The Parts in the Sum of the Whole

THE PARTS IN THE SUM OF THE WHOLE

(Open: Outside FBI Headquarters. Booth & Brennan are coming up the escalator. Brennan is carrying the manuscript to Sweets book.)

BOOTH: You know, we're gonna have to break this to Sweets very gently.

BRENNAN: Why? He should be grateful.

BOOTH: He'll grateful later.

BRENNAN: What do you mean?

BOOTH: Well, you know how people are grateful when you yell "fire" but before they're grateful, they panic and run into walls.

BRENNAN: You think Sweets is going to panic and run into a wall? (Booth looks at her) Metaphorically. Okay. I got it.

BOOTH: He's not gonna like it.

BRENNAN: Well, if there was a mistake in one of my books, I'd want to know.

BOOTH: What you call "a mistake", Sweets calls "interpretation".

BRENNAN: Interpretation? No. It's an actual factual error.

BOOTH: Okay, what exactly do you think, you think we're telling him about?

BRENNAN: Page 31. And I quote "Subjects worked together for the first time in solving the murder of pregnant Congressional intern, Cleo Eller.

BOOTH: Oooh. Right, yeah. That's right. We worked that other case before that.

BRENNAN: What did you think we were going to talk to him about?

BOOTH: The whole, uh, love thing?

BRENNAN: Love thing? Oh, his conclusion we're in love? I don't care about that.

(Cut to: FBI Headquarters - Sweet's Office. Booth and Brennan just arrived and told Sweets that there was a mistake in his book)

SWEETS: What mistake?

BOOTH: Hint, it's not what you think.

SWEETS: You disagree with my conclusion that the two of you are in love and the sublimating energies of that connection are responsible for the energy, vigor and rigor that you bring to your homicide investigations.

BOOTH: I just told you, it's not what you think..and you immediately say what you think.

BRENNAN: That's your interpretation. We recognize your right to interpret.

SWEETS: You do?

BRENNAN: That's your right as a psychologist to get everything wrong. I have circled some typos - other than that and the fact that the Cleo Eller murder was not our first case, you're ready to publish.

SWEETS: Whoa! Whoa, whoa, whoa, whoa. My interpretation of your working relationship is based on the unfolding, interpersonal dynamics of that first case.

BOOTH: It wasn't our first case.

SWEETS: It wasn't your first case.

BRENNAN: It's not.

SWEETS: Then, please. Tell me all about that real first case to see if my conclusions are still valid.

(They look at each other. Booth nods at Brennan and they sit down)

BRENNAN: A girl was murdered and her remains were thrown in a landfill.

BOOTH: Her name was Gemma Arrington. The case was going nowhere, I was at an early morning Gambler's Anonymous meeting..

(Cut to: August '04. Booth is at a Pool Hall shooting pool. He has money riding on the game)

POOL SHARK: Snap the 9.

BOOTH: Rack 'em.

BRENNAN: (V.O) Booth had a gambling problem before he met me.

BOOTH: (V.O) Well, since I mostly won, it really wasn't a problem.

BRENNAN: (V.O) But it took your focus away from more important things. Like work.

BOOTH: (V.O) You know, I was getting it under control.

POOL SHARK: (he hands him a $20) Nice shot, Tex.

BOOTH: Thanks.

(Booth's phone rings)

BOOTH: Booth. Right. Okay. I'm on my way.

(Cut to: Park - Day. A woman is sitting on the bench. Booth joins her.)

MOM: Thank you for seeing me.

BOOTH: (V.O) The victims mother, Jocelyn, came to see me to tell me that the NY Corner's office was releasing her daughters remains for burial. She was all upset.

SWEETS: (V.O) Upset, why?

(Cut to: Present Day. FBI Headquarters - Sweets Office. )

BRENNAN: The police had given up hope of finding her daughters killer.

BOOTH: You see, the case was a split jurisdiction. The girl was last seen in D.C. but her body was found in New York in a landfill.

(Cut to: August '04. FBI Headquarters - Elevator. Booth is reading the paper - when he lowers it, we see Cam - who was the New York Corner at the time. She joins him on the elevator)

BOOTH: (V.O) The New York Coroner was in town, and uh, I decided to meet with her.

BOOTH: Camille.

CAM: Seeley. (the elevator doors close.) I can get you Gemma's file but you know the definition of insanity is to do the same thing over and over again, expecting a different outcome.

BOOTH: Okay. Maybe I missed something.

CAM: How's about you get another point of view.

BOOTH: Partner up. No. You know I don't do that.

CAM: There's a Forensic Anthropologist, at the Jeffersonian; I read that she solved how a stone aged hunter was murdered.

BOOTH: How does that help?

CAM: If she can solve a 4,000 year old homicide, maybe she can help on Gemma Arrington. I could release the remains to her.

BOOTH: Ya know what, Cam? Uh, I'll catch up with you later, alright. Forensics don't solve crimes; cops do.

CAM: Same activity. Same results. Speaking of which, you look like you've been up all night.

BOOTH: I'm fine.

CAM: Meaning, you won?

(She heads back to the elevator. Booth goes after and stops the doors from closing)

BOOTH: Hey, hey, hey, hey.

BRENNAN: (V.O) That's when he said...

BOOTH: What's that scientist's name?

BRENNAN: (V.O) And Cam answered: Temperance Brennan.

(Cut to: Present Day. FBI Headquarters - Sweets Office. )

BRENNAN: Which is me.

(Cut to: August '04. American University. Brennan is lecturing a class.)

BRENNAN: Most methods of removing flesh have disadvantages..

BRENNAN: (V.O) I was lecturing on de-fleshing techniques at American University.

BRENNAN:..methods which preserve the bone, perfectly, require patience.

(Booth opens the door at the lecture hall)

BOOTH: (V.O) Bones was not what I expected.

BRENNAN: ..works quickly but the bone itself, is cooked; transforming the marrow. The first step is to use conventional surgical instruments being very careful that the scalpel, forceps never come in contact with the bone. Any questions?

BOOTH: (raising his hand) Yeah, I have a question. It seems to me if you, uh, remove the flesh aren't you, uh, destroying the evidence.

BRENNAN: On the contrary. I am revealing evidence. (the bell rings) Thank you. See you next week.

(The students leave but Booth heads toward where Brennan is standing.)

