Épisode Pas d'honneur entre voleurs S06E05

THE BONES THAT WEREN'T

[Teaser] [Act 1]

(OPEN: EXT: Construction Site. A skateboarder does tricks all around a construction site near Kalorama Park until his skateboard snags something, causing a wipeout. He inspects the cause of his fall only to discover a human skull in the concrete.)

[Scene 1] [Act 1]

( CUT: INT: Booth’s apartment. Booth and Hannah get ready for work.)

SPECIAL AGENT SEELEY BOOTH: Woo-hoo. Oh. You look nice today.

HANNAH BURLEY: Down boy. Gotta go to work.

BOOTH: Beautiful and responsive. How’d I get so lucky, huh?

HANNAH: What do you know about Anacostia?

BOOTH: It’s a neighborhood about a mile and a half from here. Seedy. Prostitution. Lots of gangs. Bad activity. Why?

HANNAH: You ever hear of local cops getting bought off down there?

BOOTH: I thought you were only working the White House and Capital Hill.

HANNAH: You can see Anacostia from the top of the Capital Dome.

BOOTH: Really?

HANNAH: Mmm-hmm.

BOOTH: Expanding our portfolio, are we?

HANNAH: Look who’s talking. How many jurisdictional boundaries have you transgressed over the years?

BOOTH: All of ‘em.

HANNAH: All of ‘em.

BOOTH: Every one of them.

HANNAH: Bye. (Makes her way to the front door, exits.)

BOOTH: (Watches her go with a fond smile.) Bye. Miss you.

[Scene 2] [Act 1]

( CUT: INT: Royal Diner. Booth, Sweets, and Brennan eat together at the diner.)

DR. LANCE SWEETS: Anacostia? That’s a really tough part of town.

BOOTH: Not compared to downtown Karbala, it’s not.

BRENNAN: Or the surface of Venus, which is covered by clouds of Sulfuric acid and hundreds of active mega volcanoes. What? We were talking about tough neighborhoods.

SWEETS: Uh-huh. It’s good that Hannah is totally jazzed about her work, though.

BRENNAN: For smart people like Hannah and me, not being jazzed is physically painful.

BOOTH: Whoa, whoa, whoa. You’re saying that Hannah does extra work because she’s bored at home?

SWEETS: No. No.

BOOTH: I’m an exciting guy. I, for example, I’m making dinner for her tonight. With wine.

SWEETS: You just decided that now, didn’t you?

BRENNAN: If you’re not the cause of her ennui then it stands to reason that you cannot make her happy. It’s standard first order logic.

BOOTH: First order logic?

SWEETS: First order logic is a philosophical system of reasoning using if/then statements as quantifiers and predicates.

BRENNAN: If/then statements are binary truth functions wherein a compound sentence is logically equivalent to the negative.

BOOTH: Guys, Guys. Hannah and I are really happy. I gave her the big closet and I always put the seat down after I pee.

BRENNAN: You should also put the lid down. Otherwise a fine mist of aerosolized urine and fecal particulates are sprayed into the air every time you flush. You might as well brush your teeth in excrement.

SWEETS: She’s right.

BOOTH: (Booth’s phone rings, he answers it.) Yeah. Thank God you called. Okay. Great, thanks. (Hangs up.) We have a case. (Points at Brennan’s coffee.) Get that to go.

(Booth gets up and departs table leaving Brennan and Sweets behind. Brennan takes a last sip of her coffee and follows behind.)

[Scene 3] [Act 1]

(CUT: EXT: Construction Site, near Kalorama Park (Crime Scene). Booth and Brennan arrive at the crime scene where Brennan probes the buried skeleton for more information.)

BOOTH: I dunno. Looks like a giant man eating clam.

BRENNAN: No, there’s no such thing as a man eating clam.

BOOTH: Oh, you know, the giant ones, they clamp on your leg like a bear trap.

BRENNAN: A – the shells close too slowly to catch anything; B – the really big ones can’t even close all the way.

BOOTH: Not in the movies I’ve watched.

FBI AGENT: It’s all yours.

BOOTH: Whoa-Ho! Poor guy. Now, he’s stuck in a hard place.

BRENNAN: How do you know it’s a male?

BOOTH: I don’t. I just meant, you know, I just…I feel bad whatever sex…

BRENNAN: Ugh. However, you are correct. Given the angle of the jaw and the wear to the teeth, the victim is a male in his late twenties.

BOOTH: Male. Late twenties. Okay, what’s that?

BRENNAN: Probe. These appear to be the only remains encased here.

BOOTH: What do you mean?

BRENNAN: Where’s the back of his skull?

BOOTH: Oh, okay. So what you’re saying is that there could be male parts all just embedded here in this big slab of concrete?

BRENNAN: There’s the impression of the rest of the skull. When the concrete set, the bone was still there but somehow it disappeared in the mean time.

BOOTH: So, let me guess – you want the whole slab of concrete shipped back to the Jeffersonian, right?

