects golfs at Annapolis Valley. HODGINS: Who deserves a little love here? Huh? Little love? (Brennan and Booth ignore him and leave) Just a - okay, if that's all, I really gotta go. Um... King of the Lab. (Hodgins leaves. Cam is left confused.) EXT. MOVIE THEATRE - NIGHT (Sweets is standing further back in the line. Hodgins approaches.) HODGINS: Why are you standing over here? What? (He spots the moving tent ahead of them) Oh. Fisher? SWEETS: Yeah. HODGINS: So, he pitched his tent when you didn't. SWEETS: By 'pitch his tent', you mean... yeah, that's what he did. Fisher said that in the short amount of time that I've been with Daisy, he pitched his tent with seven women. HODGINS: Yeah, but come on. Fisher, he only ever pitches his tent once with each woman. You, you're the kind of guy, you don't just pitch a tent, you homestead the land. SWEETS: Oh. So, he's the rock star and I'm the farmer. That's great. HODGINS: Okay, Sweets. Let's do the math here, okay? Fisher's seven women versus your one Daisy. Seven one-night stands, let's give him the benefit of the doubt and say that he's had sex, what? 21 times, okay? Now, rough estimate, how many times have you and Daisy pitched a tent? SWEETS: Daisy and I are together approximately five nights a week, so that's 10 times a week over seven months... you add in the mornings - HODGINS: Woah. Silent math. You got a number? SWEETS: Yeah. HODGINS: Don't tell me. Is it more than 21? SWEETS: It's way more than 21. HODGINS: Quality of the experience. It's much more important than the quantity. (O.S.): Everybody get your tickets out! Single file! No pushing. Everybody's gettin' in. (The line starts to move) HODGINS: We are going in. Yes. SWEETS: Should we - uh, tell Fisher we're going in? HODGINS: Nah. Screw him. SWEETS: But, he's gonna miss the movie. HODGINS: Yeah, well, serves him right. SWEETS: Uh, if you were in my shoes, you would have gone for her, wouldn't you? HODGINS: Heck yeah, are you kidding me? Did you see those tattoos, oh! Epic. INT. SEEGER HOME (Booth, Brennan, and Keith Seeger are walking from his house to the garage. Keith Seeger is holding the warrant in his hand.) KEITH SEEGER: Why do you wanna see my golf clubs? BOOTH: Well, I mean, you're a member of Annapolis Valley, right? KEITH SEEGER: Yes, for three years. My golf clubs are in here somewhere. I don't get out there as much as I'd like. (Dougie Seeger is standing quietly in the corner of the garage) Dougie just stands there all day, waiting for his machine. I'd like to get it back as soon as possible. BOOTH: You're very cooperative. BRENNAN: (She spots the golf clubs) Booth? BOOTH: Yeah? BRENNAN: Graphite shafts. These would snap. We're looking for a broken shaft that would explain the s*ab wound. BOOTH: Any of them damaged? BRENNAN: No. None of these is the m*rder w*apon. KEITH SEEGER: Wh - you think I k*lled the postman? Well, why would I do that? BRENNAN: Perhaps it's a coincidence that Mr. Seeger is a member of that golf club. Perhaps we should check out the possibilities of the botanic garden? BOOTH: Where's your three iron? KEITH SEEGER: Never needed one. BRENNAN: What? Three iron? BOOTH: Guy like you, a course like that. You would definitely need a three iron to h*t that course, so, where is it? (Keith Seeger looks sadly back and forth to his son. He is caught.) INT. FBI HEADQUARTERS - INTERROGATION ROOM (Flashes back and forth between Keith Seeger's confession and Dougie Seeger getting his Punky Pong machine back and playing happily.) KEITH SEEGER: My son only ever had one thing. One thing in his whole life. Dougie can't even speak, you understand? He looks at me or my wife and there's no glimmer of recognition. But that machine. It turns on, makes that noise... and he gets this look on his face. Maybe you wouldn't notice it in a regular kid but I know what it is. It's joy. And this guy, this mailman, he watches Dougie play a perfect game and then next thing you know, he's on TV saying he played the perfect game. It's a miracle. It's too much of a coincidence for me. BOOTH: You accosted him with your own golf club, right? You scared him into telling the truth. KEITH SEEGER: He admitted it. He said he videotaped Dougie. But he refused to credit Dougie. I lost it. BRENNAN: You b*at him. With your golf club and when the head broke off, you s*ab him with it. KEITH SEEGER: The only thing my boy has in this world - one thing - this man stole it from him. It wasn't right. (He cries) INT. JEFFERSONIAN - FORENSIC PLATFORM (It's nighttime. Everybody has left. The Punky Pong machine is still there and Booth and Brennan go to play a game. Or two.) BOOTH: It's not as crazy as you'd think. I'm a father so I sort of understand. BRENNAN: I can't imagine you k*lling someone for stealing credit from Parker for anything. BOOTH: Well, not k*ll someone but thr*at 'em. BRENNAN: Even about something as frivolous as bragging rights to a videogame? All right, how do we choose who goes first? BOOTH: Right, okay, go ahead, you go first. BRENNAN: Why? BOOTH: Why? Because once I start, I ain't gonna stop. (Brennan laughs. Booth sits down on a chair, continuing his thought) Besides, it's not how the dad feels, it's how the son feels. BRENNAN: We're discussing the m*rder again? BOOTH: Someone breaks your kid's heart, your own heart rises up, get's fierce. It's just a natural response. BRENNAN: There's a flaw in your reasoning. I believe that due to my superior learning curve, I can b*at you at this game - despite your superlative strength and your remarkable reflexes. (She hits the buttons on the machine a few times) How do I start the game? BOOTH: What's the flaw in my reasoning? BRENNAN: Dougie Seeger is autistic. He didn't care. His heart wasn't broken. BOOTH: So, the dad loved him twice as much. All right, you don't like the reasoning and my math. BRENNAN: I've realized recently that you use a different number system, like the Babylonians which was base 60. I don't understand your system but I can see that it works. (A silence. And then, she starts hitting the buttons on the machine again) How do I start the game? BOOTH: Bones. BRENNAN: Yes? (Booth tosses her a quarter) Oh! BOOTH: There you go. BRENNAN: A quarter! BOOTH: Knock 'em d*ad. BRENNAN: I will. I will knock you d*ad. I will prove you wrong. BOOTH: Big words! BRENNAN: Level one, baby. (The screen goes back to the start) What happened? BOOTH: My turn. BRENNAN: No, it's not your turn. What do you mean? It just stopped, so... BOOTH: That's right. No, sit right there. BRENNAN: No, I didn't lose. BOOTH: Well, you put the quarter in, the game's over BRENNAN: No, it's not - BOOTH: Maybe it's your energy - BRENNAN: It's the machine broke - BOOTH: Maybe it's your math - BRENNAN: It's not my math - BOOTH: My turn... END.

{"type": "series", "show": "Bones", "episode": "05x09 - The Gamer in the Grease"}

foreverdreaming

THE GOOP ON THE GIRL TEASER [EXT: CITY. Music plays over images of Christmas scenes - a sleigh-and-reindeer display, a man taking donations for the Salvation Army, a snowman decoration, a lifesize toy soldier, a department store with a massive wreath on the front, a large Christmas tree on display.] [MUSIC: "Here Comes Santa Claus".] [INT: BANK. People are in line for tellers. At the head of the line is a man dressed as Santa Claus (played by Matt McTighe).] TELLER [cheerfully]: Hey Santa. How're you doing? Deposit or withdrawal? [SANTA hands a note to the TELLER (played by J. J. Boone). It says something like GIVE ME ALL THE MONEY.] TELLER: Is this some sort of joke? [SANTA pulls his shirt open, revealing a b*mb strapped to him.] SANTA: Give me all of your money. Now. [TELLER quickly hands money to SANTA, who puts it into his red sack. SANTA looks around.] SANTA [indicating other tellers]: The other ones too. Hurry up. [As the TELLERS do as he says, people behind SANTA in the line get suspicious and impatient.] MAN: Something's going on over there. OTHER MAN: What do you mean? MAN: Security! SANTA [turning to face other customers]: I HAVE A b*mb! [People begin to shriek.] SANTA: Everyone get down! [to TELLER] Put the money in the bag. Quick. [CUT.] [INT: BRENNAN'S APARTMENT. MAX is dragging over a Christmas tree and Brennan is watching him.] MAX: It's a beauty, isn't it? I got the, uh... I got the employee's discount; good tips too. Shall I get some tinsel? BRENNAN [disinterested]: Well, you can do whatever you want. It's your Christmas tree. MAX: Well, it's ours, honey, as in you and me. BRENNAN: Dad, I'm-I'm going to do volunteer work in El Salvador. MAX: Well... that means I'm gonna be alone for Christmas. BRENNAN: Well, wha-what about Russ and the girls? MAX [sitting down]: Your brother is going to Orlando to spend the holidays with his in-laws, and I will be alone, and it'll be pitiful. BRENNAN: Well, if I stay, then there'll be two of us alone, which is twice as pitiful. MAX [sarcastically]: Well, that's interesting math. [pause] What if I can get someone else to share Christmas with us? Now, that would make it a real Christmas, right? BRENNAN: Dad, some reformed criminal pal of yours won't make a real Christmas. MAX: I'm talking family, a blood relative; an aunt or one of your cousins from Minnesota. BRENNAN: You have contact with these people? MAX: We're Myspace buddies. Come on, honey, please? BRENNAN: Well, why do people hate to spend Christmas alone? MAX: 'Cause it means nobody loves them. [CUT.] [EXT: STREET. BOOTH is rubbing his hands together for warmth as he walks to his car.] DISPATCH [from radio inside car]: Code 39, Code 39, bank robbery in progress. Capital Mutual Bank, corner of 12th and U Street. Suspect dressed as Santa. Urgent help needed. BOOTH [now inside car, to radio]: Yes, Agent Booth, 22705. I'm two blocks from Capital Mutual Bank. ETA within a minute. [INT: BANK. SANTA has money in a bag and is leaving the bank.] SANTA: All of you... stay down, you hear me? Stay down... and everybody goes home for Christmas. [EXT: STREET OUTSIDE BANK. BOOTH exits car and aims g*n at Santa.] BOOTH: Everybody back. You! Santa! Move into the road. Now! SANTA [moving to street]: Don't do this. Just walk away. BOOTH: On your knees. On your knees! FBI, man. Do it now! SANTA: I just answered the call. [There are some crackles from the b*mb, the word "BURN!" and then an enormous expl*si*n. A giant ball of f*re erupts from SANTA. Debris in all directions. A man gets thrown back onto a taxi from the force. A woman ducks behind the taxi. BOOTH lands in front of his car. A chunk of flaming SANTA drops by the taxi. After the expl*si*n, money floats everywhere and the bank's windows break. Booth looks around in shock.] [CUT.] [EXT: STREET OUTSIDE BANK. We return to the scene a short time later. Emergency workers everywhere. There is a siren in the background and the b*mb Squad is combing the area. [PARAMEDICS load the CABDRIVER into the back of an ambulance.] PARAMEDIC: Cabdriver is s*ab. [FBI people take photos; the b*mb Squad continues searching for evidence. CAM and BRENNAN stand next to BOOTH by his SUV. CAM is performing medical checks on BOOTH.] BOOTH [impatient]: Can we just hurry this up? 'Cause I have a witness over there. BRENNAN: Well, are you sure you didn't throw out your back? BOOTH: No, I didn't; I'm fine. CAM [shining penlight in Booth's eyes]: Okay, do you have a medical degree? I don't think so. Okay, your pupillary response is fine. BOOTH: Okay, well, there you go. I'm gonna go talk to my witness now. Thank you. [A PARAMEDIC is sitting next to the WITNESS. The witness is the woman who got thrown behind the cab during the expl*si*n. She is covered in splatter and her hands are torn and b*rned. She looks shocked.] BOOTH [to paramedic sitting with witness]: Got 'im. [The PARAMEDIC leaves and BOOTH sits next to the WITNESS. BRENNAN also arrives and squats in front of the WITNESS to examine the evidence - human remains - coating the WITNESS. This is "The Goop on the Girl". The WITNESS is GEORGIA HARTMEYER (played by Melinda Page Hamilton) and hereafter referred to as GEORGIA.] BOOTH: Hi. I'm, uh, Special Agent Seeley Booth. Are you okay, Miss, uh...? GEORGIA: Hartmeyer. Georgia Hartmeyer, and no, I'm not okay. [tearfully] I'm covered in... BRENNAN: Human remains. The b*mb's bones became shrapnel. GEORGIA: Oh, my God, I got to get out of here. BOOTH: Listen, we just want to ask you a couple questions. CAM [arriving behind Georgia]: We have to bag her and take her to the lab. BOOTH [to CAM]: Right now? CAM: Yeah. BOOTH: I know this is really hard and you're freaked out, but what you have on there is evidence. CAM [comfortingly]: It's no big deal. I'm just gonna put this cap over your hair and bag your hands. BOOTH: And I'm gonna meet you back at the lab, and I'm gonna ask you a couple questions, and then I'm gonna take you home. Okay? GEORGIA [as Cam is putting a cap over Georgia's head]: All right, I guess, if I have to. [BOOTH leaves and crosses to where HODGINS is squatting on the ground, studying b*mb fragments.] BOOTH [standing next to HODGINS]: Hey, oh, what do you got? HODGINS [excitedly]: Recovering b*mb fragments... hey, check this out. expl*sives unit guys loaned me these magnetized gloves. [Holds up gloves with metal sticking to them and laughs delightedly] Oh, these are so going on my Christmas list. BOOTH [pointing]: That stuff there, is that from the b*mb, or is that from Santa? HODGINS: b*mb. Oily pudding residue indicates a homemade emulsion b*mb. [BOOTH sighs and rubs his neck.] HODGINS: Man, you sure you're okay? BOOTH: Fine. 'Kay? BRENNAN [arriving behind him]: He says he's fine, but that may just be a function of shock. BOOTH [leaving]: I'm fine. You know what, I'm gonna go home, grab a shower and get cleaned up. BRENNAN: No, Booth! BOOTH [slightly annoyed]: I am FINE... will you just stop worrying about me, Bones? BRENNAN [pointing to Booth's back]: Spinous process! BOOTH [trying to see his own back]: What? Where? HODGINS: Yes, indeed, that is a definite chunk of Santa. BRENNAN [over shoulder]: We're gonna need some bags, Cam. BOOTH: No. No, no. BRENNAN: I'm sorry, Booth, but you're evidence now. [CUT to MAIN TITLE THEME and CREDITS] [INT: JEFFERSONIAN. BOOTH and BRENNAN are in the BONE ROOM. BOOTH is sitting on a gurney and BRENNAN is behind him, picking remains off the back of his jacket with tweezers throughout the conversation.] BOOTH: Did you hear anything back on that cabdriver? BRENNAN: No, but Cam is in touch with the hospital. [Setting last particles into a dish] Okay. I have to remove your clothing now. [BRENNAN reaches to the front of BOOTH's jacket and begins to remove it.] BOOTH [surprised]: What? Why? BRENNAN: Well, there may be particulates. BOOTH [echoing]: Particulates. BRENNAN: Evidence for Hodgins, and flesh for Cam. [BRENNAN sets jacket aside and walks to stand in front of BOOTH.] BOOTH [thoughtful]: You know, the b*mb said something about answering "the call." What do you think that means? BRENNAN [loosening his tie. BOOTH sits up straighter and looks uncomfortable]: Many t*rrorists feel they're acting upon divine instruction. BOOTH: I don't think he was a t*rror1st; I just think he was a bank robber. Brennan [lifting BOOTH's tie over his head]: There's spatter on the back of your collar. BOOTH: Spatter? BRENNAN [unbuttoning his shirt]: Okay. BOOTH: I can take my own shirt off... [He lifts his hands to help and BRENNAN swats them away.] BRENNAN: No, don't. You'll compromise the evidence. BOOTH [looking closely at her]: ...Right. BRENNAN [uncertainly, continuing to unbutton Booth's shirt]: I'm... having Christmas dinner at my place this year with my dad. Considering you've been shunted aside by your own family, I'd... like to invite you. BOOTH: That's a sweet invitation. BRENNAN [sliding shirt off his shoulders and moving behind him]: So, will you come? BOOTH [slowly]: I... don't know. I was thinking about going up to Quebec to see Parker. I really don't care what Rebecca thinks. BRENNAN: Well, if you do that, won't she retaliate by insisting upon coming to all your special times with Parker? BOOTH: Yeah. BRENNAN [admiringly]: You have a perfect acromion. [Booth looks pleased] Stand up. BOOTH: Okay. BRENNAN: Off the table. [BRENNAN kneels in front of BOOTH and reaches for his belt.] BOOTH: Whoa. What... what, is there stuff on my pants? BRENNAN: Yeah. Vascular tissue on your Cocky belt buckle. [Brennan loosens his belt and removes it.] BOOTH: Oh, right. Slides right off, and, uh, we're done. BRENNAN: No. BOOTH: Huh? BRENNAN: I have to remove your pants. BOOTH [as Brennan unbuttons his pants]: All right, you know, I'm just gonna start reciting some saints, you know. [Quietly to himself as Brennan lowers his pants] St. Joseph, St. Peter, St. Paul, St. John... [BRENNAN slides his pants down BOOTH's legs. He is wearing blue and white plaid boxers.] [Suddenly the door opens and BRENNAN inhales quickly. CAM is standing in the doorway.] CAM [humorously]: Anyone for mistletoe? BRENNAN: I-I'm recovering evidence. BOOTH: Just evidence, that's all. CAM [smiling, unconvinced]: Interesting. BOOTH [stepping out of pants]: Listen, uh, Bones, I really got to go question the other eyewitness, so are we done here? BRENNAN: No, you can sit. CAM [pointing]: There's something in your hair. BOOTH [reaching to touch it]: Where? BRENNAN: Oh. [removing his hands] Don't touch. BOOTH: What? BRENNAN [reaching for forensic scissors]: Organic residue... I'll cut it out. BOOTH [alarmed]: What do you mean, cut it out? No! No scissors. Not the hair. [He pushes her hands - and the scissors - away.] CAM: Tox results show that our b*mb had propranolol in his bloodstream. It's a beta-blocker popular with performers, soldiers... and su1c1de b*mb. BOOTH [as Brennan fiddles with his hair]: Yeah, sn*pers use that to calm their nerves. CAM: Also, Hodgins swabbed this. [She holds out a dish containing a charred, unidentifiable