BOOTH: Ah, just, uh, one more thing. I mean, isn't all the good evidence in the flesh. You know, like, the poison and stab wounds and the bullets.

BRENNAN: All of the important indicators are written in the bone if you look carefully.

BOOTH: So that's your thing.

BRENNAN: Yes. I am the best in the world.

BOOTH: Oh. Okay. You're serious.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BRENNAN: (laughing) He thought I was being humorous.

BOOTH: It turns out to be true.

BRENNAN: But you didn't know that yet.

(Cut to: August '04. American University.)

BRENNAN: Are you a student here?

BOOTH: Special Agent Seeley Booth from the FBI.

BRENNAN: I'm Doctor Temperance Brennan from the Jeffersonian Institution.

BOOTH: Do you believe in fate?

BRENNAN: Absolutely not. Ludicrous.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BRENNAN: I still don't.

BOOTH: And I still do.

[OPENING CREDITS]

(Cut to: Present Day. FBI Headquarters - Sweets Office. )

BRENNAN: Booth decided not to provide me with the murder victims identity.

(Cut to: August '04. Medico Legal Lab - Forensics Platform. Brennan and Zack are examing the remains.)

BOOTH: (V.O) I wanted to see if she could find out what I already knew.

ZACK: A modicum of connective tissue indicates that, depending upon burial conditions, the remains are less than 200 years old.

BRENNAN: Zack, we have to shift the paradigm; this is a recent murder.

ZACK: What does this FBI agent want?

BRENNAN: Identification of the remains. Apparently, the FBI has had no luck with dental records or missing persons.

ZACK: The pelvis tells us, female who has never given birth. The rupture of the third molar indicates adolescent.

(Hodgins enters the platform) Fingernails have lacquer on them. Fractures to the Pars interarticularis of the C2, indicate a blow to the forehead which may have cause unconsciousness but not death.

HODGINS: What are you doing?

ZACK: We are identifying a murder victim.

HODGINS: From this century? (Brennan nods.) I'm taking the clothing!

BRENNAN: Dr. Hodgins, I have asked you before not to be so unpleasant.

HODGINS: (sarcastically) Please? I'm taking the clothing.

ZACK: Why? You are a Botanist.

HODGINS: Yeah and a Mineralogist and an Entomologist which gives me the same number of Doctorates as the two of you put together because you don't have any! I could find fibers or-or spores or other particulates.

ZACK: Cause of death: The sharp symmetrical traumas to both the right and left temporal bones. (to Hodgins) You can take the clothing and leave, now.

HODGINS: Yeah? You can take the femur and shove-

BRENNAN: Dr. Hodgins. (he goes to leave) Dr. Hodgins. (she motions towards the bowl he left on the table)

(Hodgins snaps the rubber band on his wrist, picks up the bowl and leaves with the bag of clothes.)

ZACK: Naomi from Paleontology, suggests that Hodgins is like that because he needs to get laid. (Brennan looks confused) That means "engage in coitus".

(Cut to: Park - Day. Angela is doing a caricature of a man when Brennan finds her.)

BRENNAN: This is not a good likeness.

ANGELA: Brennan. Hi! No, this is, uh, this is accurate, actually. This is very accurate.

BRENNAN: I disagree. In reality, his nose looks like a yam.

ANGELA: Could you go over there and just wait for me. Over there.

(Cut to: Park - Day. Angela and Brennan are sitting on a park bench. Angela is eating an fudge pop.)

ANGELA: So, you want me to do a-a caricature.

BRENNAN: Yes. But an accurate one. It's for my work.

(She takes a skull out of her bag and hold it up to Angela)

ANGELA: Oh, my god. That looks real.

BRENNAN: But it is real. Do you think you could provide me with a face?

ANGELA: That-that's real?

BRENNAN: It's a murder victim.

(Angela throws the fudge pop in the garbage)

ANGELA: Murder? Brennan, I thought that your job was-was mummies and cavemen? How- how did he die?

BRENNAN: She. It's a teenager. Someone or something crushed her skull.

ANGELA: Poor thing. Could you, maybe, just put that away now?

BRENNAN: Well, the FBI wants to know who she is.

ANGELA: But why me? I mean, we've only known each other a month.

BRENNAN: Well, I interacted with you at your art exhibit because I was very impressed with your command of underlying structure. You will be paid.

ANGELA: I'm in. I'm saving to go back to Paris.

BRENNAN: How much do you have saved up so far?

ANGELA: Whatever you're gonna pay me for that skull facial murder barf making monstrosity.

(Cut to: FBI Headquarters - Hallway. Booth is carrying a box)

CAM: Transcripts, interviews, phone logs, time lines..

BOOTH: I dropped the body over at the Jeffersonian this morning.

CAM: What did you tell them about it?

BOOTH: Nothing.

CAM: Ah, the gambler in you checking out the players

BOOTH: Thanks, Cam. I appreciate it.

CAM: Oh, don't thank me, Seeley. Nobody wants this case anymore.

(She heads towards the elevators to leave while Booth goes to his desk, in the bullpen. As she enters the elevator, she literally runs into Brennan.)

CAM & BRENNAN: Oh!

CAM: Oh, I'm sorry.

BRENNAN: Traditionally, people disembark the elevator before reloading.

CAM: I'm gonna take that as an acceptance of my apology.

BRENNAN: But it wasn't an acceptance. It was an observation of social mores.

CAM: Wait - hey, you're Dr. Brennan, right? We met at a conference on decapitation.

(Brennan could care less, she heads over to find Booth)

CAM: Never mind.

(Brennan finds Booth's desk and places her bag on it)

BRENNAN: Your victim was 16 years old, bi-racial. She died between 3 and 4 years ago and her body was left in a landfill for approximately one year. She was born in Southern Alabama but moved north when she was 8 years old. She was injured in a pre-1998 automobile, no air bags, when she was 13.

BOOTH: Wow.

BRENNAN: I'm not done. Judging by her ribcage and diaphragm attachment, she was either a swimmer, a singer or an asthmatic or any combination thereof. This preliminary sketch (she shows him the sketch that Angela did) gives you a general idea of what she looks like (She holds up the skull next to the sketch). I'm sorry, but we've been unable to find out her name.

(Booth is shocked at how much information she found out)

BOOTH: Just for future reference, those human remains are forensic evidence; you should be wearing gloves.