BRENNAN: No. Don’t be absurd. A two by three by four meter section will be fine.

BOOTH: Yeah.

BRENNAN: Shouldn’t weight more than a ton.

[Scene 4] [Act 1]

(CUT: INT: Jeffersonian Platform)

DR. JACK HODGINS: (Vacuums dust from slab which has been relocated to the Jeffersonian platform.) Nothing here but dust.

ARASTOO VAZIRI Perhaps it’s what’s left of the missing bones.

BRENNAN: It could be many things Mr. Vaziri. Speculation is pointless until we analyze the evidence.

ARASTOO: Sorry. I’ve been away from Forensic Anthropology for almost a year. I guess I’m rusty.

DR. CAMILLE SAROYAN: But we are delighted to have you back, aren’t we, Dr. Brennan?

BRENNAN: Yes, we’re delighted. Cultural Anthropology is a fine discipline but it doesn’t involve as much hard science as Forensic Anthropology. I hope that you’ll be able to make the requisite readjustment.

ARASTOO: Like time has stood still.

HODGINS: All done. So many tunnels in there. Like an ant farm.

ARASTOO: Since we have the Fluoroscope, I was thinking I could inject the Barium Sulfate slurry into the concrete. Once inside I could Fluoroscope the slurry like an MRI.

BRENNAN: That should give us a clear picture of what we’re dealing with without destroying the concrete.

HODGINS: How’s that for hard science thinking? Good boy, Arastoo.

HODGINS: It looks like a human skeleton.

ARASTOO: It is a Skeleton. Or at least a cast of one.

CAM: So the tissue must have decomposed before the concrete was poured.

HODGINS: Why?

BRENNAN: Because otherwise we’d be looking at the mold of a human body instead of the mold of a skeleton.

CAM: What happened to the victim’s clothing?

HODGINS: Natural fibers like cotton would have decomposed to dust or tatters in say, I don’t know, four months.

ARASTOO: But not bones.

BRENNAN: If we can find out what happened to the victim’s skeletal structure we may be able to figure out what happened to him.

[SMASH CUT: MAIN TITLES]

[Scene 1] [Act 2]

(Fade in: INT: Jeffersonian platform)

BRENNAN: All right, so the victim was lying on his back, arms by his side.

CAM: He must have been knocked unconscious, paralyzed or already dead.

BRENNAN: What’s your thinking?

CAM: If he was conscious he would have curled up in pain or tried to crawl away.

ARASTOO: Found something really…odd.

CAM: Something between the victim’s teeth?

ARASTOO: No. On his teeth. Is there any such thing as a dental tattoo?

BRENNAN: There’s no reason ink couldn’t be introduced into the enamel.

CAM: Whadda ya got? Huh. Well, that’s a new one.

BRENNAN: There’s a figure of an upside down man on the victims on the left central maxillary incisor.

ARASTOO: I believe he’s affecting a head spin – a classic hip hop move.

CAM: There can’t be too many people that tattoo teeth, right? This could lead to the victim’s identity.

BRENNAN: I will find it extremely frustrating if the victim’s identity is all we can discern.

CAM: Well, unless you can take bone dust and turn it back into a full skeleton, this is all we’ve got to work with.

[Scene 2] [Act 2]

(Cut: INT: Booth’s Apartment. Hannah returns home to a candlelight dinner.)

HANNAH: Oh God.

BOOTH: What?

HANNAH: You’re going to propose.

BOOTH: No!

HANNAH: Uh, candles, wine, new toothbrushes?

BOOTH: Right.

HANNAH: You went through all this to tell me I have bad breath?

BOOTH: No. I just think you need a new toothbrush. Well, actually we both do. I bought these two. Obviously. And you can choose which color you like.

HANNAH: something Temperance said?

BOOTH: Yeah. Something she did. Trust me you do not want to know.

HANNAH: Aah.

BOOTH: More importantly, time for a little wine. The day is over.

HANNAH: Oh, thanks.

BOOTH: There you go. For you. Okay. There you go. For me. Cheers.

HANNAH: Cheers.

BOOTH: So, we’re good here.

HANNAH: Okay, Seeley, what’s all this about?

BOOTH: Nothing. Why does it have to be about something?

HANNAH: You found out that my editor won’t let me pursue the corrupt cop story. Huh?

BOOTH: No, I didn’t. What did he say?

HANNAH: I quote – the White House press corps chases history, not lurid true crime stories.

BOOTH: Wow, he actually said the word lurid?

HANNAH: It’s not funny.

BOOTH: It is kinda funny.

HANNAH: Why is it funny?

BOOTH: Well, because I know that you’re still going to do that story without his permission. And I think that really makes me laugh.

HANNAH: I like that you know me that well.

BOOTH: Yeah. Hey, is there any chance that I could say to you, uh, be careful, and then you could say ‘safety first’?

HANNAH: It’s worth a shot.

BOOTH: Okay. You be careful.

HANNAH: Safety first.