body part.] CAM: Found high concentrations of limonene. It's a citrus fruit derivative. BOOTH: Oh. What is that, a nostril? CAM: Yup. And I have no idea how the limonene got there. Unless the guy was snorting orange Kool-Aid. BOOTH: Right. Listen, Bones, I really got to get going to question this other eyewitness. Will you just... Ow! [CAM rolls her eyes and exits. Cut to lab hallways where ANGELA is conferring with someone. BRENNAN is wheeling BOOTH on a table usually used for human remains. He is wearing only boxers and socks and looking uncomfortable.] ANGELA [looking over amusedly]: Uh, are we doing experiments on Booth? Because if so, I'd like to help. BOOTH [sarcastically]: Make fun of the naked guy... knock yourself out. [Cut to lab platform. DAISY is examining GEORGIA, who is sitting on a gurney. GEORGIA is wearing a cream-colored hospital-type gown and looking shell-shocked. There are paper bags over her hands and goop still in her hair.] DAISY [examining Georgia's hair]: I think we got everything. [pause] Oh. Nope. [excitedly] Mandible fragment! GEORGIA [disturbed]: Just get it all out! [Brennan pushes Booth's table opposite Georgia.] BOOTH: Okay, there you go... [Daisy looks at Booth and is impressed by his physique.] DAISY: Oh, Agent Booth, you look... Wow. BOOTH: How are you? DAISY: Finished with the hair; moving on to the hands. And thank you for asking, especially given the difficult morning you've had. [BRENNAN stands behind BOOTH with tweezers to remove particles from his hair.] BRENNAN: He was speaking to Ms. Hartmeyer. DAISY [slightly embarrassed]: Oh. I'm not used to having evidence that talks, so it's a little disconcerting. I'll just get back to work. BOOTH: Mm-hmm. [DAISY goes back to recovering evidence from GEORGIA as BOOTH conducts a makeshift interview.] GEORGIA: How much longer do I have to stay here? BOOTH: Just a couple more questions. Do you remember how long you were standing outside the bank? GEORGIA: I-I'm not sure... I was waiting for the bus. BOOTH: Do you remember seeing Santa go into the bank? [Brennan tugs on his hair] Ow! BRENNAN: Sorry. It's being stubborn. GEORGIA: All I know is, I was minding my own business, and this guy just blew up in front of me. DAISY [examining Georgia's hand]: Dr. Brennan, look at these white fragments in the nail bed. BRENNAN [studying hand]: Most likely dental pulp. DAISY [to Georgia, cheerfully]: Santa teeth! GEORGIA: Oh, geez. BRENNAN: Harvest the nail. DAISY: Just a quick clip. [HODGINS arrives on platform carrying a clipboard.] HODGINS: Hey, Booth? BOOTH: Yeah? HODGINS: Think I got something here. BOOTH [sarcastically]: Oh, great, join the party. HODGINS [staring at Booth]: Dude. Where's your chest hair? BOOTH: I'm highly evolved. BRENNAN: His pubic extension is entirely within normal- BOOTH: Enough. Okay, so what do you got? HODGINS [handing over clipboard]: I'm cataloguing b*mb components so we can run it through EXIS, the expl*sive Incidents System. b*mb makers' signatures are as unique as handwriting. [He removes a packet from his pocket.] We found this computer chip that sets frequency on a two-way radio, which means this b*mb was command-initiated, triggered via electronic signal from the two-way. BOOTH: Right, that would explain the crackle I heard right before the b*mb went off, and there was this voice... HODGINS: You know, if Santa had a partner, he was probably monitoring that frequency. BOOTH: He hears me say "FBI", he panics, and he blows up good old St. Nick, but there's no way to trace it back to him. [BRENNAN finishes with BOOTH's hair and supplies him with a blue lab coat. BOOTH shrugs into coat as he stands.] HODGINS: Well, except for that computer chip. The radio was set to 27.4 megahertz. BOOTH: You guys have a scanner around here? [CUT.] [INT: Angela's office. BOOTH and ANGELA are standing around a radio which is making crackly noises as BOOTH fiddles with it.] ANGELA: So, this is the first time I have ever borrowed anything from the Eisenhower Collection. BOOTH: I'm just gonna tune in here to 27.4. [We hear some crackles and then an angry voice broadcasting. This is OWEN THIEL (played by Dorian Missick) and hereafter referred to as OWEN.] OWEN: ...their pockets. No more! Bring down the tools of capitalist greed. Burn them, like they b*rned us... BOOTH: "Burn." That's him. I heard him say that. BRENNAN [arriving in doorway and holding up Booth's COCKY belt buckle.]: Hey. We expedited tissue removal. BOOTH: Great, thanks. BOOTH [into phone]: Hey, listen, this is Booth. I need an FCC mobile scanner unit now. Great. Thanks. BRENNAN: You want to search for the source of this transmission? BOOTH: It could be the guy who set off the b*mb. [BOOTH leaves office and BRENNAN follows him. He gets to the doorway and realizes he is wearing only a lab coat, boxers and socks.] BOOTH: Okay, pants, pants, I need pants. Where are my pants? [CUT.] [BOOTH, BRENNAN and an FBI AGENT are in the MOBILE UNIT and driving through the city. They are listening to OWEN's broadcast.] OWEN [on radio]: We're not one voice, we're thousands of voices. Democracy has been corrupted by the greed of big business. Burn it to the ground... [Radio continues in background as BOOTH and BRENNAN talk.] BRENNAN: If he's referring to lobbyists, then he's actually correct. BOOTH: You agree with this clown? And what about bl*wing up your partner, okay? Because it sounds like this creep was, uh, planning on detonating Santa right from the start. BRENNAN: Well, that would explain the propranolol. BOOTH: Who blows up Christmas? Who does that, Bones? OWEN [on radio]: Hear my call. Get off your ass and do something. Get up off your ass and... BRENNAN: Do you think that's what the victim meant about answering "the call"? BOOTH: Sure as hell sounds like that. [to driver] Take the next right, will you? [CUT.] [INT: BONE ROOM. DAISY is modeling bone fragments over a blue man-made skull model as SWEETS enters.] DAISY: Lancelot! Does it look like the frontal near the sinus to you? SWEETS: Uh, I have no idea. DAISY: Seems appropriately spongy. SWEETS: Look, I know you're busy, but I'm in a pickle, Daisy. This is our first Christmas together. And, though I've avoided the holidays ever since my parents have been gone, I feel like I shouldn't put a damper on your holiday zest. DAISY: Oh, I'm zestless. SWEETS: You are? DAISY: I see no point in celebrating Jesus' birth in December when he was actually born in March. SWEETS: No kidding. DAISY: It'd be like celebrating the Fourth of July in April - ridiculous. SWEETS: So, what do we do December 25th? DAISY: Would it be wrong to stay in bed all day and have sex? CAM [entering]: Yes, it would. And what is with everybody today? SWEETS: We were just discussing holiday plans. CAM: Oh. Did Dr. Brennan ask you about Christmas dinner? DAISY: She did. I said it wouldn't be a Christmas dinner unless it occurred in March. CAM: Interesting. Clear off, Sweets. We have to ID our Christmas-in-December b*mb. DAISY: Bye, Lancelot. Colon, end bracket, colon, capital D! SWEETS [making hand gestures to indicate]: Semicolon, end parentheses, "less than" sign, numeral three. DAISY: Colon, capital "P." CAM: Oh, dear God. I'm going to yak. [SWEETS exits.] DAISY: This isn't skull. It's manubrium. CAM: Seems to be some kind of burn on the interior surface. Get that to Hodgins. [CUT.] [INT: MOBILE UNIT. BOOTH and BRENNAN are studying a computer showing a map of the area.] BRENNAN: Just up ahead. BOOTH: That's it. Right there. Pull over. BRENNAN: Booth? BOOTH: Yep. BRENNAN: Santa's cohort is inside that house. These men use expl*sives. They... they want to destroy the federal government. Shouldn't we call in backup? OWEN [on radio]: 60 seconds of rant, people. Bring it on, bring it down. BOOTH: We don't have any time. Do you hear him? 60 seconds or he's going to sign off. I got to keep him distracted. [BOOTH and BRENNAN exit the van outside a suburban house with a large aerial on top.] BOOTH: All right. BRENNAN: Booth, you're going to pull down the antenna? That's illegal. BOOTH: Well, not when I got him for a Title 97, malicious interference and unlicensed operation. [to driver] Hey. Phone in our location, okay? DRIVER: Check. BOOTH [handing his g*n to Brennan]: Here. Cover me. BRENNAN: Okay. OWEN: The banks take our money to line their pockets. No more! Burn down... [The antenna falls. Inside the van, the screen goes blank, indicating the loss of radio signal. Back in the yard, a tall African-American man exits the house, wearing jeans and a jacket and looking angry. This is OWEN THIEL, the broadcaster.] OWEN: Hey! [BOOTH grabs him and propels him toward the ground.] BOOTH: Hey, what? Hey, come on now. That's it. You have the right to remain silent. [BOOTH tackles OWEN to the ground and BRENNAN stands over them, covering BOOTH with his g*n.] OWEN: You're a flunky of a corrupt regime and it is my duty to resist you. BRENNAN: Well, I should warn you, he... he's very hard to resist. BOOTH [pleased]: Thanks, Bones. BRENNAN: Sure. BOOTH: Easy! [CUT.] [INT. FBI INTERROGATION ROOM. BOOTH and OWEN are sitting at a table. BOOTH holds up a pen.] OWEN: What's this? BOOTH: Says you waive your right to a lawyer. OWEN [signing]: I know my rights better than any lawyer who's a pawn in the system. I'm fully aware that's there's nothing illegal about my broadcasts. Freedom of speech. BOOTH: You were in the military, right? You're trained in expl*sives. OWEN: So what? expl*sives and ordnances are part of Basic Training. BOOTH: I don't think that they meant for you to use your Basic Training experience to, uh, rob banks. OWEN: You know what? You got the wrong guy. All I do is broadcast my show, go to meetings, hand out pamphlets. BOOTH: Just before he blew up, the robber said that, uh, he answered "the call." OWEN: My call? From the radio? Look, some nut listens to me, goes crazy, I'm not responsible. I never told anybody to break the law. BOOTH: Right. Because you know what? Your little pirate radio frequency set off the b*mb right before the robber was about to get arrested. OWEN: Must have been a coincidence. BOOTH: Just a coincidence? You should just keep saying that to yourself over and over again, so you can actually believe it. [CUT.] [INT: DINER. MAX and BRENNAN are sitting with a woman BRENNAN's age, drinking coffee. She has brown hair and is dressed conservatively. This is BRENNAN's second cousin, MARGARET WHITESELL (played by Zooey Deschanel) and hereafter referred to as MARGARET.] MAX: This is fun. Isn't it fun to meet a new relative, girls? BRENNAN: So, you're my cousin, Margaret? MARGARET: My mother was your mother's cousin, according to Uncle Max. MAX: It's an uncanny resemblance. You're practically sisters. BRENNAN: Why... why aren't you home for Christmas? MARGARET: This time of year, I prefer to be in Philadelphia, away from my family and all those kids. BRENNAN: You don't have children? MARGARET [quotation marks indicate quotes of Benjamin Franklin]: "Keep your eyes wide open before marriage, and half-shut afterward." I never got to the half-shut part. What's your excuse? BRENNAN: For not being married? I don't have an excuse. I just have very good reasons. MARGARET [thumbing through book of quotes]: Like what? BRENNAN: I think that marriage is something you need to have a reason to enter into. I never found that reason. MARGARET: Mmm. I totally agree. "Experience keeps a dear school, but fools learn in no other." MAX: You see, Margaret is a big fan of Benjamin Franklin. MARGARET: Yes. He was the smartest man who ever lived. His advice has... never failed me. BRENNAN: Actually, the person with the highest recorded IQ is Marilyn vos Savant. MARGARET: Ooh. "Tim was so learned that he could name a horse in nine languages; so ignorant that he bought a cow to ride on." BRENNAN [to Max]: I don't think this is going to work. MAX: Listen, family reunions are always awkward. BRENNAN [to Margaret]: Well, do you think this is going well? MARGARET: Not really. You seem like a bit of a know-it-all. BRENNAN: Nice to meet you, but I'm going to El Salvador for Christmas. You both are welcome to use my place over the holidays. MARGARET: "He that won't be counseled can't be helped." [BRENNAN exits.] MAX: I told you to keep to Ben's scientific stuff. [CUT.] [INT: ANGELA'S OFFICE. DAISY has completed the skull she was working on before and ANGELA is waiting for it.] DAISY All righty. Here's your head. Dr. Brennan and Agent Booth are kind of in a hurry to ID him. [ANGELA plays MUSIC: "Snowfall" by Ingrid Michaelson.] ANGELA: No problem, Daisy. I have no intention of letting Santa ruin Christmas. DAISY: Were you aware of the fact that Jesus was really born in March? ANGELA: I don't care. DAISY: That Rudolph would have to be a girl, because male reindeer drop their antlers in winter. [ANGELA turns music up.] DAISY: Okay. I'll be right back. [DAISY exits. MUSIC continues over a montage as ANGELA works to recreate the face from the skull. She completes the face.] [DAISY enters.] ANGELA: Okay, here he is. The guy who b*mb Christmas. Can you hand me my sketch pad, so I can get him to the media? [CUT.] [INT: CAM'S OFFICE. She is working at a computer and surrounded by Christmas paraphernalia. MICHELLE enters.] MICHELLE: Hey. CAM: Hey, I was just thinking of you. MICHELLE [looking at Christmas stuff]: Oh, my God, what did you buy? CAM: Gingerbread house, talking reindeer, peppermint bark... I went a little crazy. I know how much your dad loved Christmas. MICHELLE: You didn't get my present, did you? CAM: Still working on that. MICHELLE: Good. 'Cause I know what I want... Hawaii. The Big Island. CAM: That would be hard to wrap. MICHELLE: No, I want to go there for Christmas. Please don't say no, Cam. Please. CAM: That sounds fantastic, but I only have a couple days off. MICHELLE: Not with you. With Paris's family. Her mom and dad invited me. CAM [faltering]: They did? MICHELLE [excitedly]: I know it's totally last minute, but I found a cheap flight, and the hotel is covered, and all I have to do is pack shorts and bathing suits. CAM: You... really... thought this through. MICHELLE: If I stay, it's just the two of us, and that's depressing. CAM: You really want to go? It's that important to you? MICHELLE: It's important to me. And this way you can do what you usually do at Christmas instead of worrying about me. CAM: Oh, you're not a worry. You... [Michelle sighs and pouts] If that's what you want, then of course you can go. MICHELLE: Thank you! [They hug.] [HODGINS enters.] HODGINS: Hey, Michelle. MICHELLE: Hi, Dr. Hodgins. HODGINS: Mind if I steal her away? MICHELLE: She's all yours. [CAM sighs, her smile falling as MICHELLE exits.] [CUT.] [INT: JEFFERSONIAN BONE ROOM. HODGINS and CAM enter. DAISY is working with the bones. A large computer is stationed at the head of the bone table, which HODGINS refers to.] HODGINS: We ran the expl*sive residue. It's predominantly ammonium nitrate. Also fuel oil, naptha, detergent and antimony sulfide. CAM: Any of that unique enough to pinpoint our b*mb maker? HODGINS: Not even close. CAM: Sweets says the pirate radio guy doesn't fit the profile. He's an extrovert, and we're looking for a lock-yourself-in-the-basement type of fellow. HODGINS: All right. So, all we know so far is that the detonation pressure was about half a million pounds per square inch. DAISY: Which is consistent with the skeletal damage. You can see blow out to the back, as well as curvature and divoting... all going in one direction, to the rear. CAM: So the expl*sive was confined to the front of the vest. HODGINS: Until we find the rest of the manubrium, it's going to be pretty tough to figure out specifics. CAM: The manubrium doesn't just get up and walk away. Unless... [remembering] the b*mb's own bones became shrapnel. HODGINS: We checked the scene of the expl*si*n, but we didn't check the cab driver, who took the biggest h*t. I'll call the hospital. [HODGINS exits.] [CUT.] [INT: FOUNDING FATHERS. BOOTH and BRENNAN are sipping drinks.] BOOTH: So, I've decided to take you up on your offer. [MUSIC: "Jingle Bells" on piano somewhere in the bar.] BRENNAN: What offer? BOOTH: Uh, you inviting me to your house for Christmas dinner? ... You forgot you invited me. BRENNAN: No, it's just... No! My dad brought by my second cousin and... I really didn't like her. BOOTH: Well, that makes sense. BRENNAN: Why do you say that? BOOTH: Well, because she's family. I mean, 90% of the time, family just gets under your skin. That's the difference between family and friends. BRENNAN: She's unapologetically dogmatic. She lives her entire life based on the quotations of Benjamin Franklin. BOOTH: Maybe she feels the same way about you and your mania for logic. BRENNAN: Mania? BOOTH: Okay, enthusiasm. Look, if you ditch this opportunity because a family member annoys you, it just... it just goes with the family territory. BRENNAN: Hmm. That's true; you and Jared can barely be in the same room together. BOOTH: Well, he's a whole other kettle of fish. I'll tell you that. He's just annoying. [BOOTH's phone rings.] BOOTH [into phone]: Booth. Uh, okay. BOOTH [to Brennan, still on phone]: Um, somebody saw Angela's sketch on the TV. Says it looks like her son. Name of Holden Chevaleer. [into phone] Great. Thanks. [He hangs up.] BOOTH: Get this. Our b*mb was an exterminator. BRENNAN: Well, that makes sense. Exterminators use orange oil. And Hodgins said the b*mb contained naptha. Exterminators use naptha to k*ll bed bugs. [CUT.] [Night becomes day. INT: BOOTH'S OFFICE. BOOTH is at his desk and BRENNAN stands to the side. A middle-aged WOMAN is sitting across from BOOTH. This is ABBY CHEVALEER (played by Wendy Phillips) and hereafter referred to as ABBY.] ABBY: That picture on the news. It's my son, isn't it? [She hands a photograph to BOOTH. The photo shows a man wearing a red and white plaid shirt