BRENNAN: (placing the skull on his desk) I will adjust my behavior accordingly.

(Cut to: FBI Headquarters - Conference Room. Booth puts a tape in the VCR.)

BRENNAN: What is this?

BOOTH: Just watch.

(They watch the video of a young girl singing and playing the piano.)

BRENNAN: She bears a remarkable resemblance to the sketch I gave you.

BOOTH: Gemma Arrington. She's been dead for 4 years; her body was found in a landfill 3 years ago.

(They head back to Booth's desk)

BRENNAN: She's the murder victim?

BOOTH: Yeah. I'm sorry.

BRENNAN: Sorry for the victim?

BOOTH: No. Sorry for holding back her identity.

BRENNAN: Well, even though my time and expertise are extremely valuable, I accept your decision to test my abilities. Obviously, I passed with a lot of color.

BOOTH: Pardon?

BRENNAN: It means I did very well.

BOOTH: Oh, right. You, um, flying colors. You passed with flying colors.

BRENNAN: Yes, I know but passing your test suggests you have something more important in mind?

BOOTH: I want to catch the b*st*rd who killed her.

BRENNAN: Well, how do you know he's a b*st*rd. How do you even know it was a man?

BOOTH: Look, uh, okay. (he holds up a picture) I guess you know who that is, right?

BRENNAN: No.

BOOTH: Judge Myles Hasty. He's a Federal Judge.

BRENNAN: Well, I don't follow current events past the Industrial Revolution.

BOOTH: He killed Gemma.

BRENNAN: Well, why haven't you arrested him?

BOOTH: Well, I don't have enough proof.

BRENNAN: Then how do you know it's him?

BOOTH: I just know and I'd like to ask you to help me catch him.

BRENNAN: I won't do that.

BOOTH: (laughs) Why?

BRENNAN: Well, I will help you find out that truth and if the truth is that he killed her, I will help you catch him but first the truth, then the catching.

BOOTH: okay, look. All I need is the kind of crap that persuades a jury.

BRENNAN: It seems to me that someone like you could benefit hugely from an association with someone like me.

BOOTH: Oh..(he starts laughing until he realizes she's serious.) Oh. You're being serious. You're serious. I was just kidding. You know, having some fun.

BRENNAN: It is fun.

(She smiles back at him)

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

SWEETS: This all happened a year before the Cleo Eller case?

BOOTH: Almost to the day.

BRENNAN: Well, thirteen months, less a week.

SWEETS: And you didn't argue, even though he withheld information and tested you.

BRENNAN: Well, my abilities were outside of his experience.

SWEETS: He called evidence "crap" and she basically called you stupid.

BRENNAN: We were feeling each other up, like, uh, a Honeymoon period.

BOOTH: Out. We were feeling each other out.

BRENNAN: Would you like to hear the rest of the story?

(He leans back in the chair thinking that this is going to turn out badly)

(Cut to: August '04 - Medico Legal Lab - Forensics Platform. Zack is cleaning the flesh off the bones by boiling the skeleton.)

BRENNAN: (V.O) Well, I only knew Hodgins, slightly, as a very unpleasant authority on ancient spores and insects but he was the one that figured out the remains were in a landfill for a year before being discovered and that wasn't all..

HODGINS: (to Zack) I found a sliver on the dead girls clothing.

ZACK: The term is "nebula's".

HODGINS: Wood. I found a splinter of wood. Maple to be exact. (to Brennan) So your murder victim? Most likely stuck with something made out of maple.

ZACK: Still an observation so vague as to approach meaninglessness.

HODGINS: Is he trying to piss me off?

BRENNAN: You are always angry. I've been told you have an anger management problem.

HODGINS: I'm...in a program. Supposed to snap this (he snaps the rubber band) everytime I get angry.

ZACK: I'd be happy to do that for you.

(Hodgins glares at Zack)

BRENNAN: The victims boyfriend was in town the day she disappeared; trying out for a minor league baseball team.

HODGINS: Yeah, so?

BRENNAN: What are baseball bats made of?

HODGINS: Maple? (he realizes what Brennan is getting at) Maple! (he snaps the rubber band) I should have thought of that. You know, I'm not so sure that a baseball bat attack would leave behind splinters, though.

ZACK: Then why posit it as a weapon?

HODGINS: Doubts! I have doubts, you see. I am doubtful.

(Hodgins snaps his rubber band)

BRENNAN: Perhaps the two of you can design an experiment.

HODGINS: What? Whoa. No. Wait. Work together?

(Zack shakes his head)

BRENNAN: Yes.

(Brennan leaves. Zack and Hodgins are not happy about this turn of events.)

(Cut to: FBI Headquarters - Bullpen.)

BOOTH: I brought in Gemma's baseball playing boyfriend for questioning for murder but I know he didn't do it.

BRENNAN: Well, how do you know?

BOOTH: why? Because the killer's Judge Hasty.

BRENNAN: Well, feeling isn't knowing. When you know something, you can argue fact not merely make unsupportable claims in a passionate tone.

BOOTH: You said that in a passionate tone without facts. You see, what it comes down to, it's all about what you feel.

BRENNAN: Wh-why are you interrogating the boyfriend if you're already convinced?

BOOTH: Ah, because I want to convince you.

BRENNAN: That's very kind. Can I come in and watch you broil the suspect?

BOOTH: Yeah, Well you know, I could broil 'em but I think you mean 'grill'.

(Cut to: FBI Headquarters - Interrogation Room. Booth and Brennan are talking to Tucker Henry, Gemma's boyfriend.)

TUCKER HENRY: I feel apart after I heard Gemma got killed. Couldn't concentrate on anything, then, couldn't hold it together.

BOOTH: Some people might say the result of a guilty conscience.

TUCKER: I was in D.C. to try out for a minor league baseball team. My dad was with me. Three of my uncles and four cousins. I wasn't away from anybody long enough to kill Gemma and transport her body to New York City.

BRENNAN: (to Booth) He has alibis?

BOOTH: Tell Dr. Brennan how you did at your try-outs.

TUCKER: I did great. Wh-what does that have to do with anything?

BOOTH: Well, your try-outs were after Gemma was killed.

TUCKER: Yeah, but I didn't know that yet. I- I thought everything was great. I didn't fall apart until after I found out Gemma was murdered. I still dream about being there when that happened; about protecting her.