BOOTH: Liar. (Gooses her.)

HANNAH: Aren’t we going to eat first?

BOOTH: No way.

[Scene 3] [Act 2]

( Cut: INT: Jeffersonian – Platform. Brennan joins Angela at the lab – it’s clear Angela’s been up all night.)

BRENNAN: Angela. Good morning. Hello.

ANGELA: Ooph. It is morning, yeah?

BRENNAN: You stayed up all night?

ANGELA: Yes.

BRENNAN: Is that good for the baby?

ANGELA: Well, what he doesn’t know doesn’t hurt him, right? Okay, so here is an additive stereolithograph that I borrowed for archaeology. You need a skeleton, and I’m gonna make a reasonable facsimile.

BRENNAN: Are those lasers?

ANGELA: Their purpose is to cure micro thin layers of liquid resin into hard plastic. The stacking of these two dimensional layers will create a three dimensional object.

BRENNAN: The fluoroscopic scan created a template.

ANGELA: Which you’ll use to grow a plastic replica of the victim's skeleton.

BRENNAN: How accurate will it be?

ANGELA: That’s for you and Arastoo to find out. While I take a well deserved nap.

BRENNAN: at worst, it will be as accurate as a fossil. I find I am totally jazzed by you out of the box lateral thinking.

ARASTOO: (Enters.) Come to work and find myself in the future.

BRENNAN: Time travel is impossible Mr. Vaziri. But I know exactly what you mean.

CAM: (Enters.) Wow. If you’re taking orders, I’d like a six four, thirty-seven year old male, with a good income and no mommy issues.

[SCENE 4] [Act 2]

(Cut: INT: Jeffersonian – Bone Room)

ARASTOO: The detail is remarkable.

ANGELA: Thank you.

CAM: It’s even flexible at the joints where the tendons and ligaments were replicated.

ANGELA: Right. But can we get anything useful from it?

ARASTOO: Well, the victim had turned out hips and high arches. That along with the muscle attachment at the shoulders and hips suggests that he was a ballet dancer. There are nicks on the lateral and posterior surfaces.

ANGELA: Okay. Why don’t you just flip it over so we can get a better look?

ARASTOO: We would never flip over a real skeleton.

CAM: Ah, lucky for us this is a replica. Come on. Grab a limb.

ANGELA: Hey, this was kinda fun.

ARASTOO: These nicks suggest that he was stabbed.

CAM: Or impaled. We haven’t (unintelligible) murder yet, Mr. Vaziri. It’s possible that the victim blundered into a construction site, fell into the foundation and impaled himself on rebar.

[SCENE 5] [Act 2]

(Cut: INT: Dance Studio)

BOOTH: Well, this is the place the guy with the tattoo on his tooth, Robert Pearson, (unintelligible).

BRENNAN: That’s assuming that Robert Pearson is the only missing person to have a tattoo of a hip hop dancer on his left front incisor.

BOOTH: Uh-huh.

BRENNAN: I admit the odds favor your conclusion. No family, no job?

BOOTH: (unintelligible), a year. (unintelligible) off the grid.
Cynthia Rinaldi: Clumsy, clumsy, clumsy. What are you doing? Are you new?

BOOTH: Wow, she’s mean.

BRENNAN: Ballet is a rigorous vocation, Booth.

BOOTH: Whoa.

CYNTHIA: Bad posture, bad hands, bad partner. Are you an eagle?

MALE DANCER: Excuse me?

CYNTHIA: Are you an eagle?

MALE DANCER: No.

CYNTHIA: Then stop making claws. Fingers flat on all lifts. That hurts, right?

BOOTH: Okay, I really don’t have any problems seeing this woman kill somebody. You?

BRENNAN: Well, she’s quite small physically.

CYNTHIA: I suggest you learn how to perform a lift.

BOOTH: She’s mean. Whoa. Okay, well, there’s your evidence of strength.

CYNTHIA: That’s how you perform a lift. (To Booth) what do you want? I’m trying to bring a little beauty to the world, if that’s okay with you.

BOOTH: We just have a few questions about one of your former students.

CYNTHIA: Which former student? I have quite a number of former students.

BRENNAN: Robert Pearson.

CYNTHIA: Robert? I hope you’re here to tell me he’s dead.

BOOTH: Today is your lucky day.

BRENNAN: Why do you wish him to be dead?

CYNTHIA: Because he is the one who broke this ankle and set my career back three years.

[SCENE 1] [Act 3]

( Fade in: INT: Dance Studio)

CYNTHIA: You want me to break down and cry because Robert’s dead? People die, bad things happen.

BOOTH: Oh, so you blame Robert for breaking your ankle?

CYNTHIA: Yes. An accident not too different from what you saw today. But I’ll be just fine in six months.

BRENNAN: Your gait and the contour of your ankle indicate that you suffered compound fractures to the medial and lateral malleolus.

BOOTH: Lateral mallevious. Well, sounds pretty serious, huh?