and smiling at the camera. This is her son HOLDEN CHEVALEER, a.k.a. SANTA CLAUS.] BOOTH: Yes, ma'am. ABBY: They didn't say why they were showing it, just that they wanted information. Why? BOOTH: Well, we believe that your son was involved in a robbery at, uh, Capital Mutual Bank. Your son - did he ever use expl*sives, Mrs. Chevaleer? ABBY: No, of course not. Holden wouldn't hurt a fly. BRENNAN: Well, he's an exterminator. By definition, he hurts flies. BOOTH: That's not what she meant, Bones. ABBY: Holden is a good boy. We have dinner together almost every night. There's just the two of us, you understand. BOOTH: Any friends? ABBY: He's very shy. He's much happier working on his projects in the garage. BRENNAN: What... what kind of projects? ABBY: I don't really know. I like to give him his privacy. BOOTH: He have any financial troubles? ABBY: Everybody does. He tried to get a loan, but the bank wouldn't give him one. BRENNAN: That must have made him very angry. ABBY: Well, he isn't perfect. But I know my son. And if there has been any kind of trouble, it is not his fault. Just let me talk to him. He'll tell you, I know he will. BOOTH [gently]: I'm afraid that's not going to be possible. [ABBY's face falls and she becomes tearful.] ABBY: Please. You just tell me what's happened to my son. [CUT.] [INT: FBI CONFERENCE ROOM. We see CAM on a video link. She is in her office.] CAM [on screen]: These just came through from the hospital. Pre-op photos of the cab driver and his x-rays. [We see photos of the cabdriver before zooming out to show BOOTH and BRENNAN in a conference room and looking at a large screen.] BRENNAN: Severe trauma primarily to the proximal phalanges and metacarpals. Pitting and multiple fractures to the palmar side. CAM [in person]: He was probably trying to shield his face from the expl*si*n. We think the fragment in his zygomatic arch may be the missing manubrium fragment. BRENNAN: There. Did the hospital deliver the bone shrapnel fragments? CAM [in person]: Ms. Wick's working on it now. We're hoping they'll give us a better sense of the b*mb. BRENNAN: We need Angela to recreate the expl*si*n. CAM [on screen]: As soon as Hodgins figures out the b*mb. [CUT.] [INT: LAB PLATFORM. DAISY is leaning over the bone table and HODGINS is standing behind her in a "hurry up" manner.] DAISY: It's very difficult to work when someone is looking over your shoulder. HODGINS: It's even more difficult to work when you have nothing to work on. Snap it up. DAISY: This is it. The missing manubrium. Three parallel burns about two millimeters apart. HODGINS: Ooh, I think we got our initiator. The b*mb maker used the base of a small light bulb. Battery on one end, expl*sives on the other. I'm going to run this through the EXIS database. [He begins to exit,] DAISY: Oh, one more thing. [HODGINS stills.] DAISY: I found this in Santa's 12th rib. HODGINS: I'm never going to make my flight. DAISY: I recommend celebrating in March. HODGINS: Thank you... Ebenezer. [He exits.] [CUT.] [INT: BRENNAN'S APARTMENT. MARGARET is sitting on BRENNAN's couch. BRENNAN sits in an armchair opposite her. They both hold mugs.] MARGARET: You're not going to El Salvador for Christmas? BRENNAN: Mm-hmm. MARGARET: You don't strike me as someone who's flexible about their schedule. BRENNAN: Well, I took advice from someone who knows more about families than I do. MARGARET: "He that raises a large family does stand a broader mark for sorrow, but then, stands a broader mark for pleasure as well." [There is a knock at the door.] BRENNAN [standing]: Well, that's sort of what he said, but without the pleasure part. [She opens the door, revealing BOOTH on the other side.] BRENNAN [surprised]: Booth. BOOTH [entering and not noticing Margaret]: Yeah, so an expl*sives unit checked out Holden Chevaleer's garage... there was nothing. And, uh, this guy's name doesn't even pop up in the system. BRENNAN: Th-That's very interesting, but I... BOOTH: Which just confirms that we have to find his accomplice. Nice tree. Oh, wow, who is this, your sister? BRENNAN: No, uh... my second cousin. MARGARET: I'm Margaret. BRENNAN: There's no resemblance. BOOTH: What do you mean? You're both very beautiful. MARGARET: "Beauty and folly are old companions." BRENNAN: Told you... Benjamin Franklin. BOOTH: Right, right. Hey, hey! Good old Ben, you know, he invented electricity and the hundred dollar bill. MARGARET: Neither one of those things is true. BOOTH [to Brennan]: You're right, there's no resemblance whatsoever. Nice meeting you, Maggie. BRENNAN: Bye, Booth. BOOTH: See ya. BRENNAN: Uh, that's my partner. He's FBI. MARGARET: His eyes are too small to be really handsome. BRENNAN: Well, I have to admit, I... find him pleasing to look at. [CUT.] [INT: FBI HOOVER BUILDING. BOOTH steps out of elevators, seeing OWEN waiting for him. He strides down the hall and OWEN follow him.] OWEN: Agent Booth. BOOTH: I'm busy. OWEN: Look, what you were saying about my broadcast bl*wing that guy up... I was hoping you could put me in contact with his mother. BOOTH: Stay away from her. OWEN: It was a coincidence. No way I could have known in a million years, but still... BOOTH: If you don't feel responsible, then why do you want to talk to this victim's mother? [They arrive at BOOTH's office and enter.] OWEN: Hey, I was Army, man. Just like you. I served my country. BOOTH: You don't even remember what this country stands for. OWEN: Maybe it's you who forgot. BOOTH: Sorry? OWEN: Freedom of speech. I have the right to be heard. BOOTH: Legally, yeah. Maybe you should think about saying something worth hearing. OWEN: Look, it wasn't my fault. BOOTH: You spew that poison out in the airwaves... this happened, you know it. [to other agent in area outside office] Agent, show him out. OTHER AGENT [removing Owen from office] Sir. Let's go. [BOOTH is still in his office. He removes his jacket as a video link with the Jeffersonian opens. HODGINS and CAM are onscreen.] CAM: We ran the details of the b*mb against the EXIS database. It's an identical match for a number of devices all built by the same man. HODGINS: A guy named Malaki Wallace. [wallace's details appear onscreen.] CAM: He got busted in the '90s for robbing a Western Union office. HODGINS: And using an emulsion b*mb with a light bulb initiator. BOOTH: Okay, anything more current? CAM [in person]: No. He's been dormant since he got out of prison. BOOTH [onscreen]: Prison? CAM: Yeah. And it looks like he came back with a bang. [CUT.] [INT: FBI INTERROGATION ROOM. An unkempt middle-aged man is sitting across from BOOTH. This is MALAKI WALLACE (played by Jack Kehler), hereafter referred to as WALLACE.] WALLACE: You're not listening. I been out of the b*mb game for years. BOOTH: Really? WALLACE: Really. BOOTH: Yeah, so how do you explain this? WALLACE: Well, I'm always happy to consult. That is a simple incendiary device. Very rudimentary. BOOTH: Right. [BOOTH throws it toward the observation room, containing SWEETS. SWEETS remains in the room for the entire scene and we cut to the observation room for all of his lines. BOOTH can hear SWEETS through an earpiece.] SWEETS: Whoa! Was that strictly necessary? BOOTH: See, expl*sives unit, they found that in your apartment there, Malaki. WALLACE: So? I'm a fidgeter. SWEETS: b*mb making is a compulsive activity, much like arson. WALLACE: The problem is just about anything will fidget itself into a b*mb given half a chance and readily available household products. BOOTH: Like something like this? [He stands and begins swinging another device, on a string.] WALLACE: Okay, okay. SWEETS [nervously]: What is that, Booth? WALLACE: Now, what do you want? BOOTH: Where've you been for the past 48 hours? WALLACE: Pushing plungers. BOOTH: Demolition? WALLACE: I'm an apartment super. Sewer line backed up and I spent Monday and Tuesday unclogging the toilets. I got 35 witnesses. The tenants all had to share one Porta Potti. BOOTH: It's not that easy, pal. See, we have a device with your name written all over it. Naptha, limonene, light bulbs, whole deal, pal. SWEETS: These guys consider themselves artists, Booth. Teachers. BOOTH [to Wallace]: Well, maybe you, uh, you have a protégé. Someone you passed the torch to? WALLACE: Well, if someone built one of my devices, they probably just got the recipe off my Web site. BOOTH: You have a mad b*mb Web site? WALLACE: What can I say? Uh, I got fans. BOOTH: And these fans... they subscribe? WALLACE: E-mails and passwords and correspondence, you name it. BOOTH: Right. [CUT.] [INT: JEFFERSONIAN BONE ROOM. DAISY and BRENNAN are regarding the remains.] DAISY: I found this in the area of the right articular capsule. It's a puncture mark, like you would get from a deep needle jab. BRENNAN: Well, perhaps it's where the b*mb injected himself with propranolol. Although it's unlikely someone would inject themselves deep enough to strike bone. DAISY: Exactly. So I reviewed the X rays of the right scapula and hand. Look at the extensor facet of the glenoid cavity, and the bilateral asymmetry of the second metacarpal. BRENNAN: Indicative of pronounced right-handedness. He couldn't have injected himself in the right arm. [HODGINS enters.] HODGINS: Dr. B? I ID'd the fragment of wire we got out of his rib. Booth's gonna want to hear this. [BRENNAN begins to exit.] [CUT.] [INT: BOOTH'S OFFICE. BOOTH is on the phone with the Jeffersonian. He remains in his office for the duration of the call and we cut back and forth to him.] BOOTH: All right, so someone else injected Santa with the propranolol. [We cut to BRENNAN'S OFFICE, where BRENNAN and HODGINS have BOOTH on speakerphone.] BRENNAN: Evidently. HODGINS: And the wire in his rib was triple-heat-treated boron/manganese steel. BOOTH: Is that what they used to wire the tubes of the expl*sives together? HODGINS: No, it's a patented form of steel used exclusively in high-end bike locks. It wasn't part of the b*mb. BRENNAN: It was what locked Holden Chevaleer into the b*mb. Someone locked him into the vest, dressed him like Santa and then forced him to rob the bank. BOOTH: Wait a sec. Patsy. That's why he said what he said. "I just answered the call." The guy's an exterminator, Bones. He meant "the call" literally. BRENNAN: He answered a service call. BOOTH: Only his customer locked him into a b*mb and made him rob a bank. This is not good. BRENNAN: Why? BOOTH: Why? Because whoever strapped Holden into the b*mb didn't get what they wanted. What if they try again? [CUT.] [INT: JEFFERSONIAN MEDICO-LEGAL LAB. ANGELA and CAM are walking.] ANGELA: Oh, you looked peeved. CAM: I went to wash my hands just now, but there was no soap in the dispenser. It had to be... [They arrive at HODGINS'S OFFICE and enter.] CAM: Hodgins. HODGINS: Hey. [HODGINS is wearing a b*mb-type contraption similar to that of HOLDEN in an effort to gather information.] HODGINS: Uh, you look irked. CAM [staring in horror at Hodgins, with her mouth open and attempting to speak]: ... ANGELA [translating]: She's mad about the soap. CAM: Your analysis of the emulsion b*mb included detergent. ANGELA: You didn't actually get permission to recreate the b*mb, did you? CAM [in shock]: Oh, my God. HODGINS: I needed to do this so that Angela could recreate the expl*si*n. CAM: You told him that? ANGELA: No, no, don't let him turn this around on me. CAM: I do not want an expl*sive device in my lab. HODGINS: Relax, I did not connect the initiator... [He moves to do something with pliers.] CAM: No! HODGINS [patiently]: It is perfectly safe. [There is a pause as CAM studies his hands suspiciously.] CAM: What's that? HODGINS: It's antimony sulfide. It's fine on its own. It's perfectly harmless. The b*mb used it in the detonating charge. ANGELA [fondly]: Hodgins is very authentic when it comes to his reconstructions. CAM: We have to pull the evidence trays. [She exits hurriedly as ANGELA and HODGINS stare after her, puzzled.] [CUT to LAB PLATFORM, where ANGELA, HODGINS and CAM are unloading and sorting through the evidence trays.] ANGELA: Give me a clue here, guys. What are we looking for? CAM: It's H11209, biological evidence from witness Georgia Hartmeyer. HODGINS: Oh, got it. It's her fingernail. [He opens a container.] CAM: I thought it was just blast residue, but that stain's definitely on the inside. [The container holds a fingernail clipping. HODGINS wipes the inside of the fingernail with a Q-tip and licks the Q-tip as ANGELA and CAM watch disgustedly.] CAM: Did you have to do that? HODGINS: It's metallic and sweet. That is definitely antimony sulfide. CAM: And it couldn't have gotten there unless she helped assemble the b*mb. [CUT.] [INT: FBI INTERROGATION ROOM. GEORGIA is waiting impatiently.] [BOOTH and BRENNAN enter.] BOOTH: Okay, Ms. Hartmeyer, we just have a couple follow-up questions, that's all. [They sit.] BRENNAN: Like... what were you doing outside the bank... for instance? GEORGIA: I told you, waiting for the bus. BOOTH: I checked. You live on the other side of town. GEORGIA: I take the bus to work. BOOTH: You were fired three months ago. GEORGIA: I like to shop in that area, okay? BRENNAN: That is very interesting, because we checked your credit cards and you've never made a purchase anywhere near Capital Mutual Bank. BOOTH: Gotcha. GEORGIA: You got nothing. I didn't blow him up. I swear I didn't blow him up. [CUT.] [INT: ANGELA'S OFFICE. ANGELA and BRENNAN stand in front of ANGELA's display screen.] ANGELA: So, I recreated the scene outside the bank. [We see the image of a generic man who is wearing a red belt buckle with a rooster on it.] BRENNAN: Oh, that's Booth, with the Cocky belt. ANGELA: Yeah, and this is the cab driver and Georgia Hartmeyer. [She indicates other generic figures.] Now, I factored in everything we know about the b*mb's velocity and direction... including the positions of Booth, Georgia and the cab driver prior to the blast. Okay, here we go. [She plays the recreation. We see the illustrated 'SANTA' enter the street and then the blast, followed by simultaneous split-screen illustrations of the reactions of BOOTH, GEORGIA, the CABDRIVER and the place where SANTA blew up.] ANGELA: You see the problem? BRENNAN: The cab driver covered his face with his hands; we know that from his injuries. But given his proximity, he wouldn't have had the time. ANGELA: Yeah. Now, I can adjust his reaction times, but even when I go superhuman... and I'm talking, like, Maverick and Iceman reaction times... look at where the bone shrapnel lands. [She demonstrates these other possibilities, with the shrapnel landing in improbable locations.] BRENNAN: The only explanation is that he was reacting not to the expl*si*n but to the sound of the radio. ANGELA: Yeah. Now check out the FCC's frequency allocation chart. [An image of said chart appears onscreen.] ANGELA: Now, Owen Thiel broadcast his pirate radio signal at 27.4 megahertz. Which is right next to 27.41 megahertz, which is the land mobile frequency this cab driver used. BRENNAN: So Georgia and the cab driver must have locked Holden into the b*mb vest. They waited outside of the bank. If Holden didn't do what they asked, the cab driver could detonate him with the cab radio. ANGELA: Yeah, only Owen Thiel b*at him to it. BRENNAN: I'll have Booth look for the cab driver's name on Malaki's Web site subscriber list. [She pulls out a phone and conveys the information to BOOTH.] ANGELA: You know, all those jokes that I made about Santa ruining Christmas, I suck. BRENNAN: Well, at the time you made those jokes, you weren't aware that Holden was a patsy. ANGELA: You don't think that sometimes we forget those bones out there are people? [CUT.] [INT: BOOTH'S SUV. BOOTH and BRENNAN are in the car.] BOOTH: Georgia and the cab driver, they flipped on each other the second I got them into interrogation. Apparently they found each other at a debt counseling seminar, of all things. BRENNAN: Well, how did they pick Holden? BOOTH: The phone book. They called, and as soon as he showed up, they jumped him. Told him if he did what they wanted, they would set him free. BRENNAN [sadly]: Sometimes people are terrible. BOOTH: Yeah, I know. BRENNAN: Cam says that the victim's mother is burying him on Christmas morning. BOOTH: I heard that. BRENNAN: It was just him and his mom, right? BOOTH: Yeah, guy worked alone. He never had time for any friends. [BRENNAN nods thoughtfully.] BOOTH: What's wrong? BRENNAN: Max told me that being alone at Christmas means that nobody loves you. She's burying her son. Alone. On Christmas. I think that's heartbreaking. BOOTH: You know, when I say "heartbreaking," you say that the heart is a muscle so it... it can't break, it can only get crushed. BRENNAN [choked up]: Isn't it heart-crushing? BOOTH: You want to go to his funeral? BRENNAN: Yes. I would. Then... she won't be alone. BOOTH: You know what, Bones? Sometimes I think your heart muscle is bigger than people give you credit for. [He smiles at her. She exhales shakily.] [CUT.] [INT: CAM'S CAR, night. She and MICHELLE are presumably on the way to the airport.] MICHELLE: You're being quiet. I promise to text 85 times a day. [Cam pulls over.] Why are you stopping? CAM: I don't want you to go to Hawaii. MICHELLE [angrily]: You're changing your mind? CAM: You and me... we're the closest thing we have to family. MICHELLE: You can't just change your mind. CAM: And family spends Christmas together. We're spending Christmas together. MICHELLE: You're serious?! CAM: If I let you go, you're gonna have a good time... MICHELLE: What's wrong with that?! CAM: Everything. Because that's what we'll be to each other, just two people who don't spend Christmas together. MICHELLE: So you want to be two people who spend Christmas together but one of them is really, really mad? CAM: I know deep down you care. ...I just hope not too deep down. MICHELLE: Can we at least talk about