BOOTH: Psychologically consistent.

BRENNAN: Well, I'm not well acquainted with psychology but anthropologically speaking, men are programmed to consider themselves the protectors of their mates. (to Tucker) It was unnecessary to put you through this again.

TUCKER: I don't mind coming in and answering these questions; cause it means that you guys are still looking and I want that.

(Cut to: Medico Legal Lab - Forensics Platform. Hodgins grabs a bat. Zack is dressed in a thick material covered suit - experiment time! Hodgins walks up to Zack and right before he's about to wack him..)

ZACK: Whoa, whoa, whoa. Why are you the deliverer of the blow while I am the recipient?

HODGINS: Because you grunted when you picked up the bat. Brace yourself.

(He swings the bat and wacks Zack with it, hard. The rest of the Jeffersonian workers, who are watching, wince. Brennan arrives.)

BRENNAN: Excuse me. Go back to work, please. (to Hodgins) Conclusions thus far?

HODGINS: Nothing. The bat did not leave behind any slivers even though the suit Zack is wearing is much more abrasive than the cotton the victim was wearing.

BRENNAN: A blow like that would have left behind unmistakeable bone damage. Have you tried striking Zack in the soft tissue around the liver?

ZACK: What?!

HODGINS: Yeah, anatomy's really not my thing.

(Brennan grabs the bat from Hodgins and slams Zack with it - knocking him to the ground.)

ZACK: Ow!

HODGINS: Whoa, ho, ho! That one had some effort!

BRENNAN: That would most certainly have cause hemorrhaging in the liver followed by death.

(Hodgins bring over a magnifier to examine the suit for splinters)

HODGINS: Nothing. When a bat is so honed in close grain, it cannot be broken on the soft tissues of a human being. We could try striking his head.

ZACK: What!

(Brennan and Hodgins go to leave the platform)

BRENNAN: Unnecessary.

HODGINS: So I guess the baseball bat was not the murder weapon.

ZACK: Dr. Brennan. I found something interesting in the victims x-rays.

(Cut to: Medico Legal Lab - Bone Room.)

BRENNAN: The bones of the inner ear are missing.

ZACK: Indicating that they may have been extracted during the assault.

BRENNAN: Did you set up the UV light source?

ZACK: Yes.

(He goes to reach for it, but he's still wearing the suit, so it's hard to maneuver.)

BRENNAN: I'll - I'll do it, Zack.

ZACK: Thank you, Dr. Brennan. It's hard to move in this suit.

BRENNAN: (scanning the bones with the UV light) These bruising's occurred before death. Possibilities?

ZACK: Recurring patterns, so either struck repeatedly with the same narrow weapon or perhaps crushed beneath some kind of grid.

BRENNAN: Could you please measure the exact distances between the bruises.

ZACK: Of course, Dr. Brennan.

(He goes to reach for a tool but falls. Brennan has already left the room)

(Cut to: Opera House. Brennan is there to find what caused the bruising on Gemma's bones.)

BOOTH: So at 6:30pm, Gemma and her choir sang here for a group of hoity toites.

BRENNAN: I don't know what that means.

BOOTH: Shakers and maccas; You know, influential types - including Judge Hasty. There was a reception here at 9pm. Gemma was seen at the end of the reception, then poof. A year later, her remains were found in a New York City landfill. So, what are we looking for?

BRENNAN: The source of a pattern of bone bruising that happened very shortly before she died. Regular strikes, approximately 33cm apart, spanning the remains from the forehead down to the femur. I was thinking something made of maple. Uh, heavy book case, scaffolding, a ladder.

BOOTH: I gotta tell ya..I really am enjoying working with ya, Bones.

BRENNAN: Bones is not my name.

BOOTH: It's just a nickname.

BRENNAN: Oh, yes. I see. I could call you....shoes!

BOOTH: Shoes? Why shoes?

BRENNAN: Yes, because they are so very shiny.

BOOTH: The shoes, they're part of my uniform.

(They enter a theater type room)

BOOTH: The FBI, they just have a way of doing thing.

BRENNAN: Well, anthropologically speaking, para-militaristic organizations tend to constrain individuality.

BOOTH: That's for sure.

BRENNAN: But any group, no matter how restrictive, the free thinkers, the mavericks, rebels with leadership quality, find ways to declare their distinctiveness.

BOOTH: I'm a free thinking real rebel.

(The head to another area)

BRENNAN: Are you seeing anyone?

BOOTH: Wow. Right to the point there, huh, Bones? Uh, casually but she doesn't like my hours. You?

BRENNAN: Well, uh, a physicist has been asking me out so I was thinking of saying yes.

BOOTH: Well, I'd ask you out if I could.

BRENNAN: Why can't you?

BOOTH: Well, FBI rules, again. No fraternizing with other agents or consultants.

BRENNAN: That's too bad.

BOOTH: Glad you think so.

(The enter another room with a staircase)

BOOTH: The stairs. Look, they're made out of maple?

BRENNAN: The sliver on the victims clothing could have come from violent contact with stairs.

BOOTH: What about the bone bruising?

BRENNAN: The hypotenuse of the triangle formed by the riser and tred, looks to be approximately 33cm.

BOOTH: Gemma was probably trying to escape. Come down here. The judge probably dragged her to the exit over here. (they open the door, there's a parking lot) There is it!

BRENNAN: The killer could have driven back here and taken her away without being seen.

(Cut to: FBI Headquarters - Caroline's Office. Angela is holding up a flip book, showing how the murder could have happened)

CAROLINE: You think that Gemma Arrington was chased by Judge Hasty.

BOOTH: He played football in college.

CAROLINE: Then he swung her into a wall or something?

ANGELA: Well...No, no, no. The next part, here, shows..

CAROLINE: (interrupting) Who's this, now?

ANGELA: Oh, I'm Angela. Montenegro. I'm an artist. Who are you?

BOOTH: That's Miss Julian. She's a Federal Prosecutor - she's on our side.

BRENNAN: (peaking out from behind Angela, to Boot) Tell her that Angela possesses extremely keen spacial awareness.

CAROLINE: And who's this now?

BOOTH: That's a squint.

BRENNAN: (standing, she extends her hand to Caroline.) I'm Dr. Temperance Brennan from the Jeffersonian.