BRENNAN: She’ll never be able to properly execute a fouette again.

BOOTH: Heh. Career ender, huh? You don’t seem too surprised.

CYNTHIA: Doctors say things all the time, it doesn’t make it true.

BOOTH: Right. Your dad owns a construction company, right?

CYNTHIA: Yeah. So?

BOOTH: So, you must know your way around a construction site pretty well. You know, Robert was just found in a recently completed site.

CYNTHIA: Okay, this…this is crazy. I could never kill anyone.

BOOTH: It’s not crazy. You know, people do this all the time. They get mad. A little too mad.

BRENNAN: (unintelligible) actually Robert’s fault you fell?

CYNTHIA: It, it, it was a pas de deux. He dropped me. That is not my fault.

BRENNAN: Given your height, you are well over the optimal weight for a ballerina. It would be difficult for anybody to perform proper pas de deux with you.

CYNTHIA: Are you calling me fat?

BRENNAN: No. No. For a member of the general public you are actually quite (unintelligible), but by ballerina standards –

CYNTHIA: You bitch!

BOOTH: Okay, temper, temper.

CYNTHIA: Look, if you’re going to charge me with something get on with it otherwise I have a class to teach.

[SCENE 2] [Act 3]

(Cut: INT: Jeffersonian – Bone Room)

ARASTOO: There are remodeled, circular micro fractures on the skull.

CAM: So someone struck him on the head with a twirling – what twirls, and is good for hitting on the head?

ARASTOO: Very thin cardboard on asphalt?

CAM: So he left ballet to become a spinning on his head dancer?

HODGINS: Check this out. Initial analysis of the powdered bone dust revealed traces of Blastomyces Dermatitidis. It’s a fascinating fungus that quite literally eats bone.

CAM: So that’s what happened to the rest of his skeleton? A fungus ate it?

ARASTOO: Where did the fungus come from?

HODGINS: It must have been introduced to the bone before he died.

CAM: Ouch.

HODGINS: Well, it’s bad for him but good for us. I mean the fungus probably hitched a ride on the murder weapon. Now, check this out. I crosschecked the CDC’s infectious disease map for outbreaks of the fungus in the area. There was an outbreak in Kalorama Park about six months ago.

ARASTOO: Fits the time frame.

CAM: Kalorama Park’s loaded with street performers.

ARASTOO: Perfect place for a guy to spin on his head.

HODGINS: Added twist – as well as the fungus in the bone dust, I found flecks of bronze in his wounds.

CAM: So we’ll tell Booth to keep an eye out for a bronze murder weapon in Kalorama Park.

[SCENE 3] [Act 3]

( Cut: ext: Kalorama Park)

BOOTH: Must have been quite a come down to have been working for a professional ballet company to, you know, dancing for tips.

BRENNAN: For centuries busking has been a viable way for creative people to earn a living. No BARRIERS between the performer and the audience with payment coming only after the performance. It’s ENTERTAINMENT in its purest unfettered form.

BOOTH: I bet he drove his parents crazy.

BRENNAN: The fluidity with which he moves should not be possible. It appears as if he has no bones.

BOOTH: Well, that would put you out of business wouldn’t it?

BRENNAN: We should talk to some of the buskers, Booth.

BOOTH: Excuse me, FBI special agent Booth. This here is Dr. Temperance Brennan from the Jeffersonian. Just want to ask you a few questions.

BEVERLY HOULE: We’re just performing. This isn’t federal land. The FBI has no jurisdiction over us.

BOOTH: Oh, hey, just simmer down there… uh

BEVERLY: Beverly.

BOOTH: Beverly. We don’t want to take away from your… what did you call it?

BRENNAN: Pure unfettered entertainment.

BOOTH: Exactly.

JOHNNY WIZARD: we got off on the wrong foot here. I’m Johnny. Johnny Wizard. And this is Derrick. Derrick here keeps the park clean for us.

BOOTH: Derrick.

JOHNNY: You might wanna take better care of your watch.

BRENNAN: Oh, ho – that was very good.

BOOTH: Give me that.

JOHNNY: How ‘bout this.

BRENNAN: Look Booth.

BOOTH: Yeah, look. Hey, an ear flower. Great. You guys recognize this man?

DERRICK PRICE: Yeah, that’s Robert. Is he in trouble?

BRENNAN: Robert is dead.

BEVERLY: Oh no.

DERRICK: Man, that’s terrible.

BEVERLY: Told you it was weird he just disappeared like that.

BRENNAN: Then why didn’t you report him missing?

BEVERLY: Weird is just weird, it’s not suspicious. We thought he went legit, left us behind.

BOOTH: You and Robert have a little thing there?

BEVERLY: Only business. I played, he danced.

JOHNNY: What happened to him?

BOOTH: That’s what we’re investigating right now. When was the last time you guys saw him.

BEVERLY: Six months ago?

JOHNNY: I think this would really suit you.

BRENNAN: That is my bracelet.