this? CAM: No. It's my job to prove to you every day that you are loved in this world. And if doing that makes you angry... MICHELLE: It makes me furious! CAM: Well, then that's the price I pay. But you will know beyond a doubt that I can't just let you go flying off and not have it absolutely ruin my Christmas. Because right now, the way things are, there's... no Christmas without you. [There is a long pause. Michelle looks over and away. Cam looks at her and then away. Finally they look at each other. Michelle leans over and hugs Cam.] MICHELLE: I love you, too. [Cam smiles. Michelle smiles back.] [CUT.] [EXT: OWEN'S HOUSE. We watch through the window as OWEN THIEL is at his desk. He begins a broadcast. The mood is somber and his tone is pensive and remorseful.] [MUSIC: "Star of Wonder" by Matt Alber.] OWEN: A man died this week. By all accounts, he was a good man. Loved his mother, worked hard, shouldered his responsibilities. He was a man that any one of us would be proud to call "friend." [MUSIC continues OWEN's broadcast plays over the next scenes.] [EXT: GRAVEYARD. ABBY is standing alone at HOLDEN's grave. There is a coffin resting on a green mat on the snowy ground. A priest-type man is standing at the head of the coffin.] OWEN [offscreen V.O.]: I k*lled him. With this microphone. I k*lled him by going on these airwaves and sharing my rage with you. Spreading my rage. [The camera pulls back to reveal BOOTH and BRENNAN slowly coming to stand behind ABBY. They proffer a wreath and she smiles sadly. BOOTH lays the wreath on the coffin.] OWEN [V.O.]: Now, you can say that it wasn't my fault, that it was a coincidence. I thought about that. Thought about it a lot. But the fact is... [BOOTH crosses himself, and he and BRENNAN lower their heads.] OWEN [V.O.]: The fact is, if it weren't for me, he might still be alive. I'm so sorry for that. [BRENNAN watches BOOTH and then looks toward ABBY. Once again we return to an above sh*t and six other figures are walking toward the grave.] OWEN [V.O.]: And I remembered something that I forgot over the last few years: that God is not only a god of anger and vengeance. [BOOTH and BRENNAN hear crunching footsteps and look at each other in surprise, then behind them. Standing a respectful distance back are ANGELA, HODGINS, CAM, MICHELLE, SWEETS and DAISY, all dressed in funeral attire and looking somber.] OWEN [V.O.]: Now, my religious beliefs tell me that Christ did not die in vain. [ABBY looks back and sees the other attendees. She is still tearful but looks grateful also.] OWEN [V.O.]: That He died to redeem us all. [Another aerial sh*t of the group of eight at the graveside as the service begins.] OWEN [V.O.]: And I intend to show that this good, simple man also did not die in vain. [Now we return to OWEN through his window. We see him sitting at a desk and leaning toward a microphone.] OWEN: That he redeemed one angry, shouting man. So these are the last words I will ever broadcast. And I hope they're the words you remember best. [There is a long pause.] OWEN: Peace on Earth. [He finishes the broadcast and removes the headphones.] [We see a series of large, decorated, lit-up Christmas trees next to a variety of D.C. landmarks before an exterior of BRENNAN's apartment.] [INT: BRENNAN'S APARTMENT. It is festively decorated, and CAM, MICHELLE, SWEETS, DAISY, ANGELA, HODGINS, BOOTH, BRENNAN and also MAX and MARGARET are present.] [MUSIC: "O Christmas Tree".] CAM [to Sweets and Daisy]: What happened to the "down with Christmas, let's hump like bunnies" thing? SWEETS: I'm not here for baby Jesus; I'm here for Agent Booth. CAM: Ah, that explains the antlers. SWEETS: It was a moment of whimsy. MICHELLE: They look good on you, Dr. Sweets. SWEETS: Thank you. [Elsewhere in the apartment: Angela walks toward Hodgins.] ANGELA and HODGINS: Hey. [HODGINS hands her a cup.] ANGELA: Thanks. So you think that we should feel like big, giant losers that we're not spending Christmas with family? HODGINS: There's more than one kind of family. ANGELA: Merry Christmas, Hodgins. HODGINS: Merry Christmas, Angela. [ KITCHEN: BOOTH, MARGARET and BRENNAN are preparing food items.] BOOTH [to Margaret]: Hey. That's too much salt there, that's too much salt. [He exits to DINING ROOM] MARGARET: "He that would fish must venture his bait." BOOTH [from dining room]: Bones, when are we gonna eat? I'm starving. BRENNAN: Well, right now. [to Margaret] If Booth wants to fish, he'll fish. What on earth are you trying to say? MAX [who has been offscreen]: Honey, families always give unwanted advice. BRENNAN: Unwanted advice? You... you have to stop quoting Benjamin Franklin at me. [She is carrying something to the table. Margaret picks up something and follows.] MARGARET: Why? BRENNAN: Well, I have no evidence of this, but I feel that every time you do that, it's not actually communication. I feel the same way when people tell jokes. MARGARET [thoughtfully]: Hmm. I never thought of it that way. BRENNAN: I'd rather hear what you have to say than Benjamin Franklin. MARGARET: That's the nicest thing anyone's ever said to me. [Everyone has been coming to the table and they are now all seated expectantly.] MAX: Tempe. This is your gathering. Wouldn't you like to say something? BRENNAN: Oh, um... [standing] Thank you, everyone, for coming. Let's eat. [she sits] MAX: No. I-I mean, would you like to say something about Christmas? BRENNAN: Okay. [standing] Um, Christmas has its roots in the pagan festival of Saturnalia, which is traditionally celebrated by intoxication, naked singing and the consumption of human-shaped biscuits. BOOTH [standing hurriedly]: I think what Bones is trying to say here is that we're all just happy that we are all together. BRENNAN: Well, we're all together every day. MARGARET: Not me. No, I'm not here every day. MAX [to Margaret]: Well, it's a different kind of together. BOOTH [toasting]: To family... friends... lovers... family... and food. BRENNAN: You said "family" twice. It's repetitious. BOOTH: It's a good toast, though. Cheers. Okay? BRENNAN: Cheers. ALL OVERLAPPING: Cheers, Merry Christmas. BOOTH [as he and Brennan sit]: All right. MARGARET: What do we do now? BOOTH: Ah, let's say a prayer. BRENNAN: No, no prayer, not in my place. BOOTH: Bones, I always pray. BRENNAN: Maybe just a moment of silence. BOOTH: Hold hands. [ALL hold hands.] BOOTH: Silent night. [The camera pulls back through the window. We see the gathering around the table holding hands.] [THE END.]

{"type": "series", "show": "Bones", "episode": "05x10 - The Goop on the Girl"}

foreverdreaming

THE X IN THE FILE TEASER (Open: Roswell, New Mexico. A man is searching for aliens in a desert.) MARVIN: (on phone) I can't hear you-the reception's bad out here. Aliens? I told you baby, I'm done hunting aliens. I am on the road. Yeah, in Florida, yeah. What? No I'm in my hotel room working late. You're just going to have to trust me, babe. Yeah. Well, I'm s- I'm sorry that's the way you feel. A souvenir from Florida. Oh, babe, I can't take a... like, a list right now. Well, there are no pens or pads in this hotel. (Shines flashlight on a body) Oh, my god! Babe! I found one. No, not a pen -- an alien. A real one. Oh, my god, I gotta get a picture of this. (Takes a picture on phone) (Twigs snap and Marvin turns around.) MARVIN: What's that?! Baby, there's more of them. I come in peace. I'm Marvin Breekman but you can call me Marvin. Or Marv. (Screams and runs away) Oh, my god, oh, my god! (Cut to: Jeffersonian - Medico Legal Lab - Angela's Office) WENDELL: I made reservations at the club. DJ Spider tonight, then back to my place? ANGELA: I'm not sure if I can wait for tonight. WENDELL: Okay, I was fine until you just said that. ANGELA: You know, I have a key to the Egyptian storage room. WENDELL: Not on campus, not at work. ANGELA: Come on, are you really as virtuous as you seem? WENDELL: I can be very bad when the time is right. (They kiss.) WENDELL: We do get a very generous lunch break, and there's a little hotel a few blocks away. ANGELA: Wow, Mr. Bray. (Cam enters.) WENDELL: Dr. Saroyan, I was just asking Angela if she could do some 3D modeling of a shattered femur that I was given by the archaeology department. (Hands Angela a folder) CAM: Save it, Mr. Bray. You think you have the big secret, but you don't. (Hands Wendell a folder) ANGELA: I thought we were being subtle. WENDELL: Oh man, do you think Hodgins knows? (Cut to: Desert in Roswell, New Mexico. Booth and Brennan are walking to the body.) BOOTH: Can you imagine if we found an alien - a real one? BRENNAN: You mean someone who slipped illegally into the country from Mexico or Canada? BOOTH: Come on Bones, you don't believe that there are other real life-forms out there? BRENNAN: Well, the probability is very high but any aliens visiting this planet would have sufficient intelligence not to die in the middle of the desert. (Brennan and Booth approach Sheriff Jerry Bonds.) BOOTH: Hey. FBI Special Agent Seeley Booth. This here is Dr. Temperance Brennan from the Jeffersonian. BONDS: Sheriff Jerry Bonds. But you probably got that from my shiny badge, my imposing g*n and my big hat. BOOTH: Yeah, right. BONDS: Remains are right over there. (Bonds, Booth and Brennan walk over to the body.) BOOTH: Looks like an alien to me. BRENNAN: Judging by the pelvic inlet and the pubic symphysis-female, maybe 30 years old. BOOTH: Earth female? BRENNAN: Yes. Body moisture was trapped by this silver coat she's wearing, turning some of her fat into adipocere. I have no idea why it's so hard. BONDS: Didn't even dig a shallow grave. Just left her here to be eaten. BRENNAN: Which is the smartest possible way to get rid of human remains. (Marsha approaches with g*n pointed at Brennan and Booth.) MARSHA: What the hell is going on here now? BOOTH: Oh, easy, FBI. Put the g*n down, ma'am. MARSHA: This is my land. I've got a right to protect my land. BONDS: Yeah, uh huh, Marsha, but we got a d*ad body. (Takes g*n from Marsha) A woman, seems like. MARSHA: Great. Now I've got d*ad people. BOOTH: You don't know anything about this? MARSHA: Nope. BRENNAN: I want the remains brought back to the Jeffersonian for examination. BONDS: Nuh uh, not gonna happen. My jurisdiction, my body. She stays here. BOOTH: No, FBI has got jurisdiction on this case. (to Brennan) You want it, right? BRENNAN: Mm-hmm. BOOTH: The FBI will keep you apprised. BONDS: Nuh-uh, FBI's got jurisdiction only if I agree. Otherwise, you need to jump through several legal hoops, which will take some time, during which time the victim stays in town. BRENNAN: Then why did you call us? BONDS: I could use the help, but I'm not going to take the heat when people scream I sent an alien off to Washington for secret testing. (Laughs) I've been through that before. BRENNAN: These remains are not extraterrestrial. (Victim's cell phone rings: X-Files theme song.) BRENNAN: It's a cell phone. BOOTH: You hope. (Opening credits) Act I (Todd Copps Medical Center in Roswell, New Mexico) BONDS: I traced the cell phone to the guy who found the remains. I'm holding him on trespassing charges. This is part of our hospital that got shut down. It's a perfect place for you to look at the remains. BRENNAN: I need to send samples back to the lab. BONDS: Yeah, uh-huh, but the big body part stays here. Now, the remains are in here and Mr. Breekman's at my office if you want to come with me, Agent Booth. Ma'am. (Tips hat at Brennan) BOOTH: Hey, you're going to be okay here all alone in this spooky hospital with a d*ad alien body? BRENNAN: Yes. BOOTH: Right. That would be me who wouldn't want that. (Cut to: Brennan in medical center lab, connected via laptop with Cam at Jeffersonian - Medico Legal Lab - Platform) BRENNAN: The remains are encased in adipocere. CAM: If it's okay with Sheriff Lobo, maybe you could send me some. BRENNAN: It appears to be petrified. CAM: A coat alone doesn't count for that. BRENNAN: I'll send the coat to Hodgins, see what he can discern from it. Her skeletal robusticity and large areas of muscle attachment suggest extremely good health. CAM: A couple weeks in the desert and no critters got at these remains? WENDELL: Perhaps the result of green radiation from alien hyper drive systems? Or something not crazy. BRENNAN: The man who found them remarked that he saw several sets of orange eyes staring at him from the darkness. WENDELL: Orange-eyeballed aliens? BRENNAN: Tapetum lucidum of the American coyote glows orange when light strikes the retina. What he saw were likely coyotes, not orange-eyeballed aliens. Oh, you were being facetious. That's funny. (Cut to: Booth in interrogation room, connected via laptop to Sweets - in Sweets' Office) SWEETS: Wearing your earpiece, he's not going to be able to hear me so I can help you with your interrogation. Some people who chase UFOS believe in alien abductions. Now, these people tend to be dreamy, highly suggestible, and possess a strong belief that there is something larger than them out there, something that they can't control. MARVIN: Look, I only found the body. I didn't make it d*ad. SWEETS: Okay, that's very dissociative language: 'make it d*ad.' BOOTH: So, Mr. Breekman, you were abducted by aliens five years ago? MARVIN: Yes. BOOTH: If aliens are so advanced, why would they need probes? MARVIN: I think they like it. BOOTH: Why would you hook up with aliens if they like to anally probe you? MARVIN: there are two races of aliens and they do not see eye to eye. BOOTH: Right. MARVIN: I know things. I get laughed at but I persist because I know things. It just seems like maybe I deserve a little respect for that. BOOTH: All right, of course. I apologize. MARVIN: Okay, then, can I go home? BOOTH: Why were you in the desert last night? MARVIN: I was looking for UFOs. BOOTH: No, I mean to that specific area. I mean, what are the changes of you stumbling across a body in the dark... SWEETS: The vastness. BOOTH: ... the vastness of the desert. You really want me to believe that that's some kind of big coincidence? MARVIN: Yes, it was a coincidence. BOOTH: I don't believe you. I think you're lying. SWEETS: Sometimes I think you just pull me into these interrogations to show off. Wait, Booth, I- (Booth closes the laptop.) BOOTH: Until you tell the truth, you know what? You're not going home. (Cut to: Hotel room, Angela and Wendell in bed.) ANGELA: You have something on your mind? WENDELL: This thing that we have going here... ANGELA: You're worried about Cam knowing? WENDELL: No, no. I'm worried about Hodgins not knowing. ANGELA: Listen, Wendell, Hodgins and I are in the past. WENDELL: I mean, if you were really, totally in the past, then we wouldn't be keeping this a secret from him. ANGELA: Do you want me to tell Hodgins? WENDELL: If you don't mind, I'd like to do it. He's my friend. ANGELA: A man-to-man, look-him-in-the-eye kind of thing? WENDELL: Yeah, something like that. ANGELA: (laughs) Okay, let's do it your way. (They kiss) WENDELL: You mean, talk to Hodgins or...? ANGELA: You're the worst. Both. Consider this a do-over. (Cut to: hallway in Todd Copps Medical Center - Booth is walking down the hallway and Delmy joins him.) DELMY: Do you know who I am? BOOTH: Oh, no, do you know who I am? DELMY: FBI? Military intelligence? That's an oxymoron, you know, a term that contradicts itself. I'm Delmy Polanco. I'm the most important UFO blogger in the world. BOOTH: 'Important blogger.' Talk about an oxymoron. DELMY: What can you tell me about the alien body? BOOTH: I don't know anything about the alien body. DELMY: Definitely FBI. I can practically smell the suit. BOOTH: I don't wear a suit all the time, you know. BONDS: I see you've met Delmy. DELMY: I'm looking for info into a foil-wrapped body with alien features, pieces of which have already been sent to the Jeffersonian Institution in Washington, D. C. I'm invoking the Freedom of Information Act, which means you have to tell me what I want to know. BONDS: The Freedom of Information Act is not a magic spell, Delmy. It merely gives a citizen the right to request information. DELMY: I'm gonna post all this on my blog tonight and by tomorrow morning, this whole town will be swarming with UFO nuts. BONDS: Trespassing again? Well, this facility is clearly marked private property. (Shakes handcuffs at Delmy) BOOTH: Mm-hmm. (Cut to: Todd Copps Medical Center - MRI Room - Booth enters.) BRENNAN: Oh, good, you got here for the good stuff. BOOTH: What good stuff? BRENNAN: MRI. It's an older model but entirely serviceable. BOOTH: Okay, for future reference, that's not the good stuff. BRENNAN: Well, sure it is. Look at all those remodeled lateral malleolus fractures. (Points to the computer) (Skeleton starts to rise up towards the MRI machine.) BRENNAN: Also, signs of inflammation to the tannin fibers here and damaged... (Notices skeleton moving and screams) (Booth takes out his g*n, tries to sh**t skeleton but g*n flies toward the MRI machine. Brennan turns off MRI machine, g*n and skeleton drop to the ground.) BOOTH: You know, I won't say anything about the scream if you don't say anything about the g*n. BRENNAN: Those terms are satisfactory. BOOTH: Right. Act II (Brennan in Todd Copps Medical Center - Lab, connected via laptop to Jeffersonian - Medico Legal Lab - Platform with Cam, Hodgins and Wendell. BRENNAN: (taking b*ll*ts out of the victim's skull) That's five. HODGINS: Too big to be buckshot. Photos you sent of the first one show to be a ball bearing approximately 17.5 millimeters. BRENNAN: That makes number six. CAM: Certainly enough metal to generate the magnetism to raise the remains when exposed to the MRI. HODGINS: Well, when I receive them, I might be able to ID the manufacturer and intended use, which I imagine was not m*rder. (Angela enters) ANGELA: Hey. I finished the facial reconstruction off the MRI. I'm emailing it now. Sorry - it