BOOTH: Uh, don't bother. You know. You never remember squints.

CAROLINE: That's correct and you know why?

BOOTH: Why?

CAROLINE: Because they get all whishy-washy and flip-floppy on the witness stand. So it's better I don't remember the last time they let me down when I need 'em again.

BOOTH: Here. Here continue with the flip book there.

ANGELA: Okay. Okay. (she holds up the flip book again) So the judge tackles Gemma...

BOOTH: You remember, you know, football in college.

ANGELA: And grabs her ankle.

BOOTH: Wham! Right there. Bam, all of a sudden, you know, he's got an unconscious girl on his hands and you know what, he thinks she's dead.

BRENNAN: Loads her into his car at the bottom of the stairs and drives her to a landfill in New York.

CAROLINE: Why was he chasing her?

BRENNAN: Who cares why?

CAROLINE: Oh, let's see? A judge. A jury. The press and oh, yeah. Me!

BOOTH: Caroline. All I need is a warrant to arrest Judge Hasty.

CAROLINE: Well, maybe if this little stick figure thing was a big computer - lots of bells and whistles - but right now, it just looks like a sadistic children's book. What's the penchant death grip thing that actually killed the girl?

BRENNAN: We don't know yet.

CAROLINE: (pointing to the book) This won't get me a warrant. I'm a lowly Federal Prosecutor. Hasty is a big-shot Federal Judge.

BRENNAN: A hoity toit.

(Booth wince)

CAROLINE: Oh...I see what's going on. You've always wanted this office. Tired of sitting out there in the bullpen. Well, I'm not committin' career suicide because you're cute and want a window.

BOOTH: We should go.

ANGELA: Okay. (whispering, to Brennan) Hey, listen. He is very cute.

BRENNAN: Well, I do respond to the breadth of his shoulders and strong jaw line.

(Booth closes the door to the office and catches up with Brennan and Angela.)

BOOTH: Guys, guys, guys. Okay. Caroline says we can't arrest the judge, but she doesn't say that we can't ask him a few questions.

(Cut to: Opera House. Booth and Brennan are there with Judge Hasty.)

BOOTH: Thanks so much for coming down, Judge Hasty.

JUDGE HASTY: As you pointed out, if I refused, headline news would be "Federal Judge to Cooperate in On-going Homicide Investigation".

BRENNAN: What we think is that you chased Gemma Arrington and she fell down those stairs.

BOOTH: Okay, Bones. Way to jump right in there. (to Judge Hasty) She was trying to escape you.

JUDGE HASTY: Why? I'm a very nice man.

BOOTH: Did you use that line on her, too?

JUDGE HASTY: The only words I ever spoke to the girl were "You have a lovely voice." and I said it in front of about 100 people.

BOOTH: What did you not do in front of 100 people?

BRENNAN: Booth is suggesting sexual impropriety.

JUDGE HASTY: I chased her through the Opera House. That's very melodramatic. And then, what? I pushed her down the stairs?

BOOTH: No. She was trying to get away from you and you tripped her and she fell down those staris.

JUDGE HASTY: And she died.

BRENNAN: No, those injuries didn't kill her.

JUDGE HASTY: (to Brennan) You're making this all up (to Booth) and she's making you look like an idiot.

BRENNAN: No. In fact, I am very intelligent.

JUDGE HASTY: Yeah? You could have fooled me. You're ridiculous.

(He grabs Brennan's arm and she turns around and punches him in the nose..and then punches him in the nose again - he falls to the floor.)

BRENNAN: (to Booth) Is this very bad?

BOOTH: I have been wanting to do that for years. You are so hot. That's great.

(Cut to: FBI Headquarters. Booth is with Caroline.)

CAROLINE: That woman punched a Federal Judge. In the nose! Twice!

BOOTH: Well, it was self-defense. He was panicking. Alright. We got it right.

CAROLINE: Fire her! And cut all ties. If we're lucky, Hasty sues her and not us.

BOOTH: I can't do that.

CAROLINE: She should never have been in the field. Now I'm sympathetic. I have let a pretty face lead me down the paths of unrighteousness - yours for example...

BOOTH: Well, it's not like that..

CAROLINE: Of course it is! Watching you two together is like being at prom but it's not high school now, Booth. It's grown-up time. The beautiful scientist - is fired. She just doesn't know it yet. That oversight is what you must rectify. My advice? Get her drunk first.

BOOTH: Me? Ugh.

(Cut to: Medico Legal Lab - Bone Room. Brennan and Zack are examining the skull.)

ZACK: I'm trying to estimate the force needed to cause this damage to the victims skull. I'm working up a chart of equivalents. Alligator bites have been measured at 2,000 lbs of force, hyena's at 1,000, sharks at 330. Whatever did this damage was somewhere between a human and a chimpanzee, meaning approximately 250 lbs of force.

BRENNAN: I just had a terrible thought. We removed the flesh by boiling. What if there were particulates on the bone which Hodgins could identify. (Zacks looks at her, skeptically.) We'll, we're not used to dealing with such fresh kills; we must adapt.

(Angela appears in the doorway.)

ANGELA: Could I help? (she enters the room) Wow! This place is huge.

BRENNAN: Angela, this is my assistant, Zack Addy. Zack, this is my friend, Angela Montenegro.

ANGELA: Hey! It's Jimmy Neutron. Huh. Boy scientist.

ZACK: I don't know what that means.

BRENNAN: Neither do I.

ANGELA: Okay. Uh, it occured to me, when I did the facial reconstruction, that the girls head was slammed.

BRENNAN: Well, a door would have crushed the entire side of her head, Ange.

ANGELA: Yeah, but what if it were some kind of protuberance. Like a bolt or something.

ZACK: A sliding door?

ANGELA: I don't know. I'm an artist. I belong in Paris.

BRENNAN: What about a car trunk? With a catch or latch? How much force would a slamming car trunk generate.

(Zack stops and pauses)

ANGELA: Is he doing that in his head?

ZACK: 260 force lbs. - give or take.

BRENNAN: That could fit. (she checks her phone) I have to go meet Booth.

(Brennan leaves)

ANGELA: I have a little math problem you can't solve. Can God create a bigger rock than he can roll? Think about it.

(Cut to: Pool Hall. Booth and Brennan are at the bar doing shots of Tequila.)