BOOTH: I hate magic. Hate magic. Did he have any enemies?

BEVERLY: Everybody loved Robert.

DERRICK: What about Russell.

BOOTH: Who’s Russell?

DERRICK: They got in a fight about prime dance spots.

BEVERLY: But the worked it out.

BOOTH: All right, listen, if you hear of anything, here’s my card just give me a call. Okay. Whoa, easy. You know, it’s a federal offense to steal an FBI agent’s ID. I could shoot you if I want you, you know that? Shoot you.

BRENNAN: Hodgins found bronze particulates at the site.

BOOTH: Yeah, so?

BRENNAN: This statue seems to be made of bronze. Perhaps some of the sharp edges are responsible for the injuries we discovered. (Statue moves.) Oh!

BOOTH: Whoa!

[SCENE 1] [Act 4]

( Cut: INT: FBI Hoover Building – Interrogation Room)

SWEETS: Mr. Milford. I’m Dr. Lance Sweets. I’m a psychologist. Now, the reason I’m talking to you is that every time the FBI agent I work with asked you a question you spouted Shakespearean verse at him. He doesn’t speak Shakespearean. We found traces of bronze on a murder victim. You’re covered in bronze. What I think is that you suffer from an untreated dissociative identity disorder wherein the only way that you can communicate is through Shakespeare. So. An honest tale speeds best being plainly told.

TYLER MILFORD: Truth is truth to the end of reckoning.

SWEETS: You’re talking. Okay. Uh. Regarding the homicide of Robert Pearson. There is special providence in the fall of a sparrow.

TYLER: by Isis, will give thee bloody teeth if thou with Robert paragon again.

SWEETS: Oh, okay, so you’re saying that Robert wasn’t an innocent victim. Right. Uh. But were we burdened with like weight of pain, as much or more we should ourselves complain.

TYLER: This is the short and long of it – there is no honor amongst thieves.

SWEETS: Oh, he’s a thief? What kind of thief was he? One may smile and smile and be a villain.

TYLER: A cutpurse of the empire and the rule – that from a shelf the precious diadem stole and put it in his pocket.

SWEETS: Robert Pearson was a thief, a cutpurse. That’s a pickpocket, right? He worked with someone. He betrayed him. And where the offense is let the great axe fall.

TYLER: Well. I can no other answer make but thanks and thanks. How far that little candle throws his beam so shines a good deed in a naughty world.

SWEETS: Well, thank you.

[SCENE 2] [Act 4]

( Cut: INT: Jeffersonian – Bone Room)

ARASTOO: There are nicks to the right tibia, femur and ilium. The back of the tenth rib on the left side, the left transverse process of the T6 and the right scapula.

BRENNAN: These marks are congruous with impaling, but none suggest cause of death.

ARASTOO: Maybe he bled out.

HODGINS: the bronze particulates I found didn’t come from the paint on the Shakespearean Looney Tunes.

BRENNAN: Where did they come from?

HODGINS: I dunno. Maybe a pipe?

ARASTOO: That was helpful.

BRENNAN: I discern from your tone that you mean the opposite of what you’re saying. Which is the very definition of irony.

[SCENE 3] [Act 4]

( Cut: INT: Jeffersonian – Angela’s Office)

ANGELA: This is the construction site before the concrete was poured. This is rebar. No over that is a layer of plastic sheeting. It appears that the victim was pushed or fell from this spot.

CAM: How high is that?

ANGELA: Just shy of three meters. And he was impaled here.

CAM: But his skull was found over there.

ANGELA: Yeah, the body was yanked off the rebar and dragged over there. The plastic sheeting was sliced and the body was shoved underneath.

CAM: So the corpse decomposed under the plastic for four months before the concrete was poured?

ANGELA: Well, the construction company went bust and the whole area was fenced off for several months. And then another company Came in and bought the project and poured the foundation. Now the concrete lifted the skull through the slit in the plastic and the rest of the bones dissolved from Hodgins fungus. This guy was impaled. So, how did nobody notice the blood for four months?

CAM: Black plastic and rusty rebar from a distance – practically impossible. Can all of the nicks on the bones be explained by the rebar?

ANGELA: Yeah, let me show you.

CAM: Okay, what’s that?

ANGELA: That’s a nick on his spine.

CAM: Okay, the wound on the right transverse process of the t-6 does not line up with the rest of the wounds from the rebar.

ANGELA: Well, it could have been inflicted before he fell on the rebar.

CAM: That one. It punctures his lung. This is not only cause of death; it’s the way Hodgins fungus was introduced into the bone marrow.

[SCENE 4] [Act 4]

( Cut: INT: Booth’s SUV)

BOOTH: So, you remember these entertainers fight over the best spots, right?

BRENNAN: Yes.

BOOTH: Okay, so who had the most to gain from Robert Pearson leaving?

BRENNAN: The other dancer, Russell Leonard.

BOOTH: Yeah, so with Robert gone, Russell’s the only dancer. Robert’s death doubled his income.