is not an alien. WENDELL: I noticed on the MRI that the victim's patellas were fractured. BRENNAN: Well, I'll swab the area, and send the samples with the ball bearings. HODGINS: Well, there's no striations on the ball bearings in this photo you sent so there's no evidence that they were sh*t. CAM: g*n, maybe? Full of ball bearings? BRENNAN: Well, the owner of the ranch thr*at us with a g*n. (moves to take off her gloves) CAM: Not so fast, Dr. Brennan. I know you dislike flesh, but I'm going to need you to remove the adipocere organs. WENDELL: Oh, Dr. Brennan dealing with flesh. HODGINS: Like a cat dealing with water. BRENNAN: Flesh is not my strength. CAM: You're gonna need a hair dryer and some cooking spray. (Cut to: Roswell, New Mexico - field on edge of Marsha's property.) MARSHA: Yep, I've caught her trespassing on my ranch a bunch of times. That's El Crazerita. BOOTH: El Crazerita. You know her real name? MARSHA: Nope. I don't make friends with these nuts. BOOTH: Sheriff Bonds says you've been charged with misdemeanor as*ault with a firearm about three times. MARSHA: Someone cut through this fence, Agent Booth. They were trespassers, which is why I was never convicted. BOOTH: Even though you sh*t at them? MARSHA: Salt. BOOTH: Salt? MARSHA: Salt. Rock salt. Stings like a sumbitch. Discourages trespassing. BOOTH: You ever use ball bearings instead of salt? MARSHA: Ball bearings? That'd rip somebody apart. BOOTH: Hmm. Like when you took a sh*t at, uh, ol' El Crazerita? MARSHA: You think I k*lled her? You think I'm dumb enough to spend my life in prison for k*lling some alien head nut who spent all her time sh**ting stupid videos? BOOTH: Videos? Videos of what? MARSHA: Videos of everything. Looking for spacemen. You wanna know about her? Ask Blaine Miller at the Space Place Café. She was always hanging out at his diner with the other fruitcakes. BOOTH: Sure. Tell you what, I'll take a look at your g*n there and run some tests. You know, just to make sure. (Cut to: Brennan at Todd Copps Medical Center - Lab, connected via laptop with Cam at Jeffersonian - Medico Legal Lab - Cam's Office. Brennan is taking apart the organs from the victim.) BRENNAN: I did it! CAM: Very good, Dr. Brennan. BRENNAN: Yes, it was. CAM: Now, remove the stomach. BRENNAN: Oh. (Hodgins enters.) HODGINS: She was covered in ethyl parathion and aldicarb. It was all over her space-age outerwear. It's an insecticide. It's extremely illegal in the U.S., but it's still sold south of the border. It explains why the adipocere dried so quickly. CAM: So our victim was using a dangerous insecticide. Not unusual for someone who's a couple of tacos short of a combo plate. HODGINS: Nice metaphor. CAM: Thanks. BRENNAN: I found something. It's a memory card tied to a string. It appears to be dental floss. CAM: Check her teeth. Any evidence of floss still on her teeth? BRENNAN: Yes. There's a fragment tied to the left second premolar. CAM: She was hiding the card. It's an old prison trick. She tied one end of the floss to her tooth and the other end to the memory card, so if she needed it, she could use the floss to pull it up. BRENNAN: I'll overnight the card to Angela. Whatever is on it was important enough to hide. HODGINS: My guess, it's important enough to k*ll for. (Cut to: Jeffersonian - Medico Legal Lab - Hodgin's Office. Hodgins is working and Wendell enters.) WENDELL: Hey, Hodgins. HODGINS: Hey, man, did you hear? Brennan's sending the victim's SD card from Roswell. Probably video on there the government wanted suppressed. Because at Area 51... WENDELL: Right, um. Look, do you have a second? HODGINS: Sure, yeah. Something wrong? WENDELL: We're friends, right? HODGINS: Yeah. WENDELL: I don't lie, or keep things from my friends. HODGINS: Okay, all right. WENDELL: Angela and I... HODGINS: Oh. (laughs) You're kidding, right? Go ahead, kid. Knock yourself out. Hey, good luck with that. WENDELL: Hodgins, what I'm trying to tell you is that my luck has already been good. HODGINS: Oh. WENDELL: I would never want you to think that I... HODGINS: No, no, Wendell, Wendell, stop, stop, stop. It's been over between Angela and me for a long time. I have moved on. And you know what? I'm happy for you, you know? And for her. WENDELL: Really? HODGINS: Yes, really. You're both my friends. Why wouldn't I be happy for you? WENDELL: I don't... okay. Thanks man. HODGINS: of course. I'll tell you what, hey, why don't the three of us grab lunch together, huh? This is a good thing Wendell, this should not be weird for us. WENDELL: Yeah, yeah, sure, lunch. That sounds great man. HODGINS: Great, good, good. (Cut to: Booth's car - Interior) BRENNAN: The stomach acid ate away at the card, but Angela says she should be able to pull something off of it. BOOTH: Well, Vinton said El Crazerita sh*t a lot of video. Maybe she filmed the real thing. BRENNAN: What, an extraterrestrial? BOOTH: Yeah, look, you said it was possible, all right? But they have big eyes and big heads, you know, for the super smart brain. BRENNAN: That's far more logical if they had the eyes of flies and the exoskeleton of a cockroach. BOOTH: Insect people? Insects can't fly a spaceship. BRENNAN: Well, the cockroach is an evolutionary marvel. They can withstand radiation, live without breathing for almost an hour, go without eating for weeks. Imagine that combined with an intelligence that evolved over many millennia. BOOTH: Plus, they do have extra arms. BRENNAN: Hmm. BOOTH: Mm-hmm. (Cut to: Space Place Café, Booth and Brennan enter and wander around.) BOOTH: Wow, would you look at this place? Wow, this is so cool. (reads from pamphlet) 'UFO Museum Research Center.' Check this out. Look at those g*n. No way, Bones! Look at this. Rocketship 7. Hey, I used to watch that when I was a little boy. The Sweetlees , and there was Mr. Beeper and Promo the Robot. BRENNAN: Well, the way this craft is designed, it could never leave the earth's atmosphere. BOOTH: Yeah, but according to Dave Thomas and Rocketship 7, you would go on adventures like no other. (Blaine Miller walks up from behind.) MILLER: You two looking for aliens? The name's Blaine Miller. BOOTH: Not exactly. (shows FBI badge) BLAINE: Oh. You hear about that body they found up at Vinton's place? BRENNAN: We never mentioned a body, Mr. Miller. MILLER: Nothing travels faster than the speed of light than gossip in a small town. TOURIST WOMAN: Excuse me, sir? Why are all these radios on? MILLER: Well, this is some of the original equipment that picked up the signal from the craft that landed right here in Roswell. TOURIST WOMAN: Dave, these are the radios that heard the aliens! (she leaves) BRENNAN: But that's absurd, why would she believe you? MILLER: Because they travel all the way to Roswell to believe in aliens, just like everybody else. BRENNAN: Do you recognize this woman, Mr. Miller? (shows a picture of the victim) MILLER: Sure. This is Ursula Lapine. She's a regular. She the one who's d*ad? BRENNAN: When was the last time you saw her? MILLER: Maybe a month ago. She was having an argument with another woman. I had to tell her to keep it down. BOOTH: And who was this other woman? MILLER: I don't know. I never saw her before. African-American, good looking. In a suit. BOOTH: This woman, Ursula, she live around here? MILLER: Outside of town. She's in one of those shiny, spaceship-type trailers. TOURIST WOMAN: I think I hear something. I think I hear a spaceship. BRENNAN: (laughs) Oh. She was serious? (Cut to: Lapine's Trailer - exterior.) BOOTH: This must be the space - spacey-looking trailer. (They approach the trailer.) BRENNAN: Oh, one of the windows is broken. BOOTH: All right. Stay behind me, Bones. (pulls out his g*n and investigates the trailer.) (Brennan finds a cinder block in the bushes with blood on it.) BOOTH: Bones, I think you need to see this. BRENNAN: And you need to see this. There's blood on it. BOOTH: Could have been what busted her knees. You gotta check this out. (Booth and Brennan enter the trailer.) BRENNAN: She seems very thorough. BOOTH: Mmm. The word loony come to mind? BRENNAN: This is a remarkably well-researched wall for a crazerita. BOOTH: Crazerita is right. What about this here? Look. Check this out. BRENNAN: Something was taken. BOOTH: Maybe that's why Ursula was k*lled. BRENNAN: Well, this cinder block was obviously used in an as*ault. We have to analyze the blood. BOOTH: You know what? Maybe we can pull a print off the block like this... all right, watch this. This... that is magic. (pulls finger prints off the cinder block using pencil, paper and tape) BRENNAN: Science. (Cut to: Jeffersonian - Medico Legal Lab - Angela's Office.) CAM: (enters) Did you have any luck? Was the data damaged? ANGELA: Uh, a bit. There might be still a few corrupted frames. CAM: So, it's video. ANGELA: Yeah, but I think it's gonna play. (Video starts.) ANGELA: Oh, my god, is that what I think it is? And are those... CAM: No. Impossible. This was doctored. ANGELA: No, it isn't. This was verified by the scanning software at a pixel level CAM: Are you saying our victim might have stumbled on a real UFO? Act III (Brennan and Booth at Todd Copps Medical Center, connected via laptop to Angela at Jeffersonian - Medico Legal Lab - Angela's Office.) ANGELA: So, assuming that the figures in the Hazmat suits are of average height, then the structure here must be about four to five meters tall. BOOTH: Why is the ground glowing? ANGELA: Uh, the light seems to be emitting from a spilled liquid. BOOTH: UFO fuel. BRENNAN: What are those two humanoid shapes there, between the Hazmat-suited humans and the craft? ANGELA: Well, look, I'm gonna keep working on this footage, but you guys have to admit that this makes the hairs on your arm stand on end, right? (Brennan and Booth look at their arms.) BRENNAN: The hairs on my arm are not reacting in any way. But thanks, Angela. (closes laptop) It's not a spaceship. BOOTH: Well, if it smells like a duck, walks like a duck, quacks like a duck... BRENNAN: But then it would be a duck, not a spaceship, so your point escapes me. BOOTH: It's just a metaphor. (Delmy and Bonds enter.) DELMY: Have you decided to let me go? BOOTH: No, actually, we have a few more questions. You ever been out to Ursula Lapine's trailer? DELMY: No. BRENNAN: Oh, we have evidence that you're lying. BONDS: Yep, you fell into that one, Delmy. BRENNAN: We have your fingerprints on a cinder block that was used to break into her trailer. Also, blood. BOOTH: And you took something off her wall. DELMY: If I give it to you, will you drop the trespassing charges and let me go? BONDS: If you don't hand it over, I'll just charge you with obstructing justice, and he'll charge you with interfering with a Federal investigation. Eh, maybe even m*rder and you will pray for the good old days, where all you were worrying about were those silly little trespassing and burglary charges. BRENNAN: I find he's very useful in certain situations. BOOTH: Very useful. So, gonna hand 'em over? (Delmy takes what was stolen out of her blouse and hands it to Bonds.) BONDS: Oh. Holy cow. Pay dirt. I gotta get better at friskin'. DELMY: I'm gonna need a copy for my article. 'UFO-Obsessed Woman Dies in Alien Encounter.' (Cut to: Jeffersonian - Medico Legal Lab - Platform) HODGINS: So the swab from the victim's damaged patellas show traces of sediment but it's not cement. CAM: So what h*t her knees wasn't cinder block? HODGINS: No, the sediment is gypsum, dating back to the Pleistocene and Holocene eras. It's probably from the Tularose or Estancia Basins. CAM: Mexico? HODGINS: Yeah. Northern Mexico is the closest occurrence of this rock. Here's an interesting conjunction of possibilities: the insecticide that she was soaked in, it's called 'Tres Pasitos.' It's not available in the United States. CAM: Is it available in Mexico? HODGINS: (hands Cam a folder) Readily. CAM: Excellent. (Cut to: Jeffersonian - Medico Legal Lab - Angela's Office) ANGELA: So, I took the information that you gave me, and it looks as through the projectiles first impacted next to the juncture between the frontal and parietal bones. WENDELL: So, the bearings entered beneath her chin, then ricocheted around in her skull? ANGELA: Yeah, that seems to make the most sense. WENDELL: But I've never heard of any projectiles that would enter at that range and not fracture the skull. ANGELA: Well, what about, like, slow moving projectiles? Maybe a paintball g*n? WENDELL: A little more powerful than that, but not much. Time for lunch. ANGELA: Oh. To prove we're all fine? WENDELL: Yeah. (Cut to: Royal Diner - Interior. Hodgins, Angela and Wendell are having lunch. Sweets enters to grab lunch.) HODGINS: You guys can hold hands, if you want. Eat off each other's plates. I mean, any and all of that kind of gooey romanticism is completely fine by me. ANGELA: We know, Hodgins. WENDELL: I'm not really the public display kind of guy. HODGINS: I'm just saying you don't need to be afraid or... (Wendell kisses Angela. Sweets notices and stares.) HODGINS: There. See? My head did not explode. ANGELA: Um, I'm not really okay with being kissed when it's not about me. WENDELL: Sorry. Panicked, but everything's fine, right? Everything's fine. (Sweets approaches.) SWEETS: Everything's not fine. This is a fraught situation. It's important to face these things head-on. HODGINS: Sweets, there's nothing to face, okay? I mean, we can see why you'd think that but we're all fine. ANGELA: I am fine, fine. WAITRESS: Lance, your order's ready. SWEETS: Thanks. (Grabs sack of food and leaves.) (Cut to: Desert in Roswell, New Mexico) MARVIN: Why are we here? BRENNAN: We want to know what brought you out here the night you found Ursula's body. MARVIN: I told you, I was out UFO spotting. BOOTH: And I told you I don't believe in that big of a coincidence. How long were you and Ursula lovers? (Holds up a picture) Go ahead, take a look. MARVIN: (looking at the picture) Oh, my god. Ursula understood. She believed. My wife thought I was crazy. BOOTH: What makes this patch of desert any different to you than any other patch of desert? MARVIN: This is where we were when we first saw the lights. BRENNAN: Where did you see the lights? MARVIN: Beyond those hills. (Points) Hot spheres, very clear. Ursula and I saw them together. BOOTH: How far? MARVIN: Maybe two kilometers. BRENNAN: That would be Mexico. MARVIN: We were going to check it out together next time I came through town. We'd meet every few weeks. BOOTH: So you and Ursula were true believers. MARVIN: Not really. Ursula, she was convinced that if she could find proof of alien visitation, it would make her rich. BOOTH: What happened to her, Marvin? Really. What do you think? MARVIN: I think she came out here without me. Maybe she thought I wanted half her money. She maybe saw the lights and crossed over and they took her, experimented on her and then dumped Ursula in the desert like the cold, heartless scientists that they are. (Cut to: Jeffersonian - Medico Legal Lab - Angela's Office) ANGELA: So the footage was pretty rough as you saw, so I ran an application to counteract the motion of the camera with opposite movement. Then I translated each pixel of the infrared spectrum into a pixel of the visible color spectrum. CAM: Okay, let's see it. (Video plays.) CAM: Well that's a lot more terrestrial than I expected. HODGINS: Two t*nk trucks, some sort of digger. CAM: And this is a hose. What do you think, three inches? That's the source of the glowing liquid. ANGELA: Yeah, but what about the alien things? HODGINS: Fremontodendron mexicanum. It's Mexican flannelbush. CAM: Weird, glowing liquid in the Mexico desert. Hazmat suits. HODGINS: Whoa! They must've been dumping chemicals illegally. CAM: Oop, she fell. That must've been where she fractured her knees. HODGINS: Yeah, but she still managed to get away. You guys see what happened? She was out looking for UFOs, but found this instead. These guys k*lled her. ANGELA: You know, I think I liked this all better when it was aliens. Act IV (Jeffersonian - Medico Legal Lab - Hodgin's Office.) HODGINS: So I was able to clarify the chemiluminescent signature of the materials being dumped in the video. Manganese and sodium borohydride. Used in the manufacture of batteries. CAM: Can you get a specific manufacturer from that? HODGINS: I did. Innatron. Mexican flannelbush is on the verge of extinction, right? Innatron has a plant located smack-dab in the middle of the last remaining flannelbush population here in Juarez and they use manganese and sodium borohydride. CAM: Wow. HODGINS: Hmm. (Cam leaves and Hodgins sees Wendell and Angela joking around outside of the office.) (Cut to: FBI - Sweets' Office. Hodgins walks in.) SWEETS: Dr. Hodgins, I'm kind of in the middle of... HODGINS: You were right, Sweets. Everything is not fine. (Sits on the couch and then lays down) It's not fine at all. SWEETS: This is a good time. HODGINS: Don't know if I want to crawl into a hole and die or run over Wendell and Angela with a truck. SWEETS: You know, it's natural to have those feelings. HODGINS: But I'm a better man than this. I mean, I want to be happy for them. You know, I really do. SWEETS: Well, it's easier for us to accept loneliness as long as the person we were once with is also alone. HODGINS: When she finds happiness with someone else, oh, man, it's like being s*ab in the heart. SWEETS: It's the human condition. You know, it's why there are so many movies and plays and songs and poems. HODGINS: Yeah, yeah, art, art. (Sits up) I get it. What do I do? SWEETS: Well, first, you need to figure out what you want. HODGINS: I want to not be filled with anger and pain and resentment. I don't want to be jealous. SWEETS: Do you want Angela back? I don't think you're jealous. (Gets up and sits next to Hodgins on the couch.) I think that you're grieving what you've