BOOTH: Drink up. Er, alright.

(They do a shot)

BRENNAN: Okay. (she clears her though) So all we have to do is compare the wounds in the victims skull with the Judge's cars.

BOOTH: No, Bones. Just stop talking about the case, just for one moment, alright?

BRENNAN: Okay.

BOOTH: Check this out. Huh?

(He lifts his tie and there's a sexy, cartoonish woman on the back. They laugh.)

BOOTH: Okay. I am declaring my individuality; I am going rogue.

BRENNAN: You have gone rogue.

BOOTH: Okay here (he pours her another shot) You can handle your liquor very well.

BRENNAN: Well, this stuff is nothing compared to the Bhang I had to drink as a grad student in India. It's made of fermented cannabis.

BOOTH: Here's to Bhang.

BOOTH & BRENNAN: To Bhang.

(They clink glasses. They laugh.)

BOOTH: You're fired.

BRENNAN: What? Why? Because I drank Bhang? That was in pursuit of scholarly research. (Booth chuckles) Why am I fired?

BOOTH: You're fired because you assaulted a Federal Judge.

BRENNAN: No, you thought that was hot.

BOOTH: I did. I did. It was very hot. Okay. (they do another shot) Cheers.

BRENNAN: Hey.

(Brennan leans towards Booth)

BOOTH: Yeah.

BRENNAN: If we don't work together anymore, we can have s*x.

BOOTH: I'll call a cab.

(Cut to: Outside the Pool Hall. Brennan throws her jacket on and Booth follows her out)

BOOTH: Hold on, hold on, listen. Hold that cab! Listen. I got something to confess.

BRENNAN: What? Is it the fact that you're a direct descendant of John Wilkes Booth? I already know that.

BOOTH: Wait...wait a second. How do you know that?

BRENNAN: From your bone structure.

BOOTH: Just keep that, um, under your hat. Okay? For now. Alright?

BRENNAN: Okay.

BOOTH: What I wanted to to confess was - see, I have a gambling problem but I'm dealing with it.

BRENNAN: Why did you feel you had to tell me that?

BOOTH: I don't know. I just feel like, um, this is going somewhere...

BRENNAN: Why did you feel this is going somewhere?

(She gets closer to him)

BOOTH: I just - I feel like I'm gonna kiss you..

(She closes the space between them and they start to kiss. A few seconds into it - the frame freezes and we...)

(Cut to: Present Day. FBI Headquarters - Sweets Office)

SWEETS: You kissed.

BOOTH: Yes.

BRENNAN: There was tongue contact.

(Sweets slumps down into his chair.)

SWEETS: My book is crap.

BRENNAN: Well, that's why we wanted to come here today.

BOOTH: Yeah, we just wanted to warn you, Sweets, so you wouldn't be barking up the wrong tree.

SWEETS: How long did this affair last?

(Booth and Brennan look at each other)

BRENNAN: Should we tell him?

SWEETS: Yes! Yes, you should.

(Cut to: Outside the Pool Hall. It picks up from where we left off - Booth & Brennan are kissing. The taxi honks and Brennan breaks the kiss and

runs to the cab. Booth stays in the doorway.)

BOOTH: Wow.

BRENNAN: We are not spending the night together.

BOOTH: Of course we are. Why?

BRENNAN: Tequila.

(Brennan gets into the taxi and it starts to pull away but Booth chases after it.)

BOOTH: Hey, ho, ho. Hold the cab. Hold the cab. Hey!

(He knocks on the window, Brennan rolls it down)

BOOTH: So, you're afraid when I look at you in the morning, I'll have regrets?

BRENNAN: That would never happen.

(She chuckles, as the cab drives away as Booth stands in the middle of the street. She waves to him out of the back window)

BRENNAN: (V.O) I went home and went to bed.

(Booth looks up at the Pool Hall sign, as if he wants to go, but decides not to and starts walking in the opposite direction)

BOOTH: (V.O) SO did I.

(Cut to: Present Day. FBI Headquarters - Sweets Office)

(Sweets can't believe what he's hearing and slumps back in the chair again)

(Cut to: August 'o4. Medico Legal Lab. Brennan is just getting to work but it's obvious she's hung over - she's wearing sunglasses indoors and

looks like hell.)

ANGELA: Hey! Oh, hey. We have to tell you something.

HODGINS: Zack told me how bad you felt about boiling all the particulates out of the skull...

BRENNAN: I need some coffee.

ZACK: This is coffee.

(He hands her a mug)

BRENNAN: Oh, thank you.

HODGINS: Despite the boiling, I was able to get microscopic samples from the bones (to Angela) hey, have I mentioned how excited I am to be working with you?

ANGELA: Yes, yeah. You've, you mentioned it.

ZACK: Dr. Hodgins found microscopic fragments of steel and traces of lubricating oil.

ANGELA: Zack and I compared manufacturers specs for the Judges trunk to the victims gaping head wound.

ZACK: One of them matched.

BRENNAN: We got fired.

HODGINS: A '56 Bel Air.

BRENNAN: What?

ANGELA: What?

HODGINS: What?

(Brennan takes her sun glasses off)

ANGELA: We got fired? Wha- is this because you slept with Booth?

BRENNAN: What? I didn't sleep with Booth. Why -why did you say that?

HODGINS: Tequlia vapors.

ZAcK: What is happening?

BRENNAN: I got us fired because I punched a judge in the schnoz.

ANGELA: Now, I'm never going to make it to Paris.

BRENNAN: Angela, I can offer you steady employment reconstructing ancient remains and tombs and digs.

ANGELA: Really?

HODGINS: You know, I've always wanted to go to Paris with an artist.

BRENNAN: Zack, take all of the evidence to Booth at the FBI and we all can go back to our normal jobs.

(She puts her glasses back on and heads for her office)

HODGINS: You ever feel like you saw something great that almost happened, then it didn't?

(Cut to: FBI Headquarters - Bullpen. Booth is laying his head on his desk, staring at a glass of water. He's a bit hungover as well. Zack comes in and plops down a case, containing all the evidence)

ZACK: Are you Special Agent Booth?

BOOTH: What are you? (He notices the logo on the case) Oh, the Jeffersonian. Alright, you must be one of the squints.

ZACK: I'm not familiar with that term.