BRENNAN: That’s not all you got. Because if we’re looking for a pickpocket that magician makes a good suspect.

BOOTH: Uh, uh, uh. Magician’s record’s totally clean. Russell was arrested two months ago for threatening another dancer with a sharpened screwdriver.

BRENNAN: The murder weapon as described by Cam and Angela could very well be a sharpened screwdriver tipped with a bone eating fungus.

BOOTH: Bone eating fungus? Sometimes you say things that sound crazy in a really serious tone of voice.

BRENNAN: Perhaps.

[SCENE 5] [Act 4]

( Cut: INT: Kalorama Park)

RUSSELL LEONARD: (Passes tip hat around the circle) all right, all right. Thank you, thank you. All right. Thank you. That’s what I’m talking about … (comes to Booth and Brennan) all that and you can’t even kick in a buck? What’s up with that? Oh now you’re kicking my stuff? That’s police brutality.
BOOTH: I’m not kicking, I’m just stumbling. You wanna know what Bones?
BRENNAN: What?
BOOTH: You know what I feel with my foot there? Looks like a weapon. Uh-oh, parole violation, pal. (Cuffs Russell)
BRENNAN: Your fluidity makes it appear that you have no bones. And I am an expert on bones so I find that very impressive.
RUSSELL: Well, thank you. I take that as a great compliment while being intimidated by law enforcement.
BOOTH: (Answers phone) Booth. Yeah, uh, hold up. (Gestures to uniformed bicycle police in the vicinity.) Hey guys, over here. Uh, I’m on my way.
BRENNAN: Booth, what’s wrong?
BOOTH: I gotta go. Hannah’s been shot.

[SCENE 1] [Act 5]
Cut: INT: Hospital Room

HANNAH: Don’t worry Seeley, I’m fine.
BOOTH: You got shot, Hannah, you’re not fine.
HANNAH: I’ve been shot before. So have you, right?
BOOTH: It’s not like you build up an immunity to gun shot wounds. All right. You know what? You should have taken me with you.
HANNAH: Stop. If I’m there with an FBI guy, I don’t get my story. You know that.
BOOTH: Did you see the shooter.
HANNAH: Why? You gonna go after him.
BOOTH: Yeah, I am.
HANNAH: They pulled a .38 slug outta my leg.
BOOTH: A cop gun.
HANNAH: When I was shot I was talking to a dealer who was telling me about cops moving drugs in his neighborhood. In my EXPERIENCE things are not that coincidental.
BOOTH: Okay, so you’re not gonna lose you job here are you? I’m mean you’re editors not gonna can you?
HANNAH: I’m shot. I’m pretty. Suddenly he thinks it’s a pretty good story.
BRENNAN: (Enters) I looked at your X-rays.
HANNAH: Yeah, well, the doctor said it was nothing. I should be out in the morning.
BRENNAN: That’s a very bad idea.
BOOTH: Why?
BRENNAN: Because Hannah has suffered a hairline avulsion fracture of the femur.
HANNAH: The doctor said it was a little nick on the bone.
BRENNAN: An avulsion fracture is caused when a tendon or ligament pulls off a piece of bone. If you stress your leg incorrectly, the tendon could pull that shard of bone out farther than it already is and sever the femoral artery. You’d bleed out and die before anyone knew what had happened.
HANNAH: You sure?
BRENNAN: (Nods) I’ll talk to the chief surgical resident. I believe he’ll want to operate on you this evening.
HANNAH: So basically, you saved my life.
BRENNAN: (Turns to exit)
BOOTH: Bones, thanks.
Booth and Brennan share a look and he watches her leave.
[SCENE 2] [Act 5]
Cut: INT: Jeffersonian – Hodgins’ Lab

ARASTOO: Any evidence on the screwdriver?
HODGINS: Well, I pulled all of this so I know he used the screwdriver to open beer, scrape dog excrement off the bottom of his shoe, stir coffee –
ARASTOO: Hopefully not in that order.
HODGINS: It’s been six months. There’s not much chance that the fungus would still be evident on the smooth metal surface.
ARASTOO: So what now?
HODGINS: Now it’s time to go to the source. The CDC reported three more cases of Blastomyces Dermatitidis linked to Kalorama Park.
ARASTOO: Which would tie the dancer to the murder.
HODGINS: Ah, beats cultural anthropology, don’t it?

[SCENE 4] [Act 5]
Cut: INT: FBI Hoover Building – Interior Hall

SWEETS: Oh, Agent Booth – No, you should be with Hannah. Dr. Brennan and I can conduct the interrogation.
BOOTH: Bones said the operation was routine.
BRENNAN: it’s a simple procedure, yes.
BOOTH: And we have a case to work.
SWEETS: Okay. Uh, you’re obviously upset. And that’s understandable.
BOOTH: I’m not upset, okay? I’m just doing my job.
BRENNAN: Something is happening here and I’m not sure what it is.
SWEETS: Well, agent Booth had a scare. Someone very close to him could have died and now he’s obviously in denial.
BRENNAN: I’m close with Booth and am frequently in life threatening situations. But we persevere.
BOOTH: See that Sweets? Not in denial. I’m persevering.
BRENNAN: Persevering.
BOOTH: That’s right.
SWEETS: (Mumbles) yeah, okay.