lost. HODGINS: Grieving? As in grief? SWEETS: Yes. HODGINS: Oh, man, the only thing that cures grief is time. Unless you're recommending a lot of alcohol. SWEETS: I can't really recommend alcohol. HODGINS: Man, that'd be great if you could, though, right? SWEETS: I recommend time. HODGINS: So, just smile and act like a good guy? SWEETS: You are a good guy. HODGINS: You know, there was a time that I thought Angela and I would be together forever. Can I just sit here for a minute? SWEETS: Yeah, take all the time you need. (Pats Hodgins on the shoulder and sits there with him.) (Cut to: Jeffersonian - Medico Legal Lab - Angela's Office) CAM: There is nothing in this video that indicates what kind of w*apon was used to k*ll the victim. ANGELA: Yeah, it's true. It doesn't look like anybody's armed. Now, I was able to salvage some of the audio track. CAM: That's just white noise. ANGELA: Yeah, I know, but I scrubbed the background and separated the different frequencies, and then I amplified the resulting file. VIDEO: Yo estoy encargada. Y si no lo terminas antes del amanecer te arrepentiras. CAM: That's Spanish. ANGELA: Yeah, I know. We're gonna have to get a translator. CAM: No, I was a cop and coroner in New York City, so I speak some. Can you play that back? ANGELA: Yeah. VIDEO: Yo estoy encargada. Y si no lo terminas antes del amanecer te arrepentiras. CAM: "I'm in charge. If you don't get this done before sunrise, you'll regret it." VIDEO: Yo estoy encargada. CAM: She's not from Mexico, though. ANGELA: You can tell that? CAM: The way she says "estoy" and "arrepentiras." The Puerto Rican cops used to make fun of me when I pronounced my "T"s and "P"s like that. ANGELA: So you think that... CAM: Yeah. The speaker is definitely American. (Cut to: Booth's car - Interior) BOOTH: Ursula thought she was filming a UFO crash site? BRENNAN: But she ended up with footage of an American dumping toxic waste in the Mexican desert. (opens a folder) Rachel Adams. BOOTH: American? BRENNAN: Yes. She's an Innatron executive, in charge of waste management. She's based in Juarez, Mexico. BOOTH: African-American. BRENNAN: Yes. BOOTH: Well, the other of the diner said that the victim was seen arguing with an African-American businesswoman. BRENNAN: Huh. (Cut to: Jeffersonian - Medico Legal Lab - Platform) HODGINS: So we put together a range of w*apon which might f*re ball bearings at a velocity congruent with the damage done to the inside of our victim's skull. WENDELL: Okay, we have a paintball g*n, an air r*fle, a BB g*n, and a PVC pipe zip g*n. (They walk into a lab room with the g*n pointed at melons with Hodgin's, Wendell's, Angela's and Cam's face on them.) WENDELL: Each modified to f*re six 17.5-millimeter ball bearings. Melons lined with paraffin and filled with dense agar gelatin which mimics skull and brain matter. CAM: What's with the faces? HODGINS: Uh, yeah, we, um, well, I guess I kind of got inspired. CAM: Inspired? HODGINS: All right, goggles, everyone. (Wendell and Hodgins start the experiment.) HODGINS: All right, okay. So the paintball g*n bearing didn't have enough force to get through my skull. ANGELA: That's too bad. WENDELL: I'm next! HODGINS: Uh, uh! I'll sh**t you. Whoa! That was way too much damage. That blew your head clear off. CAM: I don't know if anyone should enjoy their work this much. ANGELA: Mmm. WENDELL: You and Dr. Saroyan are still in the running. HODGINS: Oh, I got it. WENDELL: (examining a melon) Not enough force to k*ll Dr. Saroyan. Whoa! Angela, the balls are rattling but your head is still intact! ANGELA: Call that thing by my name one more time. I dare you. HODGINS: It was a zip g*n. WENDELL: A perfect, untraceable, cheap w*apon, easily homemade. HODGINS: That was fun. ANGELA: Boys. CAM: You got that right. (Cam and Angela leaves. Hodgins laughs and Wendell leaves.) HODGINS: Wanna do it again? (Cut to: Innatron HQ in Juarez, Mexico - Exterior) ADAMS: I have an appointment, Agent Booth. I don't have to answer your questions. We follow all of the rules set forth by the EPA and environmental restrictions in the NAFTA treaty. BOOTH: Right. On paper. ADAMS: I resent that. BOOTH: We have witnesses at Roswell who said that they saw you arguing with the witness on the day that she was m*rder. ADAMS: Did your witness tell you what we were arguing about? BRENNAN: (pulls out a laptop and plays the video that Angela worked on) You were trying to buy video footage Ursula had taken of you illegally dumping toxic waste. BOOTH: She thought she had real footage of a UFO, so unfortunately for you, she didn't give it up. ADAMS: I work for a major corporation that's just signed a billion dollar deal with the Mexicans. You think you can extradite me? Take your best sh*t. (Cut to: Booth's car - Interior) BRENNAN: Here comes something. BOOTH: What's it say? BRENNAN: It says that Innatron contracts its waste disposal to an independent contractor. BOOTH: Is it owned by a shell company? BRENNAN: Mm-hmm. North Domesticas, yes. BOOTH: Well, you know, we'll get D. C. on it, but I'm going to tell you right now. I already know who owns that shell company. BRENNAN: Rachel Adams? BOOTH: Yep. Innatron pays the shell company hundreds and thousands of dollars to get rid of the waste and Rachel and her crew, they just dump it in the desert and pocket the money. BRENNAN: Well, Ursula Lapine thinks she's photographing extraterrestrial contact, they catch her, she ends up d*ad. BOOTH: Well, why would she turn down the money in the diner and then agree to meet out in the desert? BRENNAN: Perhaps that's where they agreed to swap the video for the money. BOOTH: I guess. BRENNAN: Oh, you say "Yeah, I guess," but you mean, "I don't think so." BOOTH: Rachel lives in Juarez. I mean, she could get herself an untraceable g*n, what, in like 15 minutes? Instead she shows up with a homemade zip g*n? That doesn't make sense. Right? (Brennan calls Hodgins, in his office.) HODGINS: Hodgins. BRENNAN: Hodgins... HODGINS: Oh, hey, Dr. Brennan. BRENNAN: No, Hodgins, it's not me, it's Booth. BOOTH: Okay, Hodgins, could we just focus on the ball bearings. HODGINS: Yeah, what about them? BOOTH: Could you trace them in Innatron? HODGINS: No. BRENNAN: Well, how can you be so sure? HODGINS: Because they're obsolete. They were manufactured in the '40s and the '50s BOOTH: For what? HODGINS: Roller skates, fishing reels, yo-yos, turntables... BRENNAN: Toys? (Cut to: Space Place Café, Booth and Brennan walk in with Bonds.) MILLER: Hey, I'm just closing up. I turned off the grill about a half an hour ago. BOOTH: Oh, we, uh. BONDS: No, were not here to eat, Blaine. BOOTH: Any of these work back here? MILLER: Yeah. The disruptor there from Gamma-Gamma six. BRENNAN: Why isn't this solar system working? MILLER: 'Cause it's sixty years old. What is with you people? BOOTH: Well, we, uh. BONDS: You overheard Rachel offering Ursula payoff money, didn't you, Blaine? MILLER: What? No. I didn't. BRENNAN: You told us you had to ask them to keep it down. BOOTH: (to Bonds) How come you don't interrupt Bones? BONDS: I'm a gentleman. BOOTH: How much did you... BONDS: How much did Rachel offer? Ten grand? 20? But Ursula thought that she had proof of alien life. How much did she ask for? A million bucks? (Brennan takes a Kn*fe and starts unscrewing a screw in the solar system model.) MILLER: Hey, you just can't take stuff like that. You need a warrant. BOOTH: I'll get a warrant. BONDS: Oh, no, no, no. We don't need a warrant. We're just playing. Yeah, like the sign says. (Sign reads: play all you want, but you break it, you buy it.) BONDS: I figure what happens is you told Ursula you could get her millions. BOOTH: You arranged to... BONDS: Yeah, you arranged to meet out in the desert, told her to bring the video, you'd bring the buyer. BRENNAN: He's trying to take your credit. BOOTH: Eh, he's just being talkative. Can you hand me those ball bearings there, will you? (puts ball bearings into a toy g*n) Look at that, they seem to fit perfectly. MILLER: Come on, that's just a toy. You couldn't hurt a flea with that. (Booth aims at the gumball machine and sh**t. Gumballs go flying.) BRENNAN: Yes, that would be the m*rder w*apon. MILLER: Hey, hey, I got my rights. BONDS: You got the right to shut the hell up, Blaine. k*lling that poor, crazy woman for her video. Yeah, by the way, that video, it was h*t down her throat on a thread of dental floss, you moron. (Bonds takes away Miller in cuffs.) BRENNAN: He is a moron. You are definitely a moron! Well, not literally, figuratively. It's very satisfying to use an insulting colloquialism even when it isn't accurate. BOOTH: Right. It's even better when they resist arrest and you get to h*t them. BRENNAN: I don't know. BOOTH: Yeah, I think so. (Cut to: Founding Fathers - Interior) ANGELA: So, do you feel better? WENDELL: Being open about our relationship? Yeah, yeah, you bet. ANGELA: You know, it's over between Hodgins and me. I mean, you believe that now, right? WENDELL: I think everything is always more complicated than it looks. ANGELA: I am telling you, mister, it's not. WENDELL: Like Dr. Brennan says, no use jumping to conclusions before all the evidence is in. (They kiss. Hodgins is walking outside and he sees them at the bar together.) (Cut to: Roswell, New Mexico. Booth and Brennan are sitting on top of the car, looking up at the night sky.) BOOTH: Quite a show, huh? BRENNAN: Shouldn't we get going home? BOOTH: Come on, Bones, how many times do you get a chance to check out a desert sky? BRENNAN: I've been in the desert many times. Though, usually I'm digging in the ground, not looking up. BOOTH: now's your chance to look up. So, look up. BRENNAN: it's ridiculous to think there's anything on this planet worth seeing which merits crossing what are literally astronomical distances. BOOTH: Many aliens are anthropologists? Maybe they just wanna study our religion and sex and love and our funny languages and line dancing? BRENNAN: That's an interesting possibility I hadn't considered. BOOTH: Well, living creatures, they like to reach out, Bones. BRENNAN: Living creatures like to reach out and eat each other. BOOTH: Oh. So, what are you saying, that the aliens just wanna come down here and drink our spinal fluid? BRENNAN: Well, if the aliens are advanced enough to fly faster than light, then they can probably make spinal fluid. BOOTH: Oh, you just said that aliens are nice. BRENNAN: I did not. BOOTH: You just basically said that aliens are nice anthropologists. BRENNAN: I don't think so. BOOTH: You think the aliens are you. BRENNAN: (laughs) You got me. You know, I'm one of them. BOOTH: I knew it. BRENNAN: I was sent down as an advance scout. BOOTH: I knew it! No probing. No probing! BRENNAN: Hey, probing is a valuable way to gather information. BOOTH: We know how you people like to probe. Did you hear that? BRENNAN: What was it? END. End.

{"type": "series", "show": "Bones", "episode": "05x11 - The X in the File"}

foreverdreaming

THE PROOF IN THE PUDDING TEASER (Open: Medico Legal Lab - Brennan's Office. Booth and Brennan are staring at a piece of pizza.) BOOTH: It's clear as a photograph. You don't see anything in the cheese? Nothing. You don't see anything BRENNAN: Seeing patterns, where none exist is the symptom of Schizophrenia. (Looking closer at the pizza) Why, what do you see? BOOTH: Michael Jackson doing his.. (he does a Michael Jackson impersation) BRENNAN: I don't know what that is. BOOTH: Come on, you..you don't see anything? It's like a kid, when he looks up at the sky and he sees the clouds, and the... BRENNAN: Oh, I get it. Yes. Your mind forms patterns from random information. Um, Booth, I have a lot of work. BOOTH: Right, no. I..I just wanted to bring by the pizza so you could eat. It's important that you eat. I will, uh...(he walks off but starts dancing like Michael Jackson)...see you Monday? (Brennan shakes her head. She still has no clue) Nothing? Come on. King of Pop? This Is It? "Thriller?" No? All right, I'll see you Monday. (He Moon Walks out of the office) BRENNAN: Bye, Booth. BOOTH: Yep. (Booth leaves. A few seconds later, Cam enters) CAM: Strange question - I know - but I gotta to ask: are you by any chance pregnant? BRENNAN: No. I haven't had sexual intercourse in quite some time. CAM: Do you want to know why I'm asking? BRENNAN: You're holding a home pregnancy test. I assume it's positive and you're worried about losing the most important person in this lab. CAM: No. Very modest. Uh, I'm asking because Michelle was here earlier this afternoon, and the only other two people, besides me, that use that bathroom are you and Angela. BRENNAN: Well, Angela is currently sexually active. CAM: Very true. BRENNAN: With Wendell. CAM: Very, very active. BRENNAN: And even if they used condoms, Wendell is young. His sperm is likely to be extremely motile. CAM: You are so cheering me up right now. (Cam leaves and starts heading to Angela's office but is cut off by Sweets) SWEETS: Dr. Saroyan, I was hoping I could pick up those, uh, Strength Deployment Inventory results from you. CAM: Ooooh. SWEETS: You didn't hand them out. CAM: I was going to, but there was...real work that needed doing. Next week, for sure. SWEETS: Okay, but these aptitude tests will help you as an administrator to put the right people in key positions...(Cam is walking away, trying to hide the pregnancy test) You're not listening to me, are you? CAM: No offense intended. (She turns around an leaves and walks into Angela's office) Angela, quick question. Uh, is this your home pregnancy test? ANGELA: (laughs) I beg your pardon? CAM: Are you pregnant? Please say yes. (Cam realizes that someone else is in the room and turns around and sees Hodgins) Oh. HODGINS: Hey. Don't look at me. CAM: I'm so sorry. I thought we were alone. HODGINS: Hey, you...you don't have to keep it a secret from me. If, you know, you're pregnant. I mean, I can be happy for you and Wendell. ANGELA: Wait a minute. Why are you asking me? CAM: Well, it isn't mine and Dr. Brennan doesn't make life choices without a Boolean flowchart, so I hoped it might be you. I'm not crazy. I'm not... crazy. (Cam leaves.) HODGINS: What was that all about? ANGELA: Yeah, well, what makes Cam crazy? HODGINS: When I do experiments. ANGELA: And... HODGINS: Michelle? ANGELA: Michelle. HODGINS: Ooh. Sixteen. Ouch. (Cut to: Cam walking out of Angela's office. Sweets is standing by the door with men in suits.) SWEETS: Really? Cam, these guys won't let me leave. CAM: What's going on? (Another man enters through the main doors of the Lab) MR. WHITE: Everyone in this facility is confined to this facility. (Behind him, a gurney rolls in.) CAM: I'm in charge of this facility. MR. WHITE: Not tonight, Dr. Saroyan. (to the Suits) Please secure the exits. SWEETS: Who are you guys? MR. WHITE: I am Mr. White from the General Services Administration. CAM: The people we order paper cups and pencils from? (They lock up the door and the Suites try to access the platform. Brennan enters from around the corner) BRENNAN: What's going on? MR. WHITE: Ah, Dr. Brennan. Hello. Your government requires you to figure out how this person died. Until you do, we are all locked in here together as a matter of national security. SWEETS: Even me? CAM: He's just an FBI psychologist. MR. WHITE: No one in, no one out. By order of the federal government. Now, you have till dawn tomorrow to fulfill this task. SWEETS: What possible incentive do these people have to comply with your orders? MR. WHITE: Perhaps the fact that you're all paid by the federal government. CAM: thr*at are not really gonna work for you tonight. MR. WHITE: Okay, fine. How about patriotism? Professionalism? Scientific curiosity. Take your pick. But the sooner you people figure out what k*lled this individual, the sooner life gets back to normal. (Opening Credits) (Cut between the hallways of the Medico Legal Lab. We hear Booth's voice on the phone. He's at the Royal Diner, sitting at the counter, eating. Sweets is at the Lab, trying to be quiet) BOOTH: (on phone) What do you want, Sweets? Working out, building up a sweat. SWEETS: (on phone) Booth, I'm in the lab. BOOTH: Why are you whispering? SWEETS: A bunch of government guys came in. They sealed the place up. They brought in a body. They won't let anyone come or leave. BOOTH: What...Slow..slow down. What government guys? SWEETS: They said they're from the General Services Administration. BOOTH: Uh, whoa. SWEETS: They're supposed to be in charge of promoting efficient government operations, like leasing office space and buying paper in bulk. It doesn't make any sense. BOOTH: Who else is there? SWEETS: Uh, Doctors Brennan, Saroyan, Hodgins, Angela, and me. BOOTH: So they knew to come when the techs were gone for the weekend. SWEETS: Why won't they let me leave? I'm a psychologist. BOOTH: Alright, look, I'll look into it. (Booth hangs up) SWEETS: What should I do? Booth? No! (Cut to: Medico Legal Lab - Platform. Cam opens the casket to reveal a skeleton) MR. WHITE: No destructive testing is allowed, not even the smallest sample. These remains will leave in exactly the condition in which they arrived. My men and I will observe and no one enters or leaves the premises. CAM: Now that you've kidnapped my lab and my people, maybe you could tell me why. MR. WHITE: You have not been kidnapped, Doctor. You've been seconded by your government to do your patriotic duty. BRENNAN: Your "no samples" restriction will severely limit our insights. MR. WHITE: We require only cause of death. There are a number of samples in here which you may examine but, they too, must not be harmed. (He gets a text message: "We have detained Agent Booth") Identification of these remains is priority zero. Excuse me. (Mr. White leaves) CAM: Is there any way I could just persuade you to look at these and guess cause of death? BRENNAN: Guess? CAM: I