BOOTH: Squint. You know, you guys, you squint when you look at things - just like that.

ZACK: This is proof that Federal Judge Myles Hasty murdered Gemma Arrington.

BOOTH: Proof? What proof?

ZACK: It was immensely stupid of you to fire us.

BOOTH: (he gets up from his desk) I'm sorry, but did you just call me stupid?

ZACK: I can only conclude that you are immensely stupid.

(He pushes a manila envelope towards Booth and leaves, crossing paths with Cam.)

CAM: You fired the Jeffersonian Institution?

BOOTH: (looking at the file) Uh, I don't know what any of this stuff means. (He hands the folder to Cam) Yeah, Caroline made me. Dr. Bones punched the judge right in the nose.

CAM: They got the judge.

BOOTH: They got the judge? This is good news.

CAM: What'd I tell ya.

(Cut to: FBI Headquarters - Caroline's Office.)

CAROLINE: The girls head was smashed in by the locking mechanism of a '56 Bel Air.

CAM: Here's the evidence.

CAROLINE: Oh, more stick man cartoons?

BOOTH: Yes, but you know, you can jazz it up with computers before trial.

CAM: LOok at the evidence.

CAROLINE: If you're wrong about this my career is over so don't tell me to "look at the evidence" because you know I'm gonna look at the evidence

(to Booth) and you, reassure me.

BOOTH: Yes. Yes. Cam and I, we did, look at the evidence and we both feel that there's enough here to get a warrant to search the judges vehicle.

CAROLINE: He'd better of done this because irritatin' a Federal Judge? Very unwise.

CAM: Uh, small trace of blood - any DNA would be enough to make an arrest.

(Caroline looks over the file)

CAROLINE: (to Booth) You fire the Jeffersonian already?

BOOTH: Yeah, of course.

CAROLINE: Hire it back.

BOOTH: Okay.

CAROLINE: And push come to shove, you be ready to testify that judge walked into a door or somethin'.

BOOTH: Yeah.

(Cam smiles and Caroline goes back to reading the file.)

CAROLINE: I'll have your warrant in an hour. (she pauses) So why are you still here?

(Cut to: Medico Legal Lab - Brennan's Office. She measuring the occipital region on a skull when shows up at her doorway.)

BOOTH: You're back, baby. Haha! You're re-hired.

BRENNAN: But I've moved on.

BOOTH: What is that, uh, a monkey?

BRENNAN: No, this is Ardipithecus Ramidus Kadabba. The earliest known..

BOOTH: Okay, abracadabra can wait (Brennan is annoyed) we have a warrant for the judges car so let's go. What's the matter? Get your coat. Chop- chop!

(Cut to: Parking Garage. FBI techs are surrounding the Judges car, looking for evidence that he killed Gemma)

BOOTH: Is something wrong?

BRENNAN: I find I'm annoyed with you.

BOOTH: Why? Because I fired you and hired you back? It's the Federal Government.

BRENNAN: No, because you got me drunk to fire me and then have s*x with me.

BOOTH: Whoa, no. I got myself drunk so I could fire you and you decided not to have s*x with me, which I accepted gracefully. So, you regretting that decision?

BRENNAN: No, I'm not. It was a very good decision and I stand by it.

BOOTH: What's going on, Bones?

BRENNAN: Do not call me Bones.

FBI TECH: This cars been cleaned, sanded and repainted. The rug is new.

BOOTH: So, nothing.

FBI TECH: Nothing.

JUDGE Hasty: Can I have my car back?

LAWYER: I See no reason why not. You've done nothing but cooperate at every stage of this investigation.

BRENNAN: What? That's it?

BOOTH: Well, we don't have anything.

BRENNAN: Well, my people should look at it.

BOOTH: Why?

BRENNAN: Because we're smarter than you.

FBI TECH: Beg your pardon?

BRENNAN: Oh, please. Do you really think the best and brightest go into law enforcement? No, the best and brightest go to the Jeffersonian.

BOOTH: Oh, really? Because you know the one I met couldn't pick his nose without instruction.

BRENNAN: The locking mechanism should be removed.

BOOTH: Okay, excuse me. You know what? You really need to learn how to speak to human beings.

BRENNAN: I speak six languages - two of which you've never even heard of.

BOOTH: You know what? You're a cold fish.

BRENNAN: You're a superstitious moron.

BOOTH: Get a soul.

BRENNAN: Get a brain.

FBI TECH: Agent Booth?

BOOTH & BRENNAN: (in unison) What?

BOOTH: (to Brennan) I'm Agent Booth. (to the FBI Tech) What?

(The FBI Tech holds up a piece of something in his palm. Brennan looks at it.)

BOOTH: What is that?

FBI TECH: I have no idea.

BRENNAN: It's a stapes. In humans, it's a bone from the inner ear.

BOOTH: Gemma Arringtons?

BRENNAN: I have no way of knowing that without doing some tests - anyone who took high school science should know that.

BOOTH: Well, anyone with a high school education would figure, hey, who else is it gonna be.

BRENNAN: (to the FBI Tech) Send this to the Jeffersonian, we'll check it for DNA.

(She storms off, Booth shakes his fists - he's frustrated)

BOOTH: Alright, you know what? That's fine. (He pulls out his hand cuffs) That's it. Judge Hasty, you're under arrest, pal.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BRENNAN: Are you okay?

BOOTH: (holding out a cup) Here. Have a glass of water.

SWEETS: It's like - it's like you two missed your moment, then you punished each other for it and you know who ends up paying the price? Me. I do.

Okay, what happened next.

(Cut to: August '04. FBI Headquarters - Interrogation Room. Booth is interrogating the Judge (who is with his lawyer). Caroline and Brennan are also there.)

BOOTH: (V.O.) Well the minute I had the judge in the interrogation room, he started to mess up.

BOOTH: (he holds up an evidence bag) Stapes.

BRENNAN: (V.O) It was Gemma Arrington's stapes, of course.

BOOTH: (V.O) So we had proof she had been killed in the trunk of his car.

BOOTH: (holding up a license plate) '56 Chevy, nice car. That's your locking..

BOOTH (V.O) We also had testimony from the Valet who actually saw him pull in the back alley.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BOOTH: Lie upon lie.

BRENNAN: Fact upon fact.

BOOTH: But..but I didn't know, why.