[SCENE 4] [Act 5]
Cut: INT: FBI Hoover Building – Interrogation Room

BOOTH: You’ve got two assault charges here – one where you threaten someone with a screwdriver.

RUSSELL: That was self defense. The charges were dropped.

BRENNAN: The petty theft charge wasn’t dropped.

RUSSELL: I stole a sandwich, I was hungry. I spent five days locked up. I’m sure they can think of better ways to spend the tax payers’ money.

BOOTH: Why don’t you tell about you and your friend Robert?

RUSSELL: Look, when Robert Came to the park he was broke. I showed him the ropes, told him what kind of moves would bring in the biggest crowds.

BRENNAN: Then in a couple weeks he was making more money than you.

BOOTH: That must have pissed you off.

RUSSELL: I mean, I…I was jealous, okay. But Robert and me, we were friends.

BRENNAN: Your screwdriver is a good match for the murder weapon.

BOOTH: If you’re such great friends, why didn’t you report him missing?

RUSSELL: I work the streets. People come and go. That’s the way it is.

BOOTH: Yeah, people on the streets they also don’t like it when someone takes money they think is theirs.

RUSSELL: Okay, I get where this is going. So, you’ve already decided that I’m guilty. I want a lawyer.

[SCENE 5] [Act 5]

( Cut: EXT: Kalorama Park dumpster)

ARASTOO: These wrappers are from the vendor who sells chicken. They’re clean.

HODGINS: So far none of the food stalls show evidence of fungus.

ARASTOO: Well, I thought if you use a screwdriver to open up cans, maybe food got on it, too.

HODGINS: Well, look at the bright side, now we can eat this Pad Thai.

ARASTOO: It does look delicious.

HODGINS: Hey, there’s definitely some kind of eukaryotic organism growing on this. These trash bags, they all come from the restroom, huh?

ARASTOO: This is not how I imagined spending my day.

HODGINS: Do me a favor; separate all the bags from the restroom from the others.

ARASTOO: Working on two degrees and this is where I end up. Tuition money well spent.

HODGINS: Hey, hey, hey - Blastomyces Dermatitidis. All right. Park janitor collected what we needed.

ARASTOO: Look what else he has. (Vaziri spots Derrick with a trash picker.)

HODGINS: I think we just found the murder weapon.

[SCENE 1] [Act 6]

( Cut: INT: Jeffersonian – Bone Room)

BRENNAN: It’s possible that this was the murder weapon.

CAM: Okay.

BRENNAN: Would you be happier if I said it was probable that it was the murder weapon instead of possible?

CAM: Sometimes decreasing the probability makes it tougher to identify the murderer.

BRENNAN: You mean we know what, when and how but we have no evidence tying this weapon to a specific who.

CAM: Really, it could be anybody. But, it’s good that we found the weapon.

BRENNAN: Wait. It seems the murderer chased the victim through the park. Both would want to know why.

CAM: Shakespeare said the victim was a pickpocket. Maybe one of his angry marks caught him at it.

BRENNAN: Okay, so the angry mark grabs the trash picker and catches up to the victim at the construction site.

CAM: Stabs him in the back, tosses him into the foundation.

BRENNAN: The slits the plastic and shoves his body beneath it.

CAM: I know what you’re thinking. We already looked for the fingerprints on the plastic where it was cut. It’s all degraded and smeared from the blood. The forensic team found nothing useful.

BRENNAN: No, no, Cam, along the slit was the wrong place to look.

[SCENE 2] [Act 6]

(Cut: INT: Jeffersonian – Platform)

CAM: What is she doing?

BRENNAN: Dr. Hodgins, would you come over here and be a corpse?

HODGINS: Yeah.

ANGELA: Sweetie, you do mean pretend to be a corpse, right? Because the way you’re holding that knife, you’re looking a little slasher-y.

BRENNAN: No, this knife is not for Dr. Hodgins. Now the curve in the slit suggests that the murderer held the knife in his right hand.

CAM: And the slash extended one point five meters, performed in one smooth movement.

HODGINS: Careful where you’re going with that razor sharp blade there.

BRENNAN: (Pushes Hodgins through the slit) there. There.

CAM: Uh, there? What there?

ANGELA: Right. She supported her weight with her left hand. So she left a full palm print on the plastic.

CAM: How do you get a six month old palm print off a piece of plastic that’s encased in concrete?

HODGINS: (Pops back up through the slit.) I need some gold.

[SCENE 3] [Act 6]

(Cut: INT: Hannah’s Hospital Room)

HANNAH: Did you catch the murderer.

BOOTH: Well, technically attempted murderer since you survived.