need to get home to k*ll Michelle. (They start to take the bones out and place them on the gurney) (Cut to: Jeffersonian Parking Garage. Booth is with the Suites.) BOOTH: So any of you guys, you like hockey? No? Ah, knitting. Modern dance? Ultimate fighting? Huh? Saw a flicker from you, pal. I got you pegged.Mr. Ultimate Fighter here. (Mr. White arrives) Oh, look at this. It's the chief. MR. WHITE: FBI Special Agent Seeley Booth. BOOTH: That's right. I showed you mine. You want to show me yours? MR. WHITE: You can call me Mr. White. BOOTH: Right, from the General Services Administration. So, why'd you lock up my people? MR. WHITE: That information's classified and they're not actually your people. BOOTH: I want to go inside. MR. WHITE: That's not gonna happen. BOOTH: You timed this, didn't you? So I wasn't in there. MR. WHITE: Do you need help getting home? (They have a slight stand-off, but Booth decides to go) BOOTH: (to one of the Suits) This guy, look at him, huh? Definitely water polo. Thanks for that. (Cut to: Medico Legal Lab - Angela's Office. Sweets, Hodgins & Angela are sitting on the couch. The phone rings - it's Booth.) SWEETS: Booth, you find out anything? BOOTH: Listen, can you talk? Is anyone else there? SWEETS: Only the good guys. BOOTH: All right, put me on speaker. ANGELA: Hey, uh, this is weird, Booth. HODGINS: How do we know these guys aren't t*rrorists? BOOTH: All right, look, they're not t*rrorists, okay? They're standard federal issue agents. SWEETS: Why would the General Services Administration bring in a body? HODGINS: Standard federal issue cover-up. ANGELA: This is the first time I have ever been as paranoid as Hodgins. BOOTH: You're FBI property. If anyone's gonna lock you up, it's gonna be me. HODGINS: Why are these guys letting us use cell phones? BOOTH: Why? Because whatever they're doing, these guys think they're untouchable. (Booth gets in his car. Hodgins, Angela & Sweets slump back against the couch cushions) (Cut to: Medico Legal Lab - Platform) BRENNAN: Male, from the subpubic angle. Last phase development at costochondral junctions. CAM: Older than 39 at the time of death. BRENNAN: This L4 vertebra shows evidence of having been badly compressed. CAM: Youch. Not even two-thirds normal size. Poor guy was in agony. BRENNAN: Spinal degeneration, osteoporosis. CAM: Disease, steroids. Hard to tell what caused it without doing a bone sample. BRENNAN: Bone graft. Looks like, um, a repair to a screw hole. CAM: Huh. I count three. Metal plates? BRENNAN: Indicating multiple corrective surgeries. CAM: Which could help us positively identify these remains. BRENNAN: No, Mr. White told us to regard identification as a zero priority. CAM: I'm not as good as you are at doing what I'm told. BRENNAN: Thank you. We can't check DNA or take bone scrapings for mass spec. (she opens up a suitcase with samples in it) Samples, particulates..these should go to Hodgins. CAM: f*re in the hole. (screaming) Hodgins! BRENNAN: Oh.You said "f*re in the hole" to warn me that you intended on startling those men. CAM: Like I said, I'm not really the good soldier type. BRENNAN: Calcification on the left radius. CAM: Could I suggest that cause of death probably won't be found in the extremities. Check out this skull. BRENNAN: Well, that would certainly be fatal. CAM: Blunt-force trauma? BRENNAN: Or high-velocity g*n. HODGINS: Was that you? Ah, who knew you could yell like that? BRENNAN: Well, she scared the guards. HODGINS: I find that so hot. CAM: (to Hodgins, pointing to the case) That's all for you. (to Brennan) There are very distinctive marks on the remaining frontal bone. BRENNAN: Like a metal grid scratched across it postmortem. CAM: No tests that degrade the samples. (changing the subject) I'm too young to be a grandmother. BRENNAN: In some cultures, you're old enough to be a great-grandmother. HODGINS: But not this one. BRENNAN: I've been cogitating on the problem of how to date these bones without compromising them. 'll take one and compare it to dated bones. (She slips one of the small bones into her pocket and then runs off the platform, but is stopped by Mr.White) MR. WHITE: Dr. Brennan? Where are you going? BRENNAN: To bone storage. It's in the basement. (Cut to: Royal Diner. Andrew and Booth are sitting at the counter.) HACKER: So, this guy's Government Service Administration ID said, "Mr. White." BOOTH: That's it. HACKER: You recognize him? BOOTH: No. HACKER: God, I hate these covert guys. BOOTH: Right. I'm going in. HACKER: No, no, no. You aren't. BOOTH: Why? HACKER: It's unprofessional in terms of interagency cooperation. BOOTH: Huh? HACKER: I said it like that so you'd know I wasn't serious. BOOTH: Right. So you're going to help me. HACKER: What? Are you serious? BOOTH: Yeah. HACKER: No! BOOTH: Why? HACKER: Not stopping you is not the same as helping you. But I will help after, when you're in some nonexistent CIA prison, whatever. BOOTH: Yeah, okay. Thanks for the support. HACKER: Mm-hmm. Hey. There's a reason I'm the boss when you're plainly the better FBI agent. BOOTH: I'll note that. HACKER: You know, I'll poke around for some answers. See if I can muddy the waters a little bit. BOOTH: All right. Okay. Thanks, boss. HACKER: Yeah. Hey, Booth. BOOTH: Yeah? HACKER: You mind telling me why it's so important you get in there? BOOTH: They're my people. HACKER: Oh, God. Now you're going to prove that you're a better man than I am, too? That you care more about your people? (Booth leaves and he sighs) How am I going to get anywhere with Temperance if you keep making me look bad in comparison? (Cut to: Outside the Royal Diner. Booth is on the phone with Sweets. Sweets is in the lab. Scene cuts back and forth.) BOOTH: Hey, Sweets. SWEETS: Hodgins says they're listening to everything we say to each other. Is that true? BOOTH: Forget about that. SWEETS: What? So just ignore it? Talk normally? BOOTH: Yeah, go ahead. Give it your best sh*t. SWEETS: Okay. Well, I made some observations. The big guys barely glance at each other but they're ready to respond as a unit easily. They've either been partnered up for years, or they've been through some pretty hairy situations together. BOOTH: Right. Right. So it's an active unit. SWEETS: Also, they don't respect Mr. White. When he's not looking, they flick their eyes toward each other. BOOTH: Right. They don't like working for him. SWEETS: Yes, exactly. But they treat the body on the gurney with great deference. BOOTH: Fallen comrade. SWEETS: That was my first thought. BOOTH: Attaboy, Sweets. Attaboy. (Mr. White appears around the corner at the Jeffersonian and runs into Sweets and closes his phone. He was listening in. Sweets turns and walks away) (Cut to: Medico Legal Lab - Angela's Office. Hodgins & Angela are examining the samples. ) HODGINS: Who do you think we've got here? Jimmy Hoffa? There. Another cloth fiber. Wool. ANGELA: Well, it could be, like, D.B. Cooper, that hijacker. But we're not supposed to conjecture about the identity of the victim. HODGINS: No, we're not supposed to investigate. This is America, baby. We can conjecture all we want. ANGELA: Well, he does have a good brow line and nice, strong jaw. I mean, whoever he was, he was good-looking. HODGINS: You should do a reconstruction. (looks at the screen) Hair. It's probably human. ANGELA: Don't you think they're going to know what I'm doing? HODGINS: So what? Just tell them we need to see what the, you know, victim's skull looked like before the damage. (Cut to: Medico Legal Lab - Platform. Hodgins is looking at the bones. Brennan & Cam join him on the platform) HODGINS: Did you find anything? BRENNAN: The victim died within months of the Limited Test Ban Treaty. HODGINS: That was in 1963. CAM: You look like you're about to explode. HODGINS: Is there, by any chance, a nick on a right rib somewhere near the third thoracic vertebra? BRENNAN: Yes. Um, most likely caused by a transiting b*llet. CAM: Hodgins, you're vibrating. HODGINS: One of the fiber samples turned out to be pink wool. The bad back. A nick from a transiting b*llet. 1963. CAM: Wait. Pink wool, as in Chanel? HODGINS: She never left his side. CAM: Severe head wound. Oh, my God.This - is President John F. Kennedy. Why would they bring us JFK's remains after all these years? HODGINS: Because people have a thirst for the truth. And other people want to make sure that truth is never proclaimed. CAM: Which are these? BRENNAN: Oh, I've been considering...in what kind of casket was the president buried? HODGINS: Mahogany. CAM: That's a good casket. How could his remains be completely skeletonized? BRENNAN: If the casket was compromised and allowed in oxygen and moisture, skeletonization could have occurred. HODGINS: It's naive of us to imagine that Kennedy's remains were actually ever interred at Arlington. The hair I found? No cuticle or cortex. It's synthetic. As it happens, after JFK was sh*t, the funeral home tried a cosmetic fix with wig hair, wax, and a metal mesh holding it in place. CAM: Ah! The mesh would explain the crisscross patterns on the skull. (Booth appears outside the glass doors and tries to open them with his hands) CAM: I can't confront Michelle about something this big over the telephone, right? BRENNAN: What? The fact that you may be investigating the m*rder of the president of the United States? CAM: No. The fact that she's pregnant. (Booth isn't making any headway so he tries a new tactic. He raises his g*n and sh**t - breaking the glass so that he can enter.) BRENNAN: Booth! BOOTH: Hiya, Bones. (The guards run at him and knock him down) BRENNAN: Booth? BOOTH: Bones? (Cut to: Medico Legal Lab - Upstairs Lounge Area. Booth is sitting on the couch with an ice pack on his head. Brennan joins him) BRENNAN: You all right? BOOTH: Yeah. You know, I can tell you. Those are a couple of big guys. Did you figure out who that guy is yet? BRENNAN: Hodgins and Cam are convinced that it's John F. Kennedy. The 35th president of the United States who was assassinated on November 22, 1963. BOOTH: I know who JFK is. BRENNAN: Also, Cam is certain that Michelle is pregnant. BOOTH: Usually, that would be big news but right now, it's not so much. It's JFK? Wait. Was Hodgins the first to say that it was JFK? BRENNAN: Yes. BOOTH: Then it's not JFK. BRENNAN: No. Hodgins is an excellent scientist. (Mr. White walks up) BOOTH: Hey, Mr. White. MR. WHITE: How'd you get past the guards? BOOTH: Uh, sn*per training. It trained me how to walk really, really quietly. MR. WHITE: You are now restricted to the building, of course. BOOTH: (sarcastically) Damn. Who saw that coming? (Cut to: Medico Legal Lab - Cam's Office. Cam is sitting at her desk, debating if she should call Michelle and confront her. Angela enters.) ANGELA: Awkward. Awkward. Very awkward. CAM: What's awkward? ANGELA: About Michelle... CAM: Oh, I'm going to call her right now and tell her that I need to talk to her as soon as I get out of here. ANGELA: About-about the pregnancy test? CAM: She lied to me. She told me to my facethat she wasn't having sex with that boy. She lied to my face. ANGELA: It's my pregnancy test. (Cam is relieved) I'm - I'm sorry, Cam. I would have told you sooner but Hodgins was in the room, and... CAM: Oh, thank God. No. I mean... ANGELA: It's okay. CAM: You alright? ANGELA: Um, I'm a - I'm a bit in shock. Well, does Wendell know? ANGELA: No. No, no. Only you and I know and, I mean, really, shouldn't Wendell be the first to know? But I figured that you-you need to know. CAM: Because I was freaking out about Michelle. Thank you. ANGELA: Yeah. (Cut to: Medico Legal Lab - Cat Walk. Booth is sitting and talking to Hacker on the phone.) BOOTH: Any luck finding out what's going on? HACKER: Nobody knows anything. Whatever this is, it's locked down pretty tight. Do you have any idea who these guys are? BOOTH: Well, they took me down in a classic Secret Service protocol. (Mr. White is listening in.) HACKER: Secret Service? Do yourself a favor. Don't tell any Reagan jokes or mention the Bush shoe incident. They get really mad. BOOTH: Right. You have any contacts inside the White House? HACKER: Of course I do. I'm extremely well-connected. I'm insulted you even asked that question. (he hangs up) Do I have any contacts in the White House? BOOTH: Great. (Mr. White watches Booth. Booth waves back. Mr. White is not amused.) (Cut to: Medico Legal Lab - Angela's Office. Angela just told Hodgins that she's pregnant.) HODGINS: Oh. Wow. ANGELA: So, Wendell should be the first to know but you should be the second and since I told Cam, I-I should tell you. HODGINS: Do I say, "Congratulations"? ANGELA: I don't know. I mean, it's not the right time. It's not the right guy. HODGINS: Well, you know, Wendell, uh, he..He might rise to the occasion. I mean, you know, he's-he's a good guy. ANGELA: No, I didn't mean that. I mean...a baby. I mean, you're linked to that person for the rest of your life. Like, way more than if you're married. I mean, you're linked through another human being. A soul. HODGINS: Okay. I'm-I'm gonna say, "Congratulations." Um, not for today but for how you're going to feel about this later on. ANGELA: Well, I might not even keep it. HODGINS: You're going to keep it, Angela. You always wanted kids. Lots of 'em. (there's a beeping noise.) I'm gonna go get the others. (Time lapse to a few minutes later in Angela's office. The g*ng's all there.) BOOTH: That is not JFK. HODGINS: Kennedy was on steroids to treat Addison's disease. That's what wrecked his back and adrenals. (Mr. White peers through the window and realizes what they're doing) CAM: Well, that would create a more Cushingoid appearance. MR. WHITE: You are not permitted to identify the victim. BRENNAN: In order to recreate what happened to the skull, we need to encase it in flesh. ANGELA: It's totally nondescript, as you can see. SWEETS: You know who I kind of see? Ricky Martin. HODGINS: Alex Trebek. CAM: James Garner. BRENNAN: I see Booth. BOOTH: You think that looks like me? BRENNAN: Yes, I do. I'll be in the bone room, looking at the actual skull. (Cut to: Medico Legal Lab - Bone Room. Brennan is checking out the skull when Booth enters) BOOTH: Hey. So, if it was JFK, Angela's facial reconstruction would have shown us this, right? BRENNAN: No. Facial reconstructions are not photographs, Booth. There's a wide latitude for interpretation. There. (points to a part of the skull) This could be the point of entry. The semicircle is beveled, wider on the inside than the outside. BOOTH: That was the entry? BRENNAN: If-if the victim was sh*t from the rear, yes.The beveling is usually like an arrow, pointing toward the sh**t. As to the exit, we're missing some skull fragments. BOOTH: Maybe they were held back on purpose. BRENNAN: Possibly, but it's much more likely they were pulverized and scattered by the b*llet impact. Forensic techniques in the early '60s were relatively primitive. BOOTH: Check above the right temple on the skull or a fragment from there. BRENNAN: Ha! So suddenly you're an expert on ballistic forensics? BOOTH: That's where JFK's exit wound was. BRENNAN: Why do you know so much about the Kennedy assassination? BOOTH: Bones, I'm a trained sn*per. How quickly you forget. BRENNAN: Well, well, you were right about the exit. BOOTH: Whew. Right. Well, it doesn't mean it's the president. I mean, people get sh*t in the head all the time, right? BRENNAN: That's true. Or perhaps Angela can re-create the situation under which this wound occurred. BOOTH: Or she could re-create JFK's sh**ting so we can rule him out, right? BRENNAN: Oh. BOOTH: Yeah. (Cut to: Medico Legal Lab - Angela's Office. The recreation of JFK's sh**ting is on the screen) ANGELA: I requested this animation from the Justice Department. BRENNAN: I found a right-rear entry with an exit in the right parietal region. HODGINS: Kennedy wounds exactly. ANGELA: Right. So his head went back and to the left. BOOTH: Look, heads do all sorts of crazy things when you sh**t 'em. HODGINS: Since this is based on the official record, I can't believe it. BOOTH: Here we go. HODGINS: You think there's no way the president of the United States gets m*rder in public in broad daylight and, and the truth gets covered up? BOOTH: That's right. It doesn't happen. This is America. HODGINS: The highest form of patriotism is to be skeptical of the official truth. That is why the First Amendment, free speech, is first in the Constitution you would die to protect. The lone g*n version isn't possible. The guy in front, John Connolly, gets sh*t 1.6 seconds after Kennedy BOOTH: It's a piece of cake. HODGINS: With a World w*r II Italian r*fle that was older than Lee Harvey Oswald? Come on. BOOTH: I'm sorry, but have you ever sh*t a r*fle? If I had one of those g*n right now, I'd show you right now. HODGINS: You're on. BRENNAN: No one is allowed to leave the Jeffersonian. HODGINS: No, we don't have to leave. I know exactly where to find an exact replica of the r*fle here at the Jeffersonian. BOOTH: Great. (Cut to: Medico Legal Lab - Hallway. Booth, Hodgins & Sweets are talking.) HODGINS: Lee Harvey Oswald's r*fle is in the Jeffersonian but the FBI used an exact replica to re-create the assassination. We've got that down in storage. SWEETS: But they said we have to stay in the lab area. HODGINS: The janitor's closet is in the lab area. Okay, all right, a couple years ago, right, I check out the claims of this conspiracy group that says that the Jeffersonian was a Masonic construction. (He pulls out a cloth map) They said that there was a passageway. Well, it turns out to be true. Check this out. There's a fake wall in the janitor's closet, covers a ladder. SWEETS: So, what? We just sneak in one by one? Hope they don't see us? HODGINS: Yeah. You got a better idea? BOOTH: Sounds good to me. (Sweets & Booth sneak into the janitors closet while Hodgins goes in, but