BRENNAN: Booth is obsessed why people do things.

BOOTH: Yeah, what did Gemma see. Why did Hasty chase her though the back of the theatre?

SWEETS: You figured it out, right?

BOOTH: Not me.

(He looks towards Brennan)

BRENNAN: Me.

(Cut to: August '04. FBI Headquarters - Interrogation Room.)

BRENNAN: (V.O) I noticed the way he touched his nose, very gingerly.

(Brennan leans over and whispers something to Caroline. Then Caroline gets up and whispers in Booth's ear.)

LAWYER: Well, considering you have no motive, I'm sure you can see there's no sense in detaining my client.

BOOTH: I know what happened. When a Prosecutor tells the jury, they're gonna believe it too.

BRENNAN: (V.O) It had to be something that would have ruined his career.

BOOTH: (V.O) But also destroyed his judgment.

BOOTH: You had your septum replaced. What was it? Cocaine? Crystal Meth? Gemma saw you snortin' something.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BRENNAN: He thought he killed her on the stairs, so he went to get his car.

BOOTH: She regained consciousness as he loaded her into the trunk.

BRENNAN: He panicked and slammed the lid, which killed her.

(Cut to: August '04. FBI Headquarters - Interrogation Room.)

JUDGE HASTY: I just wanted to stop her. Reason with her. Maybe offer her a bribe, but she ran.

LAWYER: That's enough, Myles.

BOOTH: (V.O) And it was.

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

BRENNAN: Judge Hasty will be eligible for parole in 10 years.

BOOTH: That's the story of our first case, Sweets. Sorry about your book.

SWEETS: No. It's not. It's not. What happened between you two?

BRENNAN: We started to argue.

(Cut to: August '04. FBI Headquarters - Conference Room.)

BOOTH: (V.O) In front of the victims mother.

BRENNAN: (V.O) Well, I was worried that we still didn't have enough evidence to convict.

(Booth stands up and grabs a hold of Brennan's arm, dragging her out of the conference room)

BOOTH: (V.O) I told her this was definitely not the place to bring this up.

(They get into the bullpen area)

BRENNAN: Let go of me.

BOOTH: I will if you would jus-

(Brennan slaps him across the face)

BRENNAN: Oh! What the hell?!

BRENNAN: You are a bully. You - you grab my arm, just like the judge. You use your gun and your badge to intimidate people.

BOOTH: Really? You use your brain to make people around you feel stupid.

BRENNAN: Well, you are a stupid man. I hate you.

BOOTH: Oh, you hate me. What, are you 10 years old? I'm not your dad!

BRENNAN: I will never work with you again.

(Brennan grabs her jacket and storms off)

BOOTH: Who asked you?!

(Cut to: Present Day. FBI Headquarters - Sweets Office.)

SWEETS: You struck him?

BOOTH: I shouldn't have grabbed her.

BRENNAN: We're sorry about your book.

SWEETS: Okay. This is..you. You are totally messed up. I always said that you could never kiss, because if you did, then the dam would break and now it turns out that you kissed. Did the dam break?

BRENNAN: Wha-what does that mean?

BOOTH: Well, He-he still thinks that we slept together.

BRENNAN: We're - we're not in love with each other. It took us a year, after we kissed, to be in the same room together, right?

BOOTH: Oh, uh, absolutely. Right. No more kissing or anything.

SWEETS: If you're not in love, then how come you haven't been in any serious relationships since you first met, huh?

BRENNAN: I don't really do that.

BOOTH: You know, a job. Son.

SWEETS: One of you has to have the courage to break this stalemate. You. (he points to Booth) It's gotta be you because you're the gambler. For once, make that work for you.

BOOTH: (to Brennan) Something to eat?

BRENNAN: I could eat.

(They both get up to leave. Booth places the manuscript on the table)

BOOTH: (to Sweets) Sorry about that book.

(Sweets picks up one of the manuscripts and throws it behind him)

(Cut to: Outside FBI Headquarters - Night. On the wall, there is the following quote: "Nothing happens unless first a dream.." - Carl Sandburg.

Booth and Brennan are walking down the stairs.)

BRENNAN: In his book, Sweets wrote that being abandoned by my parents made me convinced that all meaningful relationships are doomed.

BOOTH: And he wrote that I got "White Knight Syndrome" cause of my physically abusive, alcoholic father.

BRENNAN: Hate psychology.

(Booth stops walking.)

BOOTH: I'm the gambler. I believe in giving this a chance. (He moves closer to her) Look, I wanna give this a shot.

BRENNAN: You mean us? (he nods) No. The FBI won't let us work together as a couple-

BOOTH: Don't do that. That is no reason why we can't...

(He cuts himself off and kisses her. She kisses him back and then places her hands on his chest and pushes him away.)

BRENNAN: No. No.

BOOTH: Why? Why?

BRENNAN: You-you thought you were protecting me, but you're the one who needs protecting.

BOOTH: Protecting from what?

BRENNAN: From me! I - (she starts to break down) I don't have your kind of open heart.

BOOTH: Just give it a chance..that's all I'm asking..

BRENNAN: No, you said it yourself; the definition of insanity is doing the same thing over and over again and expecting a different outcome.

BOOTH: Well, then let's go for a different outcome here, alright? Let's just - hear me out, alright? You know when you talk to older couples who, you know, have been in love for 30 or 40 or 50 years, alright, it's always the guy who says "I knew." I knew. Right from the beginning.

BRENNAN: Your evidence is anecdotal.

BOOTH: I'm that guy. Bones, I'm that guy. I know.

BRENNAN: I- I am not a gambler; I'm a scientist. I can't change. I don't know how. I don't know how. (and with that, she breaks Booth's - and her own - heart) Please don't look so sad.

BOOTH: Alright. Okay. (he sighs, and leans back against the wall) You're right. You're right.

BRENNAN: Can we still work together?

BOOTH: (after a slight pause) Yeah.

BRENNAN: Thank you.

BOOTH: But I gotta move on. I gotta find someone who's - who's gonna to love me in 30 years or 40 or 50.

BRENNAN: (softly) I know.

(Brennan wipes her eye and starts to walk away. Booth joins her. They bump shoulders and then she links her arm through his, puts his head on her shoulder and they walk off, together. Though they're not together, they'll still hold because they're the center.)

END.