The Knight on the Grid

"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 stab 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 killer is strong.

CAM: Based on the rate of decomp, I'd say he's been dead 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 bullets.

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 dead 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 dead body) Oh my god!

ZACK: I've identified the murder weapon.

BRENNAN: Oh, that was quick.

ZACK: (walks in with a knife) Tapered, inch and a half, with both a hilt and a quillion. The cannelure is also quite distinctive.

BOOTH: That's the Gormogon knife.

SWEETS: The serial killer?

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 murdered 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 murder 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 murder 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 hit?

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 stabbed to death - as a serious of cannibalistic murders.

ARCHBISHOP WALLACE: A serious of cannibalistic murders?

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 murderer and rapist 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 "Dead 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 shot 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 killed 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 p0rn kingpin and drug dealer in the country. Tell them to look out for a lunatic with a napkin in his collar holding a knife 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 killed 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 killing 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 dead.

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 hit the backpack, Booth hit 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 kill 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 bomb for shrapnel.

BOOTH: Bones. He was trying to kill 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 fire 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 knife. He had a knife.

(Booth sees the guy from the motorcycle running towards the door on the lower level of the house. He points his gun, 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 dead 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: Dead 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 explosion.)

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 murder 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 killed anyone.

RUSS: Is that - That's the most reassuring you can be? Hey Russ. Congratulations on never killing 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 murder 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 bomb.

(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 explosion?

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 bomb. Booth was right. He meant to kill 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 murder 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 shooting range. He also looks unsettled. On the target, he's hit the heart - every shot.)

(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-