comes out a mop to throw off Mr. White. He's been watching) (Cut to: Medico Legal Lab - Storage Room.) SWEETS: So I, uh, used the fact that Mr. White was eavesdropping on us to sow the seeds of discord. BOOTH: What?! SWEETS: You know, I lodged in his subconscious that his men don't respect him. BOOTH: Sweets, these guys are pros. You didn't lodge anything or sow any seeds. SWEETS: Oh, wow. Hope Hodgins' map is accurate. Okay, so the JFK investigation stuff is over there. Okay, I'm gonna say something that's gonna make you think that I'm as paranoid as Hodgins. BOOTH: Okay. SWEETS: This feels like a test to me. BOOTH: Who's being tested? SWEETS: I don't know. The men in black suits? Dr. Brennan? Dr. Saroyan? You? BOOTH: Me? SWEETS: Yeah, maybe even me. I don't know. It just feels like a test. I can't be more specific. Is that it? "01033." This is it. (They open the drawer and see the r*fle) BOOTH: There it is. SWEETS: Is that the actual w*apon? BOOTH: Yeah. It's a perfect replica made by the FBI. SWEETS: Perhaps the most hated w*apon in United States history. (Cut to: Medico Legal Lab - Area outside the Janitor's Closet. Hodgins is talking to Mr. White to distract him.) HODGINS: Uh, Mr. White? Yeah, I've done all I can do, so I'm gonna leave the premises. MR. WHITE: I'm sorry. That's impossible. HODGINS: Um... you can't stop me because I'm an American. So, I've got rights. (Booth & Sweets sneak out of the janitor's closet) MR. WHITE: I'd rather not hurt you. HODGINS: Hey, nice job with Bush and the whole flying shoe incident, by the way. I want to compliment you on that one. (Mr. White punches Hodgins in the back) BOOTH: Hey, you want to try me instead of some bigmouth scientist, huh? (Mr. White doesn't respond. He walks away) Yeah. I thought so. Come on. (he helps Hodgins up) That Bush comment? To him? You're lucky he didn't paralyze you for life. (Hodgins groans) Easy. (Cut to: Medico Legal Lab - Bone Room. Cam & Brennan are examining the wounds.) CAM: Here's the entry wound close up. BRENNAN: Little circumcircular geometry. CAM: Perpendicular bisectors reveal the center. And our diameter is... BRENNAN: 6.5 millimeters. CAM: Same caliber as Oswald's r*fle. (Booth enters) BOOTH: Hey, guys, guys, listen. I'm gonna need some science, uh, jibber jabber to distract these guys. BRENNAN: Oh, you know who can do jibber jabber? BOOTH: Who? BRENNAN: Me. BOOTH: Perfect. My lucky day. Come on. All right. (Cut to: Medico Legal Lab - Hallway.) MR. WHITE: You want my permission to sh**t a cantaloupe? BRENNAN: Yes. MR. WHITE: With my sidearm? BRENNAN: You took away Agent Booth's firearm. CAM: You want our best work? This is what we do. MR. WHITE: And this experiment is essential to cause of death? BRENNAN: Because you have forbidden us from taking samples in order to estimate the osteoconductivity of the oblique taphonomic remodeling, pertaining to the mid-sagittal plane, encelphalametric transaction or translation, if you will, of the intermatrix can be deduced by correlating the force/displacement values with the osteogenic, and geogenic, hydrogel nanocomposite we placed inside the surrogate. MR. WHITE: Which is the cantaloupe. BRENNAN: You understand me perfectly. MR. WHITE: How many b*ll*ts? CAM: Just one. (Mr. White hands the cantaloupe to Brennan, takes out his g*n and has it to Booth - with only one b*llet in it.) MR. WHITE: We'll be watching. BOOTH: Bring your popcorn. (softly, to Brennan) Good work. (Cut to: Medico Legal Lab - Platform.) SWEETS: I placed the r*fle where Booth could get it. HODGINS: The president's limo was traveling approximately 4.5 meters per second. SWEETS: How fast is that? HODGINS: Ten, eleven miles per hour. Okay, so when the lights flash green, it'll be the correct speed and Booth can f*re. (Booth is waiting, on the catwalk, p*stol in hand, ready to f*re) Ready? BOOTH: Go! (The girls are on the opposite of the catwalk. They all cover their ears. The machine starts moving and Booth quickly leans over and switches w*apon. He now has the replica of the r*fle in hand. The light turns green and he sh**t both of the cantaloupes. The Men in black, who were watching from another part of the cat walk, are not amused.) (Cut to: Medico Legal Lab - Bone Room.) MR. WHITE: 20 minutes after this operation ends, your career in the federal law enforcement is over. CAM: Hey, Mr. White, enough. MR. WHITE: None of your results will survive. All this was for nothing. (Mr. White leaves and the group says nothing for a few minutes until...) HODGINS: (he enters some information into the computer) 1.6 seconds exactly. BOOTH: Case closed. Oswald could have made the sh*t. HODGINS: Booth, Oswald was a lousy sh*t. You're one of the best. SWEETS: Yeah, with none of the nerves that an actual assassin would experience. HODGINS: In the lab, no wind, no distractions, aiming at fruit. I mean, come on. You barely made the sh*t. ANGELA: Yeah, I hate to admit this, Booth, but Hodgins is making a pretty good point. BOOTH: All he's proving is, he made up his mind. Oswald sh*t Kennedy. We just proved that, okay? (He starts to head towards the door until...) BRENNAN: Booth? BOOTH: Yeah? BRENNAN: Simple entry wound here. If you look closer, there are microfractures radiating from the exit wound which suggests, it wasn't an exit but an entrance. CAM: Reverse beveling. BRENNAN: I'm sorry, it's true. If this is another entry from a completely different angle, then logically, there was a second g*n. (Booth doesn't like what he's hearing and walks out. Brennan knows that somehow, she made him mad and goes off to find him.) (Cut to: Medico Legal Lab - Brennan's Office. Booth is sitting on the couch when Brennan enters.) BOOTH: Two sh**t. You know what that proves to me? BRENNAN: Only that there were two sh**t. BOOTH: No, that those remains were not John F. Kennedy. BRENNAN: Why is it so important to you that this not be President Kennedy? (She sits down next to him on the couch) BOOTH: If it was him, he was k*lled by two g*n. BRENNAN: Yes. BOOTH: And if he was k*lled by two g*n, the the government lied; they covered it up. BRENNAN: Throughout history, governments have lied with impunity to other governments and to their own citizens. Booth, this...does this have anything to do with the fact that your ancestor was a famous assassin? BOOTH: Bones. BRENNAN: John Wilkes Booth who k*lled President Lincoln. BOOTH: You promised you would never mention that. You said that to me. (Booth is pissed. He gets up and walks out of her office. She follows him to the doorway) BRENNAN: No, you told me not to! (Booth's phone rings) I never promised! But I promise now! (She's crushed. She knows she hurt Booth.) I promise now! (Cut to: Medico Legal Lab - Hallway. Booth is on the phone with Hacker.) BOOTH: So did you find anything? HACKER: Did you hear about this congressional committee that's trying to get permission to exhume JFK? BOOTH: Why the hell would anybody want to do that? HACKER: To see if modern forensic methods can tell us anything about the circumstances of his death. BOOTH: Well, Teddy Kennedy believed in the Warren Commission all the way up to the day he died. HACKER: Yeah and Bobby Kennedy was suspicious right up until the day he was assassinated. BOOTH: What does that have to do with our friends here in the black suits? HACKER: All I was able to find out is that there are parties very interested in the outcome of that congressional hearing. Booth, are you being held against your will? BOOTH: (scoffing) Come on. I can get out if I wanted to. HACKER: That's not the question I asked you. I asked you is an agent of the FBI being held by persons unknown against his will? BOOTH: Yeah, we all are. HACKER: Then I find, on behalf of the FBI, I'm annoyed by their arrogance. (Booth hangs up) (Cut to: Medico Legal Lab - Angela's Office. Angela is running stuff on the computer when Hodgins enters.) ANGELA: Hey, uh, I'll have Brennan's analysis of the entry angles up in one second. HODGINS: Ange... ANGELA: Yeah? HODGINS: You're gonna have this baby. ANGELA: I don't know that yet. HODGINS: Yeah, well, when you do...I've been thinking.You're gonna try to raise this kid on your own.Wendell is a very decent guy... ANGELA: He's a great guy. HODGINS: I know. But he's a struggling grad student, and you're gonna minimize his responsibilities for his own good. ANGELA: Geez. Regular Nostradamus there, huh, Hodgins? Predicting the future? HODGINS: Says the woman who consults a psychic. My point is, I'm your guy. ANGELA: What? HODGINS: I'm your guy. I love you. I love you and I want to help you in whatever way I can. If-if you want to move in together, if-if you want to get married...I'm here for you. And for the baby. In whatever role you need. (Angela says nothing.) Okay. (He leaves her in the office) (Cut to: Medico Legal Lab - Platform.) BRENNAN: There's calcification on the left radius. CAM: You keep returning to the victim's arm. The victim didn't die from a little calcification. SWEETS: Yeah, even I can tell that two b*ll*ts to the head probably did him in. CAM: You two don't understand: Booth is a very patriotic man. He believes this is the greatest country ever. BRENNAN: Being the best doesn't mean being perfect. SWEETS: It's naive to think that a country the size and influence of the U.S. doesn't pursue secret agendas. CAM: The Kennedy assassination wasn't a secret agenda. It was a black stain. A dark moment in history. Do you know how many people Booth has sh*t..for his country? BRENNAN: Approximately 50. SWEETS: Wow, that's a lot of blood to have on your hands. I mean, it's the kind of thing that would keep a person awake at night. CAM: And Booth did that because he trusted that it was right. And who did he trust? SWEETS: The government. BRENNAN: (finally realizes) Oh. CAM: If they lied about the m*rder of a president, they can lie about anything. (Mr. White joins them on the platform) MR. WHITE: Dr. Brennan. Dr. Saroyan. Your work is done. Thank you. BRENNAN: No, but we're not finished. MR. WHITE: The good news is, you all get to go home. CAM: Our results are inconclusive at best. BRENNAN: No. There's still unexplained calcification on a radius bone. MR. WHITE: In an hour, you'll find that this never happened. BRENNAN: But if you didn't want the truth, then what was this all for? MR. WHITE: I have no idea. BRENNAN: No, wait, wait. One more piece of analysis and we get the whole truth. MR. WHITE:The whole truth is not the point. Please, pack the remains up for transportation. CAM: Mr. White? For future reference, you might want to inform your bosses that we don't do half-truth here. (Mr. White leaves the platform) (Cut to: Medico Legal Lab - Angela's Office. Angela is sitting at her desk when Cam enters.) ANGELA: Hey. (Cam hands Angela a piece of paper.) What is this? CAM: You aren't pregnant. When I thought it was Michelle, I retested the sample. I just got the results. It's a false positive. ANGELA: Uh, well, thank you for this. (Cam leaves. Angela looks a bit sad.) (Cut to: Medico Legal Lab - Platform.) BOOTH: So, you found cause of death. You think it's Kennedy. What's left? BRENNAN: There are loose ends. BOOTH: Well, how long is it going to take you to tidy up your loose ends here? CAM: The big man always comes through. Always. (Mr. White joins them) MR. WHITE: Those remains ready for transport? BOOTH: Yeah, there's a problem. CAM: (quietly, to Booth) What are you going to do? BOOTH: (quietly, to Brennan & Cam) I'm going to give you the time you need in order to find out the truth. (to Mr. White) Ah, Mr. White. How are you? (He shakes his hand, handcuffs him and then handcuffs him to the railing.) MR. WHITE: What are you doing, Agent Booth?! BOOTH: You know what, your job is to protect the president. My job is to solve m*rder. (Booth flips Mr. White over the railing and then starts running through the hallway, distracting the other Men in Black. Brennan sees an opportunity and grabs the two radius bones and make a run for it. Booth, meanwhile, trips up another one of the MIB and handcuffs him to a cart) BOOTH: (seeing another guy around the corner) Ho. MAN IN BLACK: What have you got, feeb? (Booth kicks him in the nuts and hand cuffs him to another bar.) BOOTH: Good old American classic on that one, pal. ANGELA: Oh. My. God. HODGINS: Man, you Butch Cassidy'd 'em. SWEETS: Oh, that was totally ninja. Maybe some anger issues there, but you kicked ass. (Hacker & his crew storm through the doors) HACKER: (via megaphone) Stand down and drop your w*apon. This facility is officially under the jurisdiction of the Federal Bureau of Investigation. (He realizes that Booth has already taken car of the situation and drops the megaphone, defeated.) Aw, man. Ten seconds earlier I would have been the hero, right? (waves) Booth. (Cut to: Medico Legal Lab - Ookey Room. There are two containers with chocolate pudding in them. Booth enters while Brennan is placing the two radius bones on top of the pudding.) BRENNAN: Hi, Booth. BOOTH: Is that pudding? BRENNAN: Yes. I adjusted the specific gravity with a thickening agent to assure the test's efficacy. BOOTH: But pudding? (Brennan looks over at the pudding and her eyes light up) Whoa, something happened. BRENNAN: Yes. One of these bones sank and the other one floated. BOOTH: In the pudding? BRENNAN: Yes. The heavy bone is healthy. The one that's still floating is riddled with osteomyelitis. President John F. Kennedy never had osteomyelitis. BOOTH: (relieved) Come here.(he pulls her in for a hug) BRENNAN: Wow! (laughing) You really didn't want this to be JFK. BOOTH: You know, you kept looking because of me. Thanks, Bones. (Andrew and Mr. White enter the room) ANDREW: Um, I've been speaking with Mr. White here from the General Services Administration and we've come to the conclusion that any reports we all write should be carefully worded. As in, there shouldn't be any words in them. BOOTH: No words. ANDREW: No words. Hi, um, Temperance. You look great. BRENNAN: Thank you, Andrew. It's nice to see you again. ANDREW: Did Booth describe to you how I came crashing in through the front doors to rescue you? BRENNAN: No. I would have liked to have seen that. (Cut to: Royal Diner. Brennan, Booth, Sweets, Cam, Hodgins and Angela are all seated, in a row, at the counter.) BOOTH: You know, I was able to take those guys down because they were not working as a team. You want to know why? Because Sweets here was able to put a worm of doubt in Mr. White's brain. SWEETS: Thank you, Booth but I'm pretty sure that the whole thing was part of some kind of test. CAM: Who was being tested? HODGINS: It wasn't a test. It was the government trying to figure out if modern forensic analysis could solve the greatest mystery of all time. ANGELA: Yeah, but the victim turned out not to be Kennedy. HODGINS: What if the only part of Kennedy that wasn't Kennedy was that floating arm bone? BOOTH: Maybe I was being tested, you know, after my brain surgery. SWEETS: Or me. HODGINS: Come on, guys. If they were testing anybody, it's me. They think I'm a paranoid conspiracy theorist. CAM: Or maybe they were testing me to see if I could run a lab in a professional manner. ANGELA: Well, you do realize that all these tests? Everybody failed. BRENNAN: Not me. I figured out the truth. BOOTH: There's a congressional committee suggesting that Kennedy be exhumed. CAM: You mean we were some sort of dry run? HODGINS: And that's why we couldn't mark the bones. CAM: Except they weren't Kennedy's bones. (They all look towards Brennan - for final verification.) BRENNAN: No. They weren't Kennedy's bones. (Cut to: Street Outside the Royal Diner. Hodgins and Angela are leaving.) HODGINS: So, can I get you a cab? ANGELA: I'm not pregnant. It was a false positive. HODGINS: Oh, well, that must be a big relief. ANGELA: Yeah. HODGINS: Everything goes back to normal. How it was before. ANGELA: Yeah. Yeah, but, um, I-I wanna...I want to thank you for... HODGINS: Nah. Hey, forget it. ANGELA: I'll never forget it. (They link arms and walk down the street. Together.) (Cut to: Outside the Royal Diner. Brennan and Cam are leaving.) CAM: Were you aware that JFK had scarlet fever in childhood? BRENNAN: Hodgins informed me of that fact, yes. CAM: Scarlet fever can cause osteomyelitis. BRENNAN: It's very rare, Cam. It can happen in approximately one in a hundred cases. It's statistically unlikely that it was Kennedy. CAM: You're a good person. I will never forget what you did for him. (Cam walks away. A few seconds later, Sweets & Booth exit the diner and join Brennan.) SWEETS: Oh, I'm oddly energized. I should be exhausted, physically and emotionally, but I feel like I could work all day. BOOTH: Right, you should get home and get to sleep before you fall over, okay, Sweets. SWEETS: Okay. BOOTH: Yeah. Head to the pillow. SWEETS: I forgot where I parked my car. (Sweets walks off) BOOTH: Shall we? (He holds out his arm to Brennan, she links arms with him) BRENNAN: We shall. BOOTH: You know, you must think I'm crazy for being so happy that it wasn't JFK. BRENNAN: I'm very impressed. You wanted the truth, even if it was going to hurt you. BOOTH: I learned that from you. BRENNAN: Really? BOOTH: Yeah. I mean, sometimes you have to go with your brain over your gut. BRENNAN: That's nice. But I prefer that you always go with your brain over your gut because your gut cannot think. BOOTH: Your brain can't digest a breakfast burrito. Just saying, to each their own. BRENNAN: To each their own. BOOTH: Yep. (The camera moves to a television in a store window. Channel 8 News is on with Breaking News across the bottom of the screen. "Breaking News: Congressional Committee denied motion to exhume President John F. Kennedy, citing 'respect for the family.'") END.

{"type": "series", "show": "Bones", "episode": "05x12 - The Proof in the Pudding"}

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