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(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 beat 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 explosion? No fire?
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 dead 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 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 kill.
(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.
(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.
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 dead 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.
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.
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.
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.
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.
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 killed in a hotel fire 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: 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 dead. (she walks over to Alex and hugs him)
BRENNAN: Do you know where Kelly is, Alex?
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 dead too?
BOOTH: No. You know, I'm gonna find your sister and I'm gonna bring her back here to you.
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 murder. 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 weapon that stuck him.
BOOTH: So, he was hit 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.
(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, murder weapon.
(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 murder, 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 murder weapon. The evidence, if anybody cares, shows that Dylan Crane died from a fall.
(Brennan leaves. Booth looks back to Cam)
(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 weapon 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.
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?
BOOTH: FBI. Hands in the air.
(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 gun 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?
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 dead. 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.
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.
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.
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)
(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.
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 killed.
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.
(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.
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.
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.
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.
(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.
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 weapon.
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 beat 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 killed 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.
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?
(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 shot?
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 dead?
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 dead body)
BOOTH: Kevin Duncan.
CAM: Single gunshot 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 killed and there's plenty of flesh, how is my presence beneficial?
(She pulls out a bone from the rib cage with a bullet lodged in it and places it in a tray)
ZACK: The number six rib.
CAM: The bullet 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 gun.
CAM: Booth, if Dr. Brennan were to quit-
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: 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, dead hand.
CAM: So what? He was killed 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.
(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 dead.
BOOTH: Were you there when Dylan died?
KELLY: Was I there? Who do you think killed him?
(Cut to: FBI – Interrogation Room. Booth and Brennan are interrogating Kelly. Her lawyer, Diane Child, is there as well.)
BOOTH: Why did you kill Dylan, Kelly?
DIANE CHILD: Agent Booth..
BOOTH: Well, she already admitted to the murder, Ms. Child.
DIANE CHILD: Actually, I believed she asked “Who do you think killed him?” It's an ambitious question.
KELLY: Oh, I killed 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?
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 murder someone.
KELLY: Well, I'm pretty screwed up. Didn't you hear?
BRENNAN: Someone shot Kevin Duncan. He's dead.
KELLY: The sandwich guy?
BOOTH: We're thinking that the two deaths were connected.
KELLY: (sighs) Fine. Yeah, I killed him too.
BOOTH: She killed 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 murder 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 kill Dylan?
BOOTH: Well, she confessed.
FRAN: And now you think she killed my husband as well?
BRENNAN: It's very possible. I'd believe that before I believed she killed Dylan.
FRAN: Kelly shouldn't take the blame. (She reaches in her purse and pulls out a gun and places it on the table.) You'll find one bullet missing.
BOOTH: You're confessing to your husband's murder?
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 gun.
(Cut to: Medico Legal Lab. Forensics Platform.)
CAM: Ballistics confirms that the bullet that killed Kevin Duncan came from Fran Duncan's gun.
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 murder weapon?
BRENNAN: Now, for the last time, the pipe is not the murder weapon. 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)
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 hit 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.)
CAM: Well, that theory explains the physical evidence.
BRENNAN: Except why Kelly would confess to a murder to protect Kevin Duncan.
ANGELA: She's afraid of him.
BRENNAN: But she knows he's dead.
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 kill 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 hit Dylan with the pipe and when you took away the pipe – pushed him through the glass.
KELLY: No, it was just me. I hit him with the pipe. I pushed him through the glass.
BRENNAN: No. You grabbed his arm. You tried to save him.
(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: I'm in charge. But out of respect for you, I could extend – Did you ever play Monolopy?
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 OF EPISODE
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