HANNAH: I meant the dancer killer, not the journalist shooter.

BOOTH: We’ll catch him, don’t worry. And we’ll catch whoever did this to you.

HANNAH: Ten bucks says I catch him before you do.

BOOTH: I’m not a betting man, but if I was I’d definitely raise the stakes.

HANNAH: Obviously whoever shot me is a cop who’s afraid of getting caught.

BOOTH: I think you should back off.

HANNAH: You’ve gotta be kidding.

BOOTH: What? No. At least until you get your health back. Then we can lull him into a false sense of security. Catch him together.

HANNAH: Can you please lean in? Closer. A little closer. (unintelligible). Thank you for being my bid, scary protector.

[SCENE 4] [Act 6]

(Cut: INT: Jeffersonian – Hodgins’ Lab)

HODGINS: Now the process is called vacuum metal deposition.

ANGELA: Well, his looks like a popcorn machine.

HODGINS: Now, gold will bind with the lipids from fingerprints at the atomic level. Now this technique involves coating a thin layer of thermalized metallic dust onto the evidence.

CAM: It has to be gold?

HODGINS: Well, yeah, gold conducts electricity better than any other non-corrosive metal. What did you have to pay for it yourself?

CAM: Go. Do.

HODGINS: Okay, here goes the gold. Now evaporated zinc will only condense onto metal. Since the gold has bonded with the fingerprints, there’s more metal on the print than the rest of the sample. Voila.

ANGELA: It worked.

CAM: Thank goodness. Oh.

ANGELA: That is not the maintenance guy from the park’s hand print.

HODGINS: How do you know?

CAM: It’s too small. It’s a child.

ANGELA: Or a woman.

[SCENE 5] [Act 6]

( Cut: INT: FBI Hoover Building – Conference Room)

BRENNAN: What if the other one doesn’t drink anything?

BOOTH: Ah, we turned the air conditioning up in the room to suck all the moisture out of it. So which one do you think it is?

BRENNAN: I have no idea.

BOOTH: Ah, think of it as a game. All right. Take a guess, just between the two of us. No one’s gonna hear you. Go ahead. Guess, guess, guess, guess.

BRENNAN: Well, the ballet teacher seems very mean and vindictive. Plus she’s deceptively strong. And she’s not afraid to be violent.

BOOTH: Sorry, wrong.

BRENNAN: How do you know?

BOOTH: Well, I went through all the police reports of the pickpocket incidents that happened out at Kalorama Park.

BRENNAN: What did that tell you?

BOOTH: That not one incident out of dozens ever occurs while Beverly Houle or Robert Pearson were performing.

BRENNAN: So they were the team that Sweets heard about from the Shakespeare statue.

BOOTH: He cheated her.

BRENNAN: She chased him with the garbage picker. Stuck him in the back. End of story.

BOOTH: Yeah. But when a woman kills a man it’s never just about the money.

BRENNAN: You’re implying there was some kind of sexual tension involved.

BOOTH: When that goes south all bets are off.

BRENNAN: There’s no honor amongst thieves or ex-lovers.

BOOTH: (Watches as second suspect takes a drink.) That’s it. Show time. (Booth shows the picture of the print to the two suspects) busted.

BRENNAN: Her body language doesn’t prove anything.

BOOTH: Well, we have different definitions of that, for sure. That’s why nobody can thwart our criminological brilliance.

BRENNAN: Did you read that off a restaurant placemat?

BOOTH: Comic book. I’m on a self improvement kick, all right?

[SCENE 6] [Act 6]

(Cut: EXT: Night Shot - D.C. Cityscape) (Cut: INT: Hannah’s Hospital Room – Day)

HANNAH: Temperance. Come on in.

BRENNAN: How do you feel?

HANNAH: I’m alive, thanks to you. Hey, where’s my gift?

BRENNAN: Excuse me?

HANNAH: Listen, I get it. You saved my life. And I’m very grateful. But traditionally when you visit someone in the hospital, you bear gifts.

BRENNAN: Well, that custom began as a replacement for religious sacrifice.

HANNAH: As a way to get the gods to take mercy on the sick person.

BRENNAN: Yes. But I don’t believe in that.

HANNAH: But you do believe in cultural traditions.

BRENNAN: Of course, but…

HANNAH: So? Since I’m not above a little supplication every once in a while, maybe you should give me your sunglasses.

BRENNAN: Uh, seriously?

HANNAH: Sure.

BRENNAN: Okay. There you go.

HANNAH: Thank you.

BRENNAN: Perhaps you should be more careful in what stories you pursue in the future.

HANNAH: Why?

BRENNAN: Booth would be very unhappy if you died.

HANNAH: Would you back down, Temperance, if you thought you were working on something important?

BRENNAN: No. No I wouldn’t.

HANNAH: Well. Aren’t we a pair? I guess Seeley’s going to have to resign himself to being worried as long as we’re both around.

BRENNAN: We are. We are quite a